Contemporary Russian Poetry
NK Starshinov (1924), a poet and folklorist, in his work embodied those artistic principles that are characteristic of folk poetry. On the ideological and thematic level, this is the love of the world, of man, of “our younger brothers”, of artistic intonations, of melodiousness, the use of precise rhyme, of various kinds of rhyme, enriching the rhythmic drawing of the verse. He also wrote a lot about the war: Sush – in a sunlit ravine. Dryness in the hot mouth. I am thirsty! And not a drop in the jar. I want to live! And unbearable. Neither boys nor nurses. But I crawl while I live. (“Sushi”)
Some of his poems turned out to be so melodic that they were put on music: I was once a company Zapevaloy, In the past long years of the Year. Such poems characterize confession, autobiography:
And suddenly our sergeant-major for the whole district How he barked: “Hey, Sergeant Starshinov, sing!” (“I was once a company singer.”)
The
“I’ll show you everything to everyone, wait, Only here a little grow up! .. And that mustachioed burbot, That otgryz my tail, catching me, I’ll find and inexorably Swallow, like a wretched worm!”
Apparently, the problem of “fathers” and “children” exists in the world of pike. In another poem – “Ruff” – “baby” – sill, with “thorns”, with “eyes always on guard”, gets a soul! And in the work “Once, confused and miserable.” jackdