лПЗДБ ДЧБ ЗПДБ ОБЪБД С ПВЯСЧЙМ УЧПЕНХ ОБХЮОПНХ ТХЛПЧПДЙФЕМА, ЮФП Ч ЛБЮЕУФЧЕ ДЙРМПНОПК ТБВПФЩ С УПВЙТБМУС РЕТЕЧЕУФЙ УФЙИПФЧПТЕОЙЕ йПУЙЖБ вТПДУЛПЗП "рТЕДУФБЧМЕОЙЕ", ПО ХМЩВОХМУС НОЕ ФБЛ ЦЕ, ЛБЛ ФЩ ХМЩВБЕЫШУС РУЙИЙЮЕУЛЙ ВПМШОПНХ ЮЕМПЧЕЛХ, ЛПФПТЩК ТБУУЛБЪЩЧБЕФ П ФПН, ЛБЛ ПО ДПЧПМШОП ЮБУФП ПВЭБЕФУС У ЦЙФЕМСНЙ RMBOEFSC nBTU. лПОЕЮОП, ТЕБЛГЙС НПЕЗП ТХЛПЧПДЙФЕМС ВЩМБ ЧРПМОЕ ПРТБЧДБОБ: "рТЕДУФБЧМЕОЙЕ" РТЕДУФБЧМСЕФ УПВПК ПДЙО ЙЪ УБНЩИ ОЕДПУФХРОЩИ ФЕЛУФПЧ РПЬФБ, ЛПФПТЩК ЙЪЧЕУФЕО ФЕН, ЮФП ЕЗП ОЕ ЙОФЕТЕУХЕФ ТБЪЗМБДЙФШ ЛПЕ-ЛБЛЙЕ ФТХДОПУФЙ ТБДЙ ДПМЗПЦЙФЙС ЕЗП ЮЙФБФЕМЕК. with HCE UFP TB (YMY VPMSHIE) RETEYUYFBM LFP UFYIPFCHPTEOYE, YOPZDB U RPNPESHA UCHPYI THUULYI RTERPDBCHBFEMEK Y DTHEK. LTPNE FPZP, UFP POI CHSHCHULBMY UCHPY NOOEOYS, UFP PO UPYEM U HNB, POI CHUE VSHCHMY CHSHCHOKHTSDEOSCH RTYOBFSHUS CH FPN, YUFP YN DBTSE FTHDOP ULBBFSH, LBLPK YNEOOP UNSCHUM ULTSCHCHBEFUS UMPLE. hair dryer VPMEE, LPOEYUOP, DMS YOPUFTBOOPZP YUYFBFEMS. h PFMYUYE PF RTBLFYUEULY CHUEI RTEDSHCHDHEYI UFYIPCH VTPDULPZP, "rTEDUFBCHMEOYE" YNEEF UCHPEK GEMSHA PRIUBOYE UPCHEFULPK TEBMSHOPUFY YOKHFTY UBNPZP THUULPZP SSHCHLB. уМПЧБ ЬФПЗП УФЙИПФЧПТЕОЙС УБНЙ РП УЕВЕ РПЛБЪЩЧБАФ, ЛБЛ УПЧЕФУЛПЕ РТЕДУФБЧМЕОЙЕ НЙТБ ТБЪТХЫЙФЕМШОЩН ПВТБЪПН ЧМЙСМП ОБ ОТБЧУФЧЕООПУФЙ Й СЪЩЛ ТХУУЛПЗП ОБТПДБ, ДБЦЕ ЛБЛ ЛМБУУЙЛЙ ТХУУЛПК МЙФЕТБФХТЩ Ч ОЕЛПФПТПК УФЕРЕОЙ ВЩМЙ ЪБУФБЧМЕОЩ РПДЮЙОЙФШУС ЙДЕБМБН ЛПННХОЙЪНБ. ч ЬФПН ЦЕ УФЙИПФЧПТЕОЙЙ НЩ УМЩЫЙН, ЛБЛ МАДЙ ВЩМЙ УОЙЦЕОЩ ДП ВЕЪМЙЮОПЗП УПУФПСОЙС ЮЕТОПК НБУУЩ, Й ЧПРТЕЛЙ ЧУЕНХ ЬФПНХ ЙИ ПФЪЩЧЩ ОБ РТПЙУИПДСЭЕЕ УМХЦЙФ УМБВЩН ЧЙДПН РТПФЕУФБ РТПФЙЧ ЬФПК ЮХЫЙ, ЛПФПТХА ЙУРПЧЕДХАФ УФПСЭЙЕ ОБ ФТЙВХОЕ ЧПЦДЙ.
lPOEYUOP, SHCHLPCHPE TBCHYFYE RPDPVOPZP TPDB OILPZDB OE RTPYUIPDYMP CH BOZMYKULPN SHCHLE Y FEN UBNSCHN CHPOYLBEF CHPRTPU P RECHECHPDYNPUFY "rTEDUFBCHMEOYS". LBL NPTsOP RETEDBFSH FH TEBMSHOPUFSH, LPFPTBS RTPUFP OE UHEEUFCHPCHBMB - OE FP YuFP Ch YUFPTYY DTHZPK LHMShFKhTSCH, B H ITS SHCHLE. y Ch FP TSE CHTENS, LBLPK OPUIFEMSH BOZMYKULPZP SHCHLB OHTSDBEFUS CH RETECHPDE FBLPZP UYIPFCHPTEOIS? eUMMY BNETYLBOULYK YUYFBFEMSH IPYUEF RPOSFSH, YUFP YNEOOP UMHYUMPUSH CH tPUUYY CH 20-N CHELE, PO NPTCEF URTBCHYFSHUS U GEMPK VYVMYPFELPK HTS RETECHEDEOOOSCHI U THUULPZP LOYZ; B EUMY EZP TsBTsDB OBOYS RTECHSHCHYBEF LFY RTEDEMSCH, PO NPTCEF BOSFSHUS YЪHYUEOYEN THUULPZP SHCHLB Y, CH LPOGE LPOGCH, RTPYUEUFSH RPDMYOOPE UFYIPFCHPTEOYE. vshchfsh nptsef, ffpk tebmshopufy, lpfptbs pjchhyueob ch "rtedufbchmeoyy", ukhtsdeop pufbfshus o tpdpn sjschle. DBCE UBN ZHBLF, YuFP VTPPDULYK, LPFPSHK DPCHPMShop Uboynbefus Retuchpn oshpyi RTPYCHECHEK, OE ChSMUMOS RETECHEUFYA UFPPFCEEIEE, FP FP FPM ORETECHPDIFSH, FPM MISMM
bBYuEN, - YMY, FPUOEEE ZPCHPTS, DMS LPZP RETECHEUFY? nPK PFCHEF ABOUT FFPF CHPRTPU - MYUOSCHK: DMS NEOS RETECHPD - FFP CHYD UFEOYS. gemsh MAVPK ZHPTNSCH UFEOYS - LBL-FP DPUFYUSH UHEOPUFY RTPYCHEDEOYS, RPOSFSH, UFP UFPYF NETSDH Y BY UFTPLBNY. yFP UCHSBOP U UBNPK ZMBCHOPK PUPVEOOPUFSHHA MAVPZP RTPYCHEDEOYS MYFETBFKhTSCH CHSHCHUPLPZP TBOZB. LBL RJYEF OENEGLYK LTYFYL chBMShFET VEOSHSNIO CH UCHPEN VMYUFBFEMSHOPN LUUE "UBDBYUB RETECHPDYULB": "uFP YNEOOP ZPCHPTYF RTPYCHEDEOYE MYFETBFHTSC? uFP POP REDBEEF? pop TBUULBSCCHBEF PUEOSH NBMP FEN, LFP EZP RPOINBEF. еЗП УХЭЕУФЧЕООПЕ УЧПКУФЧП - ОЙ ЧЩУЛБЪЩЧБОЙЕ, ОЙ РЕТЕДБЮБ ЙОЖПТНБГЙЙ". ч ДБООПН УМХЮБЕ, ЮЙФБС "рТЕДУФБЧМЕОЙЕ", НЩ ОЕ РТЙУХФУФЧХЕН ОБ ХТПЛЕ УПЧЕФУЛПК ЙУФПТЙЙ Й ЛХМШФХТЩ, ИПФС УФЙИПФЧПТЕОЙЕ РЕТЕОБУЩЭЕОП РЕТУПОБЦБНЙ, УПВЩФЙСНЙ, ТЕБМЙЕК ЬФПК ЬРПИЙ. нЩ УМЩЫЙН РТЙЮЙФБОЙЕ, РМБЮ ИПФС ВЩ ПДОПК ДХЫЙ, ЛПФПТБС - ЧПУРПНЙОБС ЧУЕ, ЮФП ПОБ РЕТЕЦЙМБ - РЩФБЕФУС ПФМЙФШ ЬФЙ УФТБДБОЙС Ч УМПЧЕУОЩК ЧЙД. чП ЧУСЛПН УМХЮБЕ, ЛПЗДБ НЩ ЮЙФБЕН МАВПЕ РТПЙЪЧЕДЕОЙЕ ЙЪСЭОПК УМПЧЕУОПУФЙ, ДБЦЕ ВЕЪ ЧУСЛПЗП ОБНЕТЕОЙС РЕТЕЧЕУФЙ У ТХУУЛПЗП ОБ БОЗМЙКУЛЙК, У БОЗМЙКУЛПЗП ОБ РПМШУЛЙК, НЩ РЕТЕЧПДЙН У ФПЗП СЪЩЛБ, ОБ ЛПФПТПН ОБРЙУБОП РТПЙЪЧЕДЕОЙЕ, ОБ ОБЫ ПВЭЙК ТПДОПК СЪЩЛ, СЪЩЛ ДХЫЙ. ьФПФ СЪЩЛ НЩ ДБЧОЩН-ДБЧОП ЪБВЩМЙ - РТЙ ПВТХЫЕОЙЙ чБЧЙМПОУЛПК ВБЫОЙ. нЩ ХМБЧМЙЧБЕН ЬИБ, УМЕДЩ ЬФПЗП СЪЩЛБ Ч УФЙИБИ, Ч ТБУУЛБЪБИ ЧЕМЙЛЙИ РЙУБФЕМЕК, Ч ФПН ЮЙУМЕ - вТПДУЛПЗП.
LBL ZPCHPTYF VEOSHSNIO CH CHSHCHYEKHRPNSOKHFPN LUUE: "MAVPK RETECHPD, LPFPTSCHK OBNETEO YURPMOYFSH RETEDBAEKHA ZHOLGYA, OE NPTCEF OYYUEZP RETEDBFSH LTPNE YOZHPTNBGYY. y LBLBS ZMBCHOBS BDBYUB RP NOOEOYA VEOSHSNYOB? "Kommersantbube Rhetichpdyulb - BFP Puchpvpdhph Chui TPDK Ottal FPF Yuiufyk, LPFPTSHK PLPMDPCHBO DTHZNEN OSHLPN, PUCHPVPDIFSH FPF.
with IPYUKH UEKYUBU UDEMBFSH NBMEOSHLPE PFUFHRMEOYE, YUFPVSCH YMMAUFTYTPCHBFSH, LBL PVUFPYF DEMP U RETECHPDPN ABOUT NPEK TPDYOE. with RTPUYFBA RETCHSHCHE CHPUENSH UFTPL UFYIPFCHPTEOIS eCHZEOIS TEKOB "nPOBUFSHCHTSh"; RPFPN RETECHPD H.William Tjalsma, UFP VSCHM PRHVMYLPCHBO CH BOZMYKULPN YIDBOYY Y'CHEUFOPZP UPCHEFULPZP BMSHNBOBIB "NEFTPRPMSH"; RPFPN UCHPK RETECHPD.
bU UPLPMSHOYLY, ZDE NBZBYO NSUOPK
and LMBDVYEE TBULPMSHOILPCH, VSHCHM NPOBUFSHCHTSH NHTSULPK.
THYOB Y FCHETDSCHOS, TBCHBMYOB, ZOYMSHE -
h DCHBDGBFSHCHE RHUFIMY UFTPEOSHE RPD TSYMSHE.
fBLHA LPNNHOBMLH FERETSCH HTS OE USCHULBFSH.
bBYEN S RETEEIBM, OE UFBOKh PVYASUOSFSH.
S
UNEOSM FBN PFRECHBMSHOA ABOUT LPNOBFH UCHPA...
Beyond Sokolniki Station, where there's a meat store
And the Old Believers" cemetery, there was a monastery.
A ruin and a sea of mud, wreckage, disintegration:
In the twentyties they set to turning into a dwelling.
There's no other communal house like it today.
Why I did it, I "ll not explain. I, worn-out, scandal-ridden,
Bum and lout, exchanged Leningrad for a monastery cell.
Behind Sokolniki Station, by the raskolliki cemetery
And a butcher's shop, stood the remodeled monastery.
It was a folly and a fortress, a shambles and a dive -
They made the building "co-op" in nineteen twenty-five.
Communal pads like that one doesn't find these days,
And why I ended up there I won't begin to say.
Harassed and out-of-favor, I was living on the edge,
And so I tossed my pillow on some old friar's ledge.
with OE IPFEM VSC ICHBUFBFSHUS. with OE HCHETEO, YuFP NPK RETECHPD IPTPY, OP FEN OE NEOEE ON FBL TSE, LBL "nPOBUFSHCHTSH" TEKOB, UFYIPFCHPTEOYE. b RETECHPD Tjalsma - LFP RTPUFP RETEDBYUB LPE-LBLPK YOZHPTNBGYY. EZP RETECHPD RTPYCHPDYF OB YUYFBFEMS CHEYUBFMEOYE, UFP TECO - LBLPK-FP OBOHDB YMY OEHDBYUOIL, LPFPTSCHK OILBL OE NPTCEF OBMBDYFSH UCHPA TSYOSH. vPMEE FPZP, UHDS RP RETECHPDH, PO, F.E. TEKO, OE HNEEF UPYOSFSH UFYY. rTPRHULBS UBNPE LMENEOFBTOPE - F.E. FP, UFP DHI MAVPZP UFYIPFCHPTEOYS bMPTSEO OE H OBYUEOYSI UMPC, B CH TYFNBI, CH TYJNBI, CH LPOOPFBGYSI, DBTSE CH UETDGEVEOYY, CH YBZBI RPPFB - Tjalsma SBVMHTSDBEFUS. y RPFPNKh EZP RETECHPD OE YNEEF OILBLPZP PFOPIEOYS UP UFYIPFCHPTEOYEN TEKOB.
UEKYUBU S VKHDH ZPCHPTYFSH P FTHDOPUFSI, U LPFPTSCHNY CHUFTEYUBEFUS RETECHPDYUYL, BLFESCHYUSH RETECHEUFY "rTEDUFBCHMEOYE". OP RETED FEN, LBL S FTPOKHUSH H FFPF RHFSH, S DPMTSEO RTPYUEUFSH CHUMKHI IPFS VSC RETCHHA UFTPZHH DBOOPZP UFYIPFCHPTEOIS, YUFPVSH POBBLPNYFSH CHBU U OIN.
rTEDUFBCHMEOYE
rTEDUEDBFEMSH UPCHOBTLPNB, OBTLPNRTPUB, NYODEMB!
uFB NEUFOPUFSH NOE OBLPNB, LBL PLTBYOB LYFBS!
uFB MYUOPUFSH NOE OBLPNB! OBL DPRTPUB CHNEUFP FEMB.
nOPZPFPYUYE YOYEMY. ChNEUFP NPZB - BRSFBS.
chNEUFP ZPTMB - FENOSCHK CHEETS. ChNEUFP VKhTLBM - COBL DEMEOSHS.
ChPF Y CHSCHYOM YUEMPCHEYUEL, RTEDUFBCHYFEMSH OBUEMEOSHS.
CHPF Y CHCHYEM ZTBTSDBOYO,
DPUFBAEYK YY IFBOYO.
"b RPYEN FB TBDYPMB?"
"LFP FBLPC uBCHPOBTPMB?"
"CHETPSFOP, UPLTBEEOSHE".
"WHERE UPTFIT, RTPUH RTPEEOSHS?"
with DKHNBA, UFP RETECHPDUYL PVSBO RPOSFSh UFYIPFCHPTEOYE CH RPDTPVOPUFSI; S DBCE RPЪCHPMYM VShch UEVE ULBBFSH - MKHYUYE YUEN RPF; F.E., DBTSE LFY PVPTPFSCH, TYZHNSCH, LPFPTSCHE RPPF PFPVTBM, VSCFSh NPCEF, VEUUPOBFEMSHOP, RPD UMBCHOSCHN CHMYSOYEN nKHSHCH - CHUE LFY CHEY DPMTSOSCH UFBFSH RTEDNEFPN BOMBMYYB DMS RETECHPDYuYL. h RETCHHA PUETEDSH OHTSOP YULBFSH YUFPYUOYLY UFYIPFCHPTEOIS, RPRSCHFBFSHUS HUMSHCHYBFSH IB DTHZYI RTPYCHEDEOYK CH OEN. obuyuef "rTEDUFBCHMEOYS", UBNSCHN ZMBCHOSCHN YUFPYUOILPN SCHMSEFUS RPNB bMELUBODTB vMPLB "dCHEOBDGBFSH". dBCE ZHPTNB "RTEDUFBCHMEOYS" UBNB RP UEVE DBEF OBN FFPF LMAYU: UFYIPFCHPTEOYE UPUFPYF YЪ RSFOBDGBFY "DCHEOBDGBFYUFYYYK", RMAU BLMAYUYFEMSHOPE YEFSCHTOOBDGBFYUFYYYE. fBLBS UFTPZHYUEULBS UFTHLFHTB OBUFPMSHLP OEPVSHCHLOPCHEOOBS, YUFPVSHCH OE CHSHCHBFSH H OBU CHPRTPUSCH RP RPCHPDH HER RTPYUIPTsDEOYS. l FPNKh TSE, WITH THE OBJECT OF OEULPMSHLP NPNEOPFC CH "rTEDUFBCHMEOYY", - LFY DEFBMY LBTSKhFUS, RP NEOSHHYEK NET, RPDTBTSBOISNY, IBNY PFDEMSHOSHCHI UFTPL RPNSCH vMPLB. with OE OBZTHTSH CHBU RETEYUMEOYEN CHUEI, OP S RTYCHEDH PDOP YIP L RTYNETH. h "dCHEOBDGBFY" vMPL PRYUSCHCHBEF ЪBVTPYEOOPZP CH UFPTPOH OPCHSHCHN NYTPN YuEMPCHELB "ufpyf VHTTSKhK, LBL REU ZPMPDOSHK, / ufpyf VENPMHOSHCHK, LBL ChPRTPU." fBL TSE H UBNPN OBYUBME "rTEDUFBCHMEOYS" PRYUSCHCHBEFUUS LBLPC-FP YUEMPCHEYUEL: "UFB MYUOPUFSH NOE OBLPNB! OBL DPRTPUB CHNEUFP FEMB." lBLPC-FP HZTPTSBAEYK YUMEO LPNRBTFYY YDEF ABOUT UNEOH RPDPYFEMSHOPNH VHTTSHA. OP CHUE UFP NEMPYU RP UTBCHOEOYA U DTHZYNY UIPDUFCHBNY FFYI UFYIPFCHPTEOIK. PDOP SCHMSEFUS FEN, UFP CH PVPYI RTPYCHEDEOYSI ZPMPUB OBTPDB DPOPUSFUS DP OBU. h "dCHEOBDGBFY" vMPL LBL VHDFP YDEF RP HMYGE, UMSCHYB PFTSHCHCHLY YJ TBZPCHPTCH Y FBL CE, TBZPCHPTCH UPMDBF, F.E. UBNYI dCHEOBDGBFY. obdp PFNEFYFSH, UFP vMPL RETEDBEF LFY TERMILY CH FBL OBSCCHCHBENPK "YUBUFKHYYUOPK" ZHPTNE, CH TBNETBI OBTPDOSCHI REUEO Y YUBUFKHYEL. h "rTEDUFBCHMEOYY" LBTsDPE DCHEOBDGBFYUFYYE LPOYUBEFUS TERMYLBNY, RPDUMHYBOOSCHNY H FPMRE. LFY TERMILY RETEDBAFUS CH CHYDE YUBUFHYEL. obrtynet: "ZDE SKGP, FBN - ULPCHPTPDLB"./ "ZPCHPTSF, UFP ULPTP ChPDLB/ UOPCHB VKhDEF RP THVMA"./ "nBN, S RBRH OE MAVMA". дБЦЕ ВБОБМШОЩК МАВПЧОЩК ФТЕХЗПМШОЙЛ, ЮФП УМХЦЙФ УАЦЕФОЩН УФЕТЦОЕН "дЧЕОБДГБФЙ", РТЙУХФУФЧХЕФ Ч "рТЕДУФБЧМЕОЙЙ", ИПФС Ч ВПМЕЕ ЗТХВПН ЧЙДЕ Й ЛБЛ ВЩ НЕЦДХ УФТПЛБНЙ: лБФС, чБОШЛБ Й рЕФТХИБ РТПДПМЦБАФ УЧПА ЙУФПТЙА, ОП ОБУЙМЙЕ Й ВЕЪОБДЕЦОПУФШ, У ЛПФПТЩНЙ ПОЙ РТПЧПДЙМЙ "РЕТЧПЕ PFDEMEOYE" UCHPEZP TPNBOB, KHUYMYMYUSH Y UFBMY RPTSDLPN CHEEEK. th EUFSH EEE PDOP UIPDUFCHP NETsDH PVPYNY UFYIPFCHPTEOYSNNY: CH "rTEDUFBCHMEOYY" RETCHBS YUBUFSH LBTsDPK UFTPZHSH LPOYUBEFUS DCHKHIUFTPYUOSCHN "TEANE", LPFPTPE LBL VHDFP PVPVEFEBEF RTEDYYYYYYUYEEEE. LBL RTBCHYMP, LFY DCHKHIUFYYS OBRYUBOSCH CH FPN TSE TBNETE, LBL UMEDHAEEEE: "h PYUY VSHEFUS / lTBUOSCHK ZHMBZ. / tbdbefus / netoshchk ybz", F.E. CH RTEPVMBDBAEEN, OBTPDOPN TBNETE "dcheobdgbfy". "дТХЗ-ЛХОБЛ ЧПОЪБЕФ ЛМЩЛ/ Ч ОЕДПЕДЕООЩК ЫБЫМЩЛ" Й ФБЛ ДБМЕЕ. чУФТЕЮБС ФБЛЙЕ УПЧРБДЕОЙС РПЮФЙ ОБ ЛБЦДПН ЫБЗХ, НЩ ОЕ НПЦЕН ОЕ ЧЕТЙФШ, ЮФП вТПДУЛЙК УПЮЙОЙМ "рТЕДУФБЧМЕОЙЕ" РП НПДЕМЙ "дЧЕОБДГБФЙ". рПДЧЕТЗБС "дЧЕОБДГБФШ" УЛТЩФПК РБТПДЙЙ, вТПДУЛЙК ИЙФТЩН PVTBPN RTYYSHCHCHBEF vMPLB PO LBL VHDFP ZPCHPTYF ENH - "CHYDYYSH MY, UBYB, YUEN CHUE LFP LPOYUBEFUS?"
EUFSH EEE FTY YUFPUOYLY "rTEDUFBCHMEOYS", OP SING NOOEE CHBTSOSCHE RP UTBCHOEOYA U vMPLPN. with RPLB OE TBCHYM UCHPK BOBMYY LFYI, - LFH TBVPPHH WITH PFMPTSH. фЕН ОЕ НЕОЕЕ, ЧУЕ УФЙИПФЧПТЕОЙЕ ХЛБЪЩЧБЕФ ОБ ФП, ЮФП РЕТЕД ОБЫЙНЙ ЗМБЪБНЙ ЙДЕФ ЛПЫНБТОЩК РЕТЧПНБКУЛЙК РБТБД - ЙМЙ, ФПЮОЕЕ УЛБЪБФШ, ЛБЛПК-ФП ТБДЙПДЙЛФПТ ПРЙУЩЧБЕФ ОБН РТПЙУИПДСЭХА УГЕОХ - РТЙИПДЩ ЧПЦДЕК Й ЧБЦОЩИ ЗПУФЕК ОБ ФТЙВХОХ НБЧЪПМЕС ОБ лТБУОПК РМПЭБДЙ. OBRTPFYCH FTYVHOSHCH UFPYF FPMRB OBTPDH: NSC RPDUMKHYYCHBEN YI PFSCHCHSHCH ABOUT RTPYUIPDSEEE, - IPFS, UHDS RP YI TBZPCHPTTBN, YI VPMSHIE YOFETEUHAF VSHCHFPCHSHCHE RTPVMENSCH, F.E., UELU. y FFP RTPFYCHPRPUFBCHMEOYE - CHMBUFSH Y OBTPD - RTYCHEDEF OBU L UMEDHAEENKH YUFPYUOILKH. RP CHUEK CHYDYNPUFY, UFP UFYIPFCHPTEOYE RPUFTPEOP RP "LBTOBCHBMSHOPK" MPZYLE. NS RTYUHFUFCHKHEN CH EDYOUFCHEOOOSCHK DEOSH ZPDB, LPZDB CHUE NPZHF RPCHPMYFSH UEVE UFP HZPDOP, IPFS CH RPMHULTSHCHFPN CHYDE. DYUFBOHYS NETSDH CHMBUFSHHA Y "ZTSSHHA", F.E. OBTPDPN, OENOPZP UPLTBEBEFUS. dBCE CHPTsDY SCHMSAFUS TSSEOOSHCHNY CH FFPF DEOSH - EUMY NSCH DPRHUFYN, UFP LFP OE "TEBMSHOSHCHE" rhylyo, zPZPMSH, fPMUFPK, ZETGEO, LPFPTSCHE RTYIPDSF ABOUT FTYVHOKH, B YUFPTYOBYUEFULYUYUEULYU. LPOEYUOP, JFP UNEMPE RTEDRPMPTSEOYE, OP LBL YOBYUE PVYASUOYFSH RPSCHMEOYS LMBUUYLPCH THUULPK MYFETBFHTSC H FBLPN BVUHTDOPN CHYDE? vshchfsh nptsef, tsdpn vvbifyoshchn y vmplpn "jpdyuyn" ffpk rpnshch schmsefus dboyym ibtnu - pupveoop ch EZP "boeldpfbi yj tsyoy rkhylyob" lblpe-myvp chydpy'neoeoye dprhufynpe. ZMSDS ABOUT NYT RP-IBTNUPCHULY, NSC VSCHOE HDYCHYMYUSH CHYDEFSH "zPZPMS CH VEULPYSHTLE" YMY "MShCHB fPMUFPZP CH RYTSBNE".
with UEKYUBU PVTBEBA CHBYE CHOYNBOYE ABOUT FYRSCH FTHDOPUFEK, LPFPTSHCHE CHUFTEYUBAFUS CH RETECHPDE "rTEDUFBCHMEOYS". with OE VHDH ZPCHPTYFSH P RTPVMENBI, UCHSBOOSHCHI UP UFYIPUMPTSEOYEN - FFP UBNP UPVPK TB'HNEEFUS. OP S IPFEM VSH RPDFCHETDYFSH, UFP RETECHPDYUYL PVSBO UPITBOSFSH UYUFENKH TYZHNPCHBOYS Y TYFNB LBL NPTsOP VPMSHYE. VE CHUSLPZP UPVMADEOYS RTBCHYM UFYIPFCHPTOPZP YULKHUUFCHB PF UFYIPCH RPMHYUBEFUS RETEDBYUB CHUEZP MYYSH LHYUY UMHYUBKOP UPVTBCHYIUS UMCH. л УПЦБМЕОЙА, ЙНЕООП ФБЛЙН ПВТБЪПН НОПЗЙЕ РЕТЕЧПДЮЙЛЙ ОБ ъБРБДЕ ЪБВМХЦДБАФУС: УЮЙФБС ТБЪНЕТ Й ТЙЖНХ РТПУФП РПВПЮОЩНЙ РТПДХЛФБНЙ РТЙУФТБУФЙС Л ФТБДЙГЙЙ, ПОЙ ЧУЕЗДБ ЗПФПЧЩ ВТПУЙФШ рХЫЛЙОБ ЪБ ВПТФ РБТПИПДБ, ЮФПВЩ ОЕ ВЕУРПЛПЙФШ ЮЙФБФЕМС. LPOEYUOP, POY OE PRTBCHDBOSCH: RPULPMSHLKH TEYUSH YDEF P RETECHPDE U THUULPZP ABOUT BOZMYKULYK, FP UYUFENSCH UFYIPUMPTSEOYS DPUFBFPYuOP VMYLLY, YUFPVSCH RPCHPMSFSH RP'FYUEULYK RETECHPD.
dBCE H UBNPN OBCHBOY UFYIPFCHPTEOYS RETECHPDYUYL UFBMLYCHBEFUUS U RTPVMENPK. NPTSOP ULBBFSH, YuFP vTPDULYK YNEEF CH CHYDH RTBLFYUEULY CHUE OBBYUEOYS UMPCHB "RTEDUFBCHMEOYE", CH FPN YUYUME: RYUSHNEOOPE ЪBSCHMEOYE P Yuen-O.; FEBFTBMSHOPE ЪTEMYEE, URELFBLMSh; BOBOYE, RPOINBOYE YUEZP-M. y, L UPTsBMEOYA, OEF PDOPZP UMCHB ABOUT BOZM. SHCHLE, LPFPTPE UPPFCHEFUFCHHEF CHUEN FFYN OBBYUEOYSN. 'DEUSH DBOOPNKH RECETCHPDYULH RTYIPDYFUS RPDPVTBFSH BOZM. "revue", RPULPMSHLH, YUYFBS LFP UFYIPFCHPTEOYE, NPTsOP RTEDUFBCHYFSH UEVE LBLPK-FP NTBYOSCHK CHPDECHYMSH. y FFPF CHSHCHVPT "revue" PUPVEOOP PRTBCHDBO, EUMY - LBL S CHCHIE RTEMPTSYM, TEYUSH YDEF P RETCHPNBKULPN RBTBDE, LPFPTSCHK vTPDULYK RTEDUFBCHMSEF OBN CH CHYDE ZHBOFBUNBZPTYY. h RTPUFTBOUFCHE "rTEDUFBCHMEOYS" CHUE RPCHPMEOP - uFBMYO Y rhylyo NPZHF RPNEUFYFSHUS ABOUT FPC CE UGEOE.
chFPTPK FYR RTPVMEN, UFP CHUFTEYUBEFUS OBN CH RETECHPDE "rTEDUFBCHMEOYS", S VSH OBCHBM "GYFBFOPUFSHHA". ffp UFYIPFCHPTEOYE RETERPMOEOOP GYFBFBNY Y OBNELBNY, OBYYOBS U nBSLPCHULPZP, LPOYUBS bINBFPCHPK. vTPDULYK RETEDEMSHCHCHBEF CHUE LFY GYFBFSCH UNEIPFCHPTOSCHN PVTBBPN, UPIBOSS EUFEUFCHEOOP FPMSHLP bINBFPCHH PF WOYTSEOIS. with RTYCHEDH OEULPMSHLP RTYNETCH. h RETCHPK UFTPZHE PRYUSCHCHBEFUUS "RTEDUFBCHYFEMSH OBUEMEOSHS" - "CHPF Y CHCHYEM ZTBTSDBOYO, / DPUFBAEYK YY YFBOYO." LPOEYUOP, FFP UPDATED ABOUT "UFYI P UPCHEFULPN RBURPTFE" nBSLPCHULPZP. vTPDULYK WOYTSBEF ZPTDPUFSH nBSLPCHULYI UFYIPCH, RTPRHULBS DPRPMOOEOYE RPUME ZMBZPMB "DPUFBFSH", PUFBCHMSS OBN OEULPMSHLP CHKHMShZBTOKHA NSHCHUMSH. дБЦЕ ПРЙУБОЙЕ ЬФПЗП РТЕДУФБЧЙФЕМС - РЕТЕТБВПФЛБ ДЕФУЛЙИ УФЙИПЧ, ЛПФПТЩЕ УПРТПЧПЦДБАФ ТЙУПЧБОЙЕ УНЕЫОПЗП ЮЕМПЧЕЮЕЛБ: "фПЮЛБ, ФПЮЛБ, ЪБРСФБС, / нЙОХУ - ТПЦЙГБ ЛТЙЧБС, / рБМЛЙ, РБМЛЙ, ПЗХТЕЮЙЛ - / чПФ Й ЧЩЫЕМ ЮЕМПЧЕЮЕЛ". h PDOK TERMILE NSCH UMSCHYYN "x RPRB VSHMB UPVBLB." LBCDSCHK THUULYK NPTSEF RTPDPMTSYFSH LFH GYFBFH: "x RPRB VSCHMB UPVBLB. ON HER MAVYM. POB UYAEMB LHUPL NSUB. ON HER HVYM. h SNH BLPRBM, OBDRYUSH OBRYUBM ...". oP DMS YOPUFTBOOPZP YUYFBFEMS, LFB TERMILB OYUEZP OE RPDULFBSCHCHBEF. dBMSHYE, NSC YUFBEN: "rP echtpre VTPDSF OBTSCH H FEEFOSCHI RPYULBI RBTBY." nFP SUOBS RETELMYULB U "nBOYZHEUFPN lPNNHOYUFYUEULPK rbtfyy" nBTLUB Y ozemshub, - "rtytbl VTPDYF RP echtpre - rtytbl LPNNHOYYNB." VTPDULYK OE YTS YURPMSHHEF GYFBFSCH: RETEDEMSHCHCHBS, DEZHPTNYTHS YI, PO VPTEFUS RTPFICH RTPRBZBODSCH, LPFTBS UFBMB ЪBNEOYFEMEN CHPDHIB CH UPCHEFULPE CHTENS. pFTEYCHYUSH PF TPMY "YOTSEOETB YUEMPCHEYUEULYI DHY", BY OBTSYZBEF LFY MPHOZY. yFB GYFBFOPUFSH - VHDSH POB LTBUICHB YMY OERTYMYYUOB DMS THUULPZP YUYFBFEMS - PUFBEFUS RTPVMENPK VE CHYDYNPZP TEYOYOS DMS RETECHPDYUYLB. fBLBS RPOSFOBS CHUEN YUYFBFEMSN FTBDYGYS, - VPMEE FPZP, FBLPE YTPOYUEULPE PFOPYOYE L DBOOPK FTBDYGYY, RTPUFP OE UHEEUFCHHAF CH FBLPN CE CHYDE CH BOZMYKULPN SJSHCHLE. dBCE MHYUYENH BOZMPSJUOPNKH UREGYBMYUFH RP THUULPK MYFETBFHTE FTHDOP HOBFSH CHUE LFY GYFBFSCH. eDIOUFCHEOOPE, UFP NPCEF UDEMBFSH RECETCHPDUYL - FFP RETECHEUFY YI, YUFPVSC H YI UPITBOSMYUSH IPFS VSC UMEDSCH FFK GYFBFOPUFY.
with VSC RPUFBCHYM FTEFYK FYR RTPVMEN, ABOUT LPFPTSCHI URPFSCHLBEFUUS RETECHPDUYL CH "RTEDUFBCHMEOYY", RPD ЪBZPMCHLPN "TEBMYY". h FFPF TBDEM NPTsOP CHLMAYUYFSHOE FPMSHLP RTEDNEFSHCH, CHSFSHCHE Y VSCHFB, OP DBTSE TBMYUOSCHE UFIMY THUULPK TEYUY, UMEOZPCHSHCHE Y NBFETOSHCHE CHSHCHTBTSEOIS. h UBNPN OBYUBME UFYIPFCHPTEOYS RETECHPDYUYL UVBMLYCHBEFUUS U BDBYUK: LBL RETECHEUFY "RTEDUEDBFEMSH uPCHOBTLPNB, OBTLPNRTPUB, NYOYODEMB!". dms th TBCHETOHFSCHK CHBTYBOF - "Chairman of the Council of People" s Commissars, the People "s Commissariat of Education, the Ministry of Foreign Affairs" - OE PYUEOSH LTBUYCHP VShch ЪCHHYUBM. with TEYM PUFBCHYFSH LFY UPLTBEEOYS CH RTYVMYJFEMSHOPN CHYDE, RPULPMSHLKH CH FFPN CE DCHEOBDGBFYUFYYY LBLPK-FP YUMEO FPMRSH URTBYCHBEF, "lFP FBLPK uBCHPOBTPMB?"; ENH PFCHEYUBAF, "CHETPSFOP, UPLTBEEOSHE". FP EUFSH, DMS OBTPDOPZP HNB, PLTKhTSEOOPZP UPCHEFULYNY MPHOZBNY Y OEPMPZYYNBNY, FBLIE UMPPCHB FETSAF UCHPK UNSCHUM.
b EUMY NSC VETEN VPMEE LPOLTEFOSCHK RTEDNEF Y RPCHUEDOECHOPC TSOYOY, - OBRTYNET, FFH OBTEBOOKHA LPUP RPMFBCHULHA LPMVBUH, LPFPTBS RPSCHMSEFUS PE CHFPTPK UFTPZHE, NSC URPFSCHLBENUS ABOUT FBLVPME. ChPPVEE NSCH - BNETYLBOGSCH - OE FP UFP NSCH OE LPUP TETSEN LPMVBUH, - NShch RTPUFP TEDLP TETSEN LPMVBUH. y Ch UFTPZHE RTP fPMUFPZP NSCH YUYFBEN, UFP "VTPDSF RBTHVLY U OPTSBNY, RBIOEF YRTPN U LPNUPNPMPN". VHI THUULYI UBNP UMPCHP "YIRT" RBIOEF YIRTPN - VMI BNETYLBOULPZP OPUB YRT OYYUEN OE RBIOEF. y LBL RETEDBFSH UPCHNEEEOYE TBOBOSHI UMPECH TEYUY CH FBLYI UFTPLBI, LBL "chNEUFP VKhTLBM - OBBL DEMEOSHS. LBL CHPURTPYCHEUFY AMPVOPE PUFTPHNYE, CHSTBYFEMSHOPUFSH Y, CH LPOEYUOPN YFPZE, RBZHPU UMEDHAEEK TERMYLY-YUBUFHYLY: "TSYOSH - POB LBL MPFETES." / "CHSHYMB ЪBNHTS ЪB ECHTES." / "dPCHEMY UFTBOH DP THYULY." / "dBK UETCHPOEG DP RPMHYULY".
ч ЛПОГЕ ЛПОГПЧ, РЕТЕЧПДЮЙЛ, ТБУУНПФТЕЧ УФЙИПФЧПТЕОЙЕ ДП НЕМШЮБКЫЙИ РПДТПВОПУФЕК, ДБЦЕ РТПЦЙЧ ОЕЛПФПТПЕ ЧТЕНС Ч НЙТЕ УФЙИПФЧПТЕОЙС, ДПМЦЕО Ч ЛБЛПК-ФП УФЕРЕОЙ ЪБВЩФШ ПВ ЬФПН НЙТЕ, Й, ЧЕТС Ч УЧПЕ СЪЩЛПЧПЕ ЮХФШЕ, УПЪДБФШ ОПЧЩК НЙТ, ЛПФПТЩК ВХДЕФ ЪБЧЙУЕФШ ПФ УФБТПЗП, ПФ RPDMYOOILB, FBL CE, LBL CHPURPNYOBOYE PDOPZP DOS IBCHYUYF PF EFPZP DOS. reTECHPD FBLPZP TPDB VKhDEF OPCHBS TsYOSH, UBZTPVOBS TsYOSH RPDMYOOILB. with DPMTSEO RTYOBFSHUS CH FPN, UFP - RPULPMSHLKH S HCE DBCHOP PLMDPCHBO "rTEDUFBCHMEOYEN" - S DP UYI RPT OE DPVTBMUS DP LFPZP NYTB. with OE HCHETEO, UFP BOZMYKULYK SHCHL - RP NEOSHHYEK NETE, NPK BOZMYKULYK SHCHL, URPUPVEO OB FBLPK CHMEF, YMY URHUL. eFP, NPTsEF VSHCHFSh, IPTPYP. with Y'CHYOSAUSH RETED CHBNY, UFP S NPZ LPUOKHFSHUS CHUEZP MYYSH RPCHETIOPUFY YEDECHTB "rTEDUFBCHMEOYS" CH FFPN DPLMBDE. BLBOYUYCHBS, S RTPUYFBA RETCHHA UFTPZHH UCHPEZP RETECHPDB "rTEDUFBCHMEOYS", RPULPMSHLKh PUFBMSHOSHCHE RPLB OE PFTBVPFBOOSCHE.
Joseph Brodsky's Revue
Chairman of the Minindel, the Sovnarkom and the Narkompros!
This terrain"s as familiar to me as the marches of Cathay!
This character "s familiar! No body, but a question mark" s pose.
I see a greatcoat "s dot, dot, dot. A comma" s pause, but not a brain.
Twilight's swallowed the throat. A division sign, no eyeballs staring.
Here he is - a mannikin's emerged, the population's darling.
Here he is, the citizen,
taking it out of his wide pants.
"How much for that radiola?"
"Who the heck's Savonarola?"
"Well, probably, an acronym."
"Run your pardons where"s the can?"
The writing
Between 1985 and 1989 Joseph Brodsky writes the poem "Representation", in which he gives a generalized image of the era. Realizing this task, the writer turns to the poetics of postmodernism. Brodsky took with him to the United States not only the Russian language, but also a linguistic cast of reality. The Soviet mass language is not only equal to the official one, although it is highly ideologized and bureaucratized; it is also the language of everyday communication, which includes vernacular, abusive, obscene language. Incompatible in the “state” language, all these layers are combined in Brodsky.
The main body of the poet's works is characterized by a detachment from the Soviet language. But in the "Presentation" he is the main character, as if speaking for himself. The “characters” of the work are language codes, concepts, all kinds of quotations, subjected to parodic-ironic recoding and theatricalization. Brodsky carries out a kind of inventory/catalogization of common expressions, clichés of the mass Soviet language, deposited in the memory. As he once jokingly remarked, memory replaces our tail, fortunately lost in the process of evolution. In this case, the writer actualizes the memory that is given in the language, brings “on the stage” more and more new “characters” pronouncing their “remarks”, accompanies them with ironic “remarks”, plays out a whole buffoonery-absurdist “performance”.
The montage of concepts gives an idea of the real, unadorned spoken language that the masses use. His ideologization, rudeness, but also the ability to accurately reveal the essence of the phenomenon, a certain fatalistic philosophy is revealed: “They brought the country to the handle”; “Life is absolutely unbearable”; “The squabble between the effect and the cause ends with death.”
“Remarks”-comments basically parody the codes of mass printed products: newspaper and magazine, party propaganda, art, etc. For example, Brodsky demythologises the myth that after a shot from the Aurora cruiser, the era of humanism began. The poet reduces the "Auror" symbolism by using the rhythm of a slandered song, which has a "refrain" in the form of a folk ditty interspersed with obscenities, and replaces the official version of his own.
The artless words of the children's poem are consistently replaced by reduced adequates. Dots-eyes are replaced by burkals, giving out malevolence; the comma does not mean a mouth, but a single convolution of the brain; the body does not resemble a cucumber, but a question mark, which it forms, bending over the interrogated. In addition, Brodsky's little man has clothes - this, of course, is a military uniform with dotted buttons as a sign of the militarization of the entire system. The reference to the primitivist drawing emphasizes that we are not seeing a living person, but a simulacrum - a symbolic figure, of course, extremely simplified, exaggerated, but very expressive. No matter how conventional the drawing of the child, we recognize it as a little man, not a horse or an airplane. So it is in the grotesque portrait, which gives
* Period, dot, comma,
* Minus, the face is crooked.
* Handles, legs, cucumber,
*Here comes the little man.
Brodsky, we capture the essential features and qualities of a Soviet citizen: narrow-mindedness, the habit of living on command, the readiness to see the enemy in every dissident, eternal irritability and aggressiveness.
The poet reveals the dominance of male chauvinism in Soviet society. There are only three female replicas in the text - the rest belong to men; and Brodsky's iconic figure of a Soviet citizen is male. All the “personalized” actors: a tyrant, Lenin, a soldier of the guard of honor, Stalin-Dzhugashvili, a friend-kunak, someone Orthodox, pioneers, retired executioners, a homosexual master, Rubbish, a prosecutor, great-grandson, great-grandfather ... - male. A woman in the role of the Swan appears only in ballet, on stage. They interrogate, “square the cheekbone”, rape, cover with the last words, talk about politics, fight, sit, stand on the podium of the mausoleum, roll a wheelbarrow “in the depths of the Siberian ores” under the protection of their own kind in the “Presentation” men. Brodsky is led by a language that does not lie. Brodsky's "Men's World" is a synonym for a totalitarian-authoritarian, ruthless world based on brute force. Even an attempt at an Orthodox orientation as an element of the new state ideology is not able to hide the aggressiveness that overwhelms him:
* Someone Orthodox enters, says: “Now I am in charge.
* I have in my soul the Firebird and longing for the sovereign.
* Soon Igor will return to enjoy Yaroslavna.
* Let me cross myself, otherwise I'll hit you in the face.
Brodsky portrays Soviet society as closed, anti-pluralistic, wary of the West. The hopes cherished here for a world revolution, the author of the “Representation” makes it clear, are not destined to come true:
* Proletarians of all countries
* march to the restaurant.
Thus, the poet also debunks the myth of Soviet society as the most advanced in the world.
Throughout the poem, there is a controversy with the creators of the literature of realism, starting with Mayakovsky. By Brodsky's own admission, he learned from
"The Firebird" is the title of a poem by Nikolai Rubtsov, the personification of patriarchal Russia. Somewhat unexpected in a number of Brodsky's works of the 1980s, "Representation" organically fits into the context of Russian postmodern poetry, which completes the calculation with the totalitarian system.
Joseph Brodsky is a poet of the post-catastrophic experience. He belongs to the writers who, like the Italian Primo Levi, did not accept the radicalism of T. Adorno and defended the significance of poetry precisely "after Auschwitz and the Gulag." But poetry of a special quality. The content of Brodsky's response to the challenges of the political evil of the 20th century is discussed in the Nobel speech and can be reduced to two main points. The first is the protection of the reality of the individual, individuality with its uniqueness and uniqueness in the conditions of a totalitarian ideology that venerates the individual (let us recall Mayakovsky) as “zero”, and not “one”. At the same time, poetry, art and culture (rather than simple literacy) were understood and accepted precisely as expressors of personal experience: “One of the merits of literature is that it helps a person to clarify the time of his existence, to distinguish himself in the crowd of both predecessors and their own kind, to avoid tautology, that is, a fate otherwise known under the honorary title of “victims of history.” The second provision is related to the first and lies in the need to "recreate the continuity of culture", especially those of its forms that expressed "human dignity". It can be said that the significance of literature as an expression of individual experience, in spite of all ideological and political fakes, becomes main theme lectures, where the displacement of literature into the sphere of the reading minority is declared one of the crimes against man.
At the same time, there are many lines in the work of Joseph Brodsky that cause misinterpretations, accusations of coldness, rationality, unpatriotism, dislike for Orthodoxy that have become almost common. These include a fragment of the poem "Representation", written in 1986:
Someone Orthodox enters, says: “Now I am in charge.
I have in my Soul the Firebird and longing for the sovereign.
Soon Igor will return to enjoy Yaroslavna.
Let me cross myself, otherwise I'll hit you in the face.
Worse than spoilage and deprivation - thoughts of Western infection.
Sing, harmonica, drowning out the saxophone - the fiend of jazz "
And kiss the image
With the crying of the circumcised victim...
According to Lev Losev, this fragment was Brodsky's response to a letter from the "Group of Orthodox Christians from the USSR", published in the magazine "Continent" under the title "Christ-sellers", and it, in turn, was a response to Brodsky's lines from the poem "The Fifth Anniversary": " I didn’t like rednecks, I didn’t kiss icons ... ”. Losev comments on the main images of the stanza from the “Representation” as “a caricature of newly converted fanatics who replace faith with ritual, national swagger and xenophobia”.
These lines, like the poem as a whole, being one of Brodsky's most difficult to translate texts, are surrounded by an aura of misunderstanding not only in a foreign language environment. So, a modern researcher, referring Brodsky, along with G. Ivanov, to the “metaphysicians of despair”, interprets the lines as a manifestation of “insensitivity to the history of his fatherland” and “ignorance of the deepest spiritual culture from the fathers of the Church to the Russian religious revival” .
In our opinion, everything is exactly the opposite: a fragment of the poem, being a text of increased semantic density, is both deeply Christian in spirit, and a poetic insight of a serious theological level, and a prophetic text (recall how Brodsky valued intuition and prophetic gift in the poet) . At the same time, the fragment refers us to numerous artistic and philosophical texts of the 19th-20th centuries, building the continuity of cultural experience that the poet spoke about in his Nobel speech.
Let's try to understand what phenomenon, what reality becomes the subject of the image. It is generally accepted that this is a May Day parade as a kind of phantasmagoria. T. Campbell in his commentary shares two meanings of the word “representation”, but in fact they are intertwined, both are played out and interact: the poem gives us an idea of Soviet reality and political reality as a kind of theatrical performance played out by the void and the figures of the void. The play begins with destruction human face and the displacement of genuine human reality: "the sign of interrogation instead of the body", "instead of the brain - a comma." And already at the very beginning of the poem, a semantic game arises with the words “personality”, “citizen”, “representative of the population”. This is a world of subhumans and nonpersonality, where a person is eventually reduced to a holder of a certificate (“a citizen pulling out of his trousers”) or a “representative of the population”. The subhuman nature of the depicted world will be announced already in the first lines of the poem: "Chairman of the Council of People's Commissars, People's Commissariat of Education, Ministry of Foreign Affairs!". This is a world where there are no names, and therefore no unique personalities. There are only indications of positions that, apparently, anyone can take, regardless of their personal qualities. It's almost like a Significant Person in Gogol's "Overcoat", also, by the way, devoid of a name, or writing an official's jacket in M. Bulgakov's "Master and Margarita".
It is in this context that “someone Orthodox” appears, uttering his monologue, in which he reveals his claim to primacy, “longing for the sovereign”, aggression towards people of a different mind (apparently unbelievers) and hatred of Western thought. The very naming of the hero “someone Orthodox” requires commentary, where the word “Orthodox” is an adjective, and the noun is still not the word “Christian”, but the indefinite personal pronoun “someone”. From the point of view of Christianity (representatives of all confessions and denominations will agree with this), a true believer cannot be "someone", it is always "who". In addition, a truly Orthodox person cannot claim primacy, an alliance with earthly power, especially such an anti-human one as depicted in the poem.
And at the same time, Brodsky, with his deep sense of language, which, in his opinion, distinguishes a true poet, is very precise: "someone is Orthodox." What is this character? In our opinion, Brodsky, who places such a character in the gallery of subhumans and nonhumans, turns out to be among those who follow the gospel call to discern spirits, to stay awake and sober (Matt. 24:4-8), to distinguish the real from fakes. He sees in such a character more of an impostor and deceiver than a true Christian.
The image of "a certain Orthodox" can also be understood as one of the apocalyptic symbols. This "character" gets the opportunity to incarnate, "enter" into social reality precisely in the context of the loss of a sense of authenticity. In this regard, the prophetic books of Isaiah are recalled: “Woe to those who call evil good, and good evil, darkness is revered by light, and light is darkness, bitter is revered as sweet, and sweet is bitter!” (Isaiah 5:20).
Perhaps Brodsky really did not know the patristic tradition, but is such knowledge always necessary? Don't we see how often such "knowledge" turns into dogmatism? Is not the accuracy of intuition and guessing the meaning much more important? For example, in patristic literature there are frequent statements about a proud man, who is distinguished by "a loud voice, proud speech, an obstinate bitter answer, a proud and agile gait, uncontrollable talkativeness." Brodsky is close to this understanding.
Russian literature and philosophy knows its images of impostors, false prophets and all sorts of antichrists. In particular, V.S. Solovyov. One of the participants in the conversation, Mr. Z, speaks about the end of world history as follows: “There is no doubt that that anti-Christianity, which, according to the biblical view - both the Old Testament and the New Testament - marks the last act of historical tragedy, that it will not be a simple unbelief, or the denial of Christianity, or materialism and the like, but that it will be a religious imposture when the name of Christ is appropriated by such forces in humanity, which in fact and in essence are alien and directly hostile to Christ and His Spirit.
Among the most important literary sources of the image of Brodsky are the novel by F.M. Dostoevsky's "Demons" and, in particular, the project of the nihilist Petrusha Verkhovensky to make the spiritually dead Stavrogin with his "stone mask instead of a face" the religious leader of the Russian people, either Ivan Tsarevich (isn't the Firebird from here?), or the Russian analogue of the Roman High Priest: "The Pope will be in the West, and we will have you!"
Building the continuity of the images of Brodsky's poem with the demonology of Russian literature, one cannot but recall "someone's shadow without a face and a name" that flickers at the carnival of disguised guests from 1913 in A. Akhmatova's "Poem Without a Hero". The same uncertainty, lack of face and name, chaos, confusion.
A stanza from Brodsky's poem "The Presentation" also refers us to Western European and American philosophical texts of the 20th century, demonstrating the poet's fidelity to universal responsiveness and the universal character of the heights of Russian culture. The first philosophical association that arises in connection with this image is M. Heidegger's Das Man, a concept introduced by the philosopher in Being and Time (1927) and meaning inauthenticity, anonymity, facelessness, a person who wants to become like everyone else and ceases to be himself .
Brodsky's intuition also reveals a closeness to the ideas of Heidegger's student Hannah Arendt, who wrote in her book On Violence: “In both military and revolutionary action, the vanishing value is individualism; involvement in a group is a demand to take some action that will cut off his ties with a good society.
Arendt also made remarkable arguments about the image of a pariah created by Jewish poets and writers (from Schlemil Heinrich Heine to Kafka's "man of good will"). This image contains new idea man" - "man as an autocrat in the realm of the spirit", which is a "hidden tradition" European culture. As a result, a shifter appears: “It is no longer a pariah, despised by society, but those who live in a rigid hierarchy that become a shlemiel. Because what nature generously endowed them with, they exchanged for idols of public goods. Isn't Brodsky, with his dislike for various kinds of group community and identity, who called himself a "correspondence Christian", one of the followers of this hidden tradition? And a curious parallel to the position of a Christian correspondence student and criticism of counterfeit Christianity can be seen in the poem by Naum Korzhavin “The Last Gentile. Letter from the 6th century to the 20th" with his criticism of the simplified "cleaned up truths" and the consciousness of his greater closeness to Christ.
Speaking of Western European parallels, one cannot forget one of Brodsky's favorite books - "Open Society and Its Enemies" by K. Popper and the criticism of totalitarian tendencies in it contained in it. European philosophy, starting with Plato's "best state", which was actually a reconstruction of the "ancient forms of tribal life", excluding literature and poetry. And Brodsky’s dreams of “a certain Orthodox” are emphatically archaic: “the firebird”, “longing for the sovereign”, “Igor will return soon ...”.
So, the deep content of the fragment of Brodsky's poem that interests us is the restoration of the idea of \u200b\u200bthe true personality in the conditions of ideocracy, political evil and the mass consciousness generated by it with its contempt for art. From the poem "Submission" threads stretch to the poet's essay less than one(“Less than one”): “Once upon a time there was a boy. He lived in the most unjust country in the world. It was ruled by creatures that, by all human standards, should be recognized as degenerates. Which, however, did not happen."
However, this content is still not obvious to everyone. And the point, it seems to us, is not at all the complexity of Brodsky's poetic language. So, for example, Vyach. Iv. Ivanov, in his journalism during the First World War, warned of the danger of depleting the ontological sense of personality, "spiritual depersonalization." The reason for the peculiar deafness to Brodsky's "message" about the reality of the individual can also be called the absence in Russia of the theology of culture. We find something close to such a theology in the judgments of Sergei Fudel and Father Alexander Schmemann, but they were expressed in the space of marginal genres (letter, diary). There was also no opportunity for a broad discussion of these ideas. In particular, Sergey Fudel wrote: “Some revelations of divine truth can be sent to a person in art. Moreover, we must honestly admit that, thanks to the great impoverishment of religious life, the words and artistic images of some writers - well, say, Tyutchev, Lermontov, Leskov. Pasternak or Exupery, as it were, compensate for this impoverishment.
Brodsky's famous poem and the stanza about "a certain Orthodox" breathes with such a truthful word and genuine theology. Totalitarian ideologies tried to destroy, suppress the personality, but, as independent Russian literature shows, it is impossible to do this: the true personality, its word and culture is a special reality that goes to infinity. Our task is to adequately read these texts so that such reading becomes a life event and, in particular, one day not to wake up in the terrible reality of V. Voinovich's "Moscow-2042", under the tutelage of some father Zvezdoniy, another incarnation of "some kind of Orthodox" .
Literature
1. Dell'Asta A. In the fight for reality. Kyiv: SPIRIT I LITERA, 2012.
2. Losev L. Joseph Brodsky. The experience of literary biography. M.: Young guard, 2011.
3. Campbell T. Difficulties in translating Joseph Brodsky's poem "Presentation" from Russian into English // [Electronic resource.] URL: http://www.vavilon.ru/metatext/mj53/campbell3.html(Date of access 24.05.2015).
4. Zakurenko A. Return to meaning. Old and new images in culture: the experience of deep reading. M.: BBI Publishing House, 2014.
] [ 52a ]
"Accident, being inevitable,
benefits every work.
Leading the life that I lead
I am grateful to the former snow-whites
sheets of paper folded into a dudu.
Joseph Brodsky.
Joseph Brodsky Performance Mikhail Nikolaev Chairman of the Council of People's Commissars, People's Commissariat of Education, Ministry of Foreign Affairs! This area is familiar to me, like the outskirts of China! This person is familiar to me! Interrogation sign instead of a body. Dot overcoat. Instead of a brain, a comma. Instead of a throat, a dark evening. Instead of burkal - a sign of division. So a little man came out, a representative of the population. So a citizen came out, getting out of his trousers. "And how much is that radiogram?" "Who is Savonarola?" "Probably a contraction." "Where's the toilet, I beg your pardon?" Pushkin enters in a flight helmet, a cigarette in his thin fingers. In an open field, an ambulance rushes with a lone passenger. And the wheels, cut obliquely, like Poltava, with fat dug out under Gdov's finger of a switchman, enliven the snow tablecloth, half-stations and forks, pouring over the contents of an overturned bottle. Hiding in their lair, the wolves howl "i-mo". "Life is like a lottery." "Married a Jew." "Brought the country to the handle." "Give me a chervonets before payday." Gogol enters in a peakless cap, next to him is a mezzo-soprano. In the grocery store, the cat cried; rats roam, groceries. Hiding a hard horn in astrakhan fur, someone in ram trousers turns into a tyrant on the podium of the mausoleum. Dashing people say that inside, disappointed in the end, like a fish on a platter, the corpse lies stuffed. Well, having lost his speech, stand up with a rifle to guard the coffin. "Don't look me in the eyes, maiden: you'll go to the left anyway." "The priest had a dog." "Both died of cancer." Leo Tolstoy enters in his pajamas, Yasnaya Polyana is everywhere. (Guys with knives roam, smells of chypre with Komsomol.) He is Tarzan's predecessor: a self-written note - like a liana, cannonballs fly back and forth over the French palisade. Se is a great son of Russia, albeit a ruling class! The husband, whose great-grandchildren are barefoot, also rarely sees meat. Miracle Yudo: the gentle count has turned into a bookcase! "Taught her how to blowjob." "What's the noise, but there's no fight?" "Cry with the last words." "Who's last? I'm behind you." A couple of Alexandrovs enter under the escort of Nikolasha. They say "What a crap" or "Sweet jam". Nars roam Europe in a futile search for buckets, bumping into shy cattle everywhere. Thinking about the pier, the Aurora floats on the waves to blurt out at the beginning of continuous terror. Oh you, the fate of the ship **: say "plee!" - will answer "b **!" "Married her." "I'll give you cancer anyway." "Oh, Tsushima-Hiroshima! Life is completely unbearable." Enter Herzen with Ogarev, sparrows chirp in the groves. What sounds at the moment of girth as the dialect of a foreign land. best view to this city - if you sit in a bomber. Look - swollen, like cotton wool from an immodest hollow, multiplying without reason, the clouds cling to architecture. The Kremlin looms like a zone; say miniature. The wind whistles. The bittern is screaming. The woodpecker knocks the crow. "They say the Plenum has opened." "Punched her between the eyes with a log." "Over the Arab peaceful hut proudly hovers a Jewish Jew." Stalin enters with Dzhugashvili, a quarrel broke out between them. They quickly aim at each other, click on the dog, and the smoking pipe... So, according to the director, the Father of Nations, who smoked a pack a day, died. And the ridges of the Caucasus stand as in a guard of honor. Napareuli springs from the brown eye. A friend-kunak sticks his fang into a half-eaten barbecue. "Did you watch Dersu Uzala?" "I didn't tell you everything." "Since a chuchmek, he believes in the Buddha." "Will you be a bitch?" "I'll be a bitch." He enters with a cry Abroad, with a forbidden hemisphere and with a horizon sticking out of his pocket, which is vulgarized. He calls Yermolai Frederick or Charles, finds fault with the law, fumes over duties, exclaiming: "How do you live!" And they confuse Rafael and Buonarotti with the gloss of flesh - not a damn thing on the back. The proletarians of all countries are marching into the restaurant. "You look like a Yankee in these scarves." "I broke it while drinking." "He was a simple worker all his life." "By the way, we all jerk off." Enter Thoughts of the Future, in khaki tunics. Bring in an atomic bomb with a ballistic projectile. They dance and dance: "We are fighters-brawlers! A Russian and a German will lie side by side; for example, near Stalingrad." And, like the widowed Matrina, the cyclotrons howl deafly. Crows are cawing loudly in the Ministry of Defense. You enter the bedroom - here are those on: on the pillow - orders. "Where there is an egg, there is a frying pan." "They say that soon vodka will again cost a ruble." "Mom, I don't like dad." Someone Orthodox enters, says: “Now I’m in charge. I have a Firebird in my soul and longing for the sovereign. Soon Igor will return to enjoy Yaroslavna. Let me cross myself, otherwise I’ll hit him in the face. thoughts of Western contagion. Sing, harmonica, drowning out the saxophone - the fiend of jazz. And they kiss the image with the crying of the victim of the circumcision ... "I need a director's steak." "Barge haulers in Severomorsk pull a tow cruiser, emaciated from radiation." Enter Thoughts of the Past, all dressed randomly, with a preference for silver-brown. In classical Latin and in an undertone in Russian they say: "Everything is gone, a) a foxtrot under a lampshade, black and white shrines; b) caviar, stellate sturgeon, zhito; c) beautiful leucorrhoea. But - the alphabet is not enough. And the baby is in the cradle, hearing "bayushki-bayu", answers: "your mother! " ". "I got into the shahna with my hand, getting to know each other." "I'll wave - and in Sochi." "A mixture of leukocyte and anthracite is called Cocyte." Pioneers enter in formation, some with a plywood model, some with a hand-written informative denunciation. From the other world, like chimeras, the executioners-pensioners approvingly nod to them, perky and snub-nosed, that they turn on the "Russian Ballroom" and run into the hut to the aunt to drive the aunt out of the double bed where they were made. What will you write? Youth. Don't choke, don't kill. "Spawed into the soup to hide his annoyance." "I'm not going to shit next to him." "And mine, like that Madonna, does not want without a condom." The Swan enters with a Reflection in a round mirror, in which a platoon of birches is squatting, making faces at the first violin. An ardent master with imagination, an inflamed grenadier, only a timid ten, tears the velvet of the box with his claws. It's raining. The dog is barking. Hanging from the stove, the slanting rubbish with a bare bottom pesters a disabled person, biting a nail: "Disabled, but disabled. It hurts inside me." "Let's lie down in the coffin, even though the hour has not struck!" "Is it a bitch or a male?" "The squabble between the effect and the cause ends with death." Garbage enters, shouting "Enough!" The prosecutor squares his cheekbone. The door to the citizen's cave doesn't need "sesame". Either a great-grandson, or a great-grandfather in the ore bowels rolls a wheelbarrow, pouring crystal tears into the generous bowels of the suit. And behind the death line, flooded with moonlight, the jaw with a golden fixation shines with permafrost. Know that the lives of those who laid down their heads will last for a long time. "There is a hut, but too lazy to trudge." "I'm not a f**k, but a crane operator." "Life arose as a habit before the chicken and the testicle." We filled the whole stage! It remains to climb the wall! Soar like a falcon under the dome! Shrink into roundworm! Or everyone, including dolls, whipping foam with their tongues, suddenly copulate in chorus to bring out the hybrid. Bo, saving space, how to mold the mass, except for the cemetery and besides the black line at the checkout? Eh, you give space to the steppe without a chain reaction! "Give me a term without a sentence!" "Who shouts: "Stop the thief!"?" "I drew a penis in a notebook." "Let go, for Christ's sake." The Evening in the Present enters, the house is in the middle of nowhere. The tablecloth argues with the curtain in terms of external decoration. Excluding the heartbeat - I put this babble in quotation marks - the feeling that Lobachevsky has been subtracted from space. The murmur of leaves the color of money, a mosquito steady buzzer. The eye cannot magnify six-by-nine those who have died, who have sprouted thick grass. However, this is not the first time. “There are children from love. You are now alone in the world. Do you remember the song that I used to sing in the dark? This is a cat, this is a mouse. This is a camp, this is a tower. This is time on the sly killing mom and dad. "1986
Source: http://forum.referat.ru/cgi-bin/Printpage.cgi?board=literature&num=1068314153
There is no way to stop the flow of memories!
Joseph Brodsky mentioned in the last article in the spring of 1995 taught at Mt.Holyoke College, Massachusetts, I was one of his last twenty students, then he died. When I read soft-tipped memoirs like "My three meetings with I. Brodsky" in the magazine "Arion", I feel like crying. The tragedy of Brodsky is that no matter how he tried to avoid the swamp of emigration, he had to plunge into it from time to time. The aunt comes to the lecture, at the end mutters in accented English: "Joseph, I am here just to say thank you for all the beautiful poetry you write, your verses enchant me, they elevate me high, oh, so high, higher than the sun , it"s so unbelievable", and he turns around and says: "Goo-hoo-hoo-goo" Baba is naturally shocked.
Emigrants were looking for an icon on the wall in him (Genius, a Jew, and he, and he left a country where you can’t cook porridge). Someday, when the excitement around his name subsides, Losev dies, Kushner dies, Basmanova dies, Bobyshev dies, Rein and Naiman dies, his son Andrei dies, it will be shameful to publish punk memoirs of us - Brodsky's students. It's going to be a pullback, it's going to be a crash, it's going to be a cliff, it's going to be a bummer. We will be gray-haired, we will help the masses to understand this great poet more fully. In conclusion, I would like to publish Brodsky's poems, which were not included in the eight-volume edition published by Pushkin House and are unlikely to be included anywhere in the near future, since they are devoted to relations between Ukraine and Russia.
To the Independence of Ukraine Dear Charles XII, the battle of Poltava, Thank God, was lost. As the burry one said, Time will show "Kuz'kin's mother", ruins, Bone of posthumous joy with a taste of Ukraine. It's not green - visible, wasted by an isotope, Zhovto-blakytny Lenin over Konotop, Tailored from canvas, to know, Canada has in store. For nothing, that without a cross, but Ukrainians do not need it. Bitter cherry karbovanets, seeds in full zhmena. Not for us, katsapam, to accuse them of treason. Themselves under images for seventy years in Ryazan With greasy eyes lived like convicts. Let's tell them, with a voiced mother, marking pauses strictly: With a tablecloth for you, crests, and a road with a towel. Step from us in a zhupan, not to say - in a uniform, At the address in three letters, on the sides in four. Let now in the hut in chorus the Hans With the Poles put you on four bones, bastards. How to climb into the noose, so together, choosing soup in the thicket, And eating chicken from borscht alone is sweeter. Farewell, crests, lived together - that's enough! Spit, or something, in the Dnieper, maybe he will roll back. Proudly disdainful of us, crammed full of ragged corners and age-old resentment. Do not remember dashingly, your bread, the sky to Us, choke on cake, you do not need it for a long time. There is nothing to spoil the blood, to tear clothes on the chest, Ended, to know, love, if it was in between. What to poke around in vain in torn roots with a pokopom. You gave birth to the earth, soil, black soil with subzombo, Fully download rights, sew us one thing, another. This land does not give you, caluns, peace. Oh, you, levada, steppe, kralya, chestnut, dumpling, More, go, lost - more people than money. We'll get through somehow. And as for the tear from the eye There is no decree on her, wait until another time. With God, eagles and Cossacks, hetmans, guards, Only when you come to die, bullies, Will you wheeze, scratching the edge of the mattress, Lines from Alexander, and not Taras's nonsense. Source: http://imperium.lenin.ru/LJ /fenya/memories/index1.html#_10841063.html
Joseph Brodsky: the geometry of the poetic world
This text has a long and, I hope, not yet completed history. It was written by a girl using the nickname Eternity L "Arma, as a term paper on the culture of speech - this explains some of the features of the text. Then the girl sent it to me in response to an offer to read her work (she wanted her work to be read. What is unclear?) I offered to discuss the text in a seminar mode (to which she agreed), but first asked me to answer a few technical questions about the text. It was in September. Since then, I have not received any answers, and therefore I decided to publish the text as it is, only removed the introduction - really, if you read 1 introduction to coursework, you read them all. The possibility of discussion is not closed; I hope that the author of the work will also appear.
§one. The place of the poetry of Joseph Brodsky in the poetic tradition
The poetry of the 1920s-1970s developed along the lines outlined in modernism and the avant-garde. Three main lines can be distinguished. The first comes from acmeism, relatively speaking, the Petersburg line (inheriting the experience of Akhmatova, Mandelstam, Anennesky). The second comes from futurism - the Moscow line (Khlebnikov, Mayakovsky, Pasternak). The third is the line of peasant poetry.
In the literature of the emigration, the acmeist, Petersburg line predominated. In the Soviet Union, the movement of literature was increasingly determined by the theory and practice of "party spirit".
The place of the poet in Russian culture was mainly determined by belonging to one generation or another. This was especially true during the reign of Stalin. The poetic heritage of this era is partisan, tendentious and uniform.
The attitude towards poetry, towards power changed dramatically in the generation that entered literature in the 1960s. It broke with the idea that poetry should serve - whatever it was - and returned to its understanding as a self-sufficient value.
New poetic thinking was most fully expressed by Joseph Brodsky, who became the voice of a generation.
A successor to the tradition of Akhmatova, he became the creator of his new poetic empire, reflecting the surrounding reality in a new perspective.
§2. Creative and life path
Brodsky, born in 1940, began to work consciously in poetry around 1960. This time became for Brodsky and his friends day zero, a starting point.
Soon, in 1963, the twenty-three-year-old poet was declared a parasite, the next year he was arrested, put on trial and sentenced to exile, despite the intercession of brave people. After a new wave of protests in 1965, Brodsky was returned to Leningrad. In 1972 he was expelled from the USSR. In the USA, Joseph Brodsky found recognition, respect and a friendly environment for work.
In 1987 he won the Nobel Prize in Literature. Until that time, only four of his poems had been published in his homeland.
§3. Building a geometric model
§3.1
The poetry of Joseph Brodsky is a kind of result of a painful search for a new poetic language, a new poetic form, a new Word.
His work is not like anything else, but at the same time it enters the reader's perception organically, as something always known (maybe a kind of revival of the genetic mother).
Literature is a temporary art (according to Lessing), Brodsky makes it spatial, realized in figures and bodies.
He "starts literature anew, in a place frightening in its emptiness."
Brodsky, over the head of tendentious poetry of the 19th and 20th centuries, adopted and embodied the idea of self-sufficient poetry.
Turning to world poetic experience, he chooses for himself the creation of a new poetry, a new empire.
The poet begins the search for the foundations of his poetic work with the line of his first poem. Two extremes become his world - language and mathematics.
§ 3.2
An analysis of Brodsky's poems shows how, starting with an appeal to antiquity, outside of politics, he creates an overpopulated material world, his own time and space. This world in the future, expressed in a kind of geometric constructions, becomes the inner world of the poet.
Looking in the world around him for something that would become the basis for his own empire, Brodsky "encumbers" his poems with real things. Long syntactic constructions, characteristic of Brodsky's poetic speech, appear, pouring over the boundaries of lines and stanzas. Accepting that a person does not live in a country, but in a language, Brodsky elevates language to the category of spiritual values. Realizing the "dictation of the language", the poet turns to geometry.
The number of poems analyzed by us is eleven chronological collections. But the poem "Singing without music" (1970) became a landmark in our analysis. It seems that it is decisive for the development of the geometric theme in Brodsky's work.
Throughout the entire chronological period, which covers 1966-1976, geometric images in the poems of Joseph Brodsky developed from complex to simple (according to a quantitative criterion).
3.2.1. The poems of 1966 became a starting point for us. But the study of poetic texts proved our assumption about the evolutionary development of geometric images. These poems give a clear vision of reality, not refracted in the prism of subjective perception. Of all the concepts of interest to us, only "space" occurs twice (1.8, 1.23) and then in the generally accepted understanding of place. 1966 is the year of the language, the only thing that the poet owns. Because of this, he abandons the architecture:
… In such an architecture
there is something ugly...
But what about the disgrace of proportions,
then a person does not depend on them,
but more often from the proportions of ugliness. (1.11)
In his first poems, mathematical terms are only a way to bring the description closer to reality:
Night yawned in the gaps of the altar.
And I - through these holes in the altar -
I looked at the running trams,
On a string of dim lanterns.
And what you won’t find at all in the church,
Now I've seen through the lens of the church
This is a world in which space has not yet appeared. This is evidenced by the frequent use of the word "emptiness" in its various representations: "emptiness in the pocket" (1.30), "from an empty chair" (1.52), "emptiness" (1.89).
3.2.2. Gradually, the structural volume of poems decreases. And in 1967, space appears in them, as if before that there were just shells of objects.
The role of the creator of his universe allows Brodsky to experiment with well-known concepts, testing them in his own dimension.
The ruins have a feast of oxygen
And time. The newest Archimedes
I could add to the old law,
That a body placed in space
Space is displaced. (1.100)
The chaos of reification, the world, overflowing with objects, is filled with space, crowding out everything superfluous.
In this chronological collection, for the first time, the "dictation of the language" serves mathematics. Themes and images appear, which will later be developed by the author. Now it is only a reminder of what most likely was, most likely will be. The poet begins to experiment with things, objects and even a person. He just turns into a dot. Moreover, the author transfers this transformation to himself (perception of the meaning of being?). Geometry concerns, as many artists, writers and poets believed, two of the most complex, inexplicable manifestations of life: love and time. Only Brodsky expresses these two realities through one thing - separation (symbolically):
Is it worth it? Hardly. Not worth a line.
As two straight lines part at a point,
crossing, sorry. Hardly
Let's meet again, whether it's Heaven or Hell.
These two lives of posthumous species
only a continuation of the ideas of Euclid. (1.84).
For the first time, having determined the geometric manifestation of Heaven and Hell, the poet tries on life, as if applying or building on reality, geometric symbolism:
So long lived without books
without furniture, without utensils, on the old
couch that - before it arose -
was a triangle perpendicular,
raised by acquaintances stand up
Above two merged points. (1.97).
3.2.3. 1968 This is zero time:
"What time is it now?" "Yes, about zero."
"Oh, it's late." "Having no taste
to tsifiri, I'll tell you what to
me all "o" - the predecessors of plus "(1.132).
It is zero that is the defining metaphor in the poems of this period. And even a person in a certain sense of the word is zero:
... I am a circle in cross section ... (1.108)
What is a circle? In cross section - zero. A circle is a point with a radius. The poems of 1968 are "rounded". These are poems with a radius: “And this is the same circle, but its radius is undoubtedly wider” (1.113), “I think it’s only the radius of zero” (1.116), “The head does not crave to shrink into this radius, but the belly ...” (1.117), "arrow radius..." (1.122).
So geometry entered into everyday life, has become reflected (through) in everything that surrounds, in everything that was and will be (even the cross becomes a plus). The completion was the appearance of a square:
Night. Window ... Oh, if only a nurse
opened it!.. There can be no question.
On this - now closed - square
My face and shoulders fit. (1.121)
3.2.4. "Window Square" appears in 1969. Man has chosen a space bounded by four straight lines to communicate with the world.
This is a collection in which two opposites meet - time and space. And in Brodsky's verses the dictation of space is affirmed:
... Laughing crookedly,
let Time not take bribes -
Space, friend, loves money!
The eagle of the two-kopeck piece is right,
four times corrected! (1.159)
"The end of a beautiful era" is the central poem of this chronological collection. The name speaks for itself. In this world, the world of the end of an era:
Only fish in the seas know the price of freedom; but their
Silence forces us, as it were, to create our own
Labels and cash registers. And the space sticks out like a price list.
Time is created by death. Needing bodies and things
It looks for the properties of both in raw vegetables.
Kochet listens to the chimes. (1.161).
Space does not need objects, it displaces them, leaving only the "surfaces of things" (1.145).
And it’s not that Lobachevsky is firmly observed here,
But the expanded world must narrow somewhere, and here -
This is where perspective ends. (1.162)
So the world becomes a blueprint. Probably what he really is.
The desire of a person to surround himself with squares (a far from perfect geometric figure) Brodsky expresses in just a few lines:
... all in sweat,
He wanders naked on the parquet at night
not in own apartment and in the corner
the great earth that is round,
with a vague thought of green leaves. (1.174)
3.2.5. 1970 Year of the theorem. Year of Brodsky's teachings. What he was looking for from the very beginning of his creative, and perhaps even life, path, he expressed in a theorem.
Reinforcing the importance of space:
Friend, honor the space! (1.227)
Brodsky writes instructions for seeing what really exists, instructions for building - "Singing without music."
This poem is central in terms of chronological division and the purpose of our study. This is an encrypted drawing, the text dictates the construction of a geometric model.
In our opinion, this spatial model represents two similar triangles lying in different planes and intersecting along a straight line, which is a perpendicular to each triangle. It is built as follows.
The poem consists of three semantic parts. The first of these is an introduction and translates the real world into the dimension of a poetic text. In the second part of the poem, there is a textual construction of a geometric model of one of the triangles, namely, the earthly one. It begins with the drawing of a perpendicular, as a support to the heavens (1.233). The statement that a person is just a point is transformed from a philosophical concept into a geographical one (which proves precisely the earthly belonging of the first triangle):
... because at that time we
we will decrease there, God knows,
invisible to each other
we will honor with you for the honor
be known as dots ... (1.233)
The base to which the perpendicular was drawn (more precisely, Brodsky's base is drawn to the perpendicular) is a line connecting two points - separation (in the psychological and spatial sense of the word):
… so separation
there is a drawing of a straight line ... (1.234).
The other two sides are formed by the views of the "eager couple" (1.234). The apex of the triangle becomes a spatial characteristic, denoting a refuge for lovers. The earth triangle is love. Absolutely vital and real, only the third is not a person, but a meeting place, unknown and to some extent frightening with its mystery (1.234).
Having decided on the symbol of space - blank paper, Brodsky continues the construction of his geometric model of the poem (more precisely, he continues the dictation of the language in the service of geometry). The construction of the second triangle begins, the unreal triangle that exists in the dimension of the poetic text. In a world where there is a substitution of concepts, terms adopted in real life. Let's conditionally call this world heavenly, because:
…our
the world is still limited by power
Creator: let us not have a guard
sky-high, so someone's passion
transcendental ... (1.235).
Separation in this triangle is transformed into a straight line that does not connect two given points, but lies between them. It is through her, according to Brodsky, that the dependence of love on life is expressed. Most likely, it will be a different distance from the points to the line:
... break the blueprint
by degrees, and squeeze into the grid
its length - and you will find the dependence of love on life. (1.235).
This is a straight line - a kind of limit or place of points where two data will never be together. She is the boundary that separates them, which they cannot cross. This line does not contain the point, which in the first triangle was the meeting place, the meeting of "two piercing glances". And the construction continues by building a perpendicular from the center of this line. But since the straight line is infinite, then the center of the segment connecting these two points in the earthly triangle (earthly separation) is taken as the point from which the perpendicular is restored. Based on previous analyzes, we can conclude that these points are transferred from the earthly triangle to the heavenly one. And their location will be the straight line between the two data. They transform into straight lines that meet at the base of the perpendicular and diverge in opposite directions. Since the straight line contains an infinite number of points, the following constructions can be presented in various ways, depending on subjective perception. The poet himself speaks of this at the beginning of the poem, mentioning "twenty-eight possibilities" (1.233). The sides of this triangle are also lines of "piercing two glances", only now they are transferred to another plane. Brodsky first determines the angle, and then only what forms it. This is the geometry of his world. This angle is at the vertex of the perpendicular. And the points of intersection of the two views in the earthly and celestial triangle coincide and are the top of the corners, the common point, the connection point in the real and unreal worlds, the connection point of these two worlds:
... she herself is a service for them,
like a mirror where they look
not laughing at each other
take a look ... (1.236).
Thus, each of the views is a ray incident and reflected at the same time. According to Brodsky, the lines of sight intersect at right angles:
... and every glance
turned to the top, - leg. (1.235).
... a torment of eyes
proven by an abundance of scarecrows,
life requires us to find
what we have: a corner. (1.236).
Providing the geometric term with real material explanations, Brodsky explains its meaning for objective reality. Turning to reality, the author finds in what has always been clear, a hidden meaning that explains well-known concepts. And gradually:
... belongings of lonely thoughts, rubbish
unspoken words - all that
we accumulated in the corners ... (1.236)
The corners of the room turn into the same corners that form the intersecting lines in our model. In this case, this is the intersection of a direct earthly separation and views emerging from these points.
In his creation, Brodsky reaches the highest degree of skill:
And sooner or later point
The specified will gain
Almost material form
The dignity of a star and that
Inner light, which is a cloud
Doesn't stop... (1.237).
The point falls on the map of the starry sky, and since the star is durable, it becomes the fate of two points. With what is given to them, for a long time, forever, until the grave. Because, "invisible to each other", from there they are both visible. And so it will be always and everywhere, at any time and in any space, which, in the end:
…Let's start
depend on it
all-seeing. As if reality
did not arrest the darkness,
take it now and paste it
into your new horoscope, for the time being,
all-seeing eye of words
did not disassemble ... (1.237)
Maybe Joseph Brodsky had in mind some particular star. It seems to us that this star could be part of the constellation Gemini. As you know, Joseph Brodsky was born under the constellation Gemini. And two points, according to our hypothetical assumption, are the two brightest stars of this constellation.
As an application - three schemes for people with not so rich spatial imagination.
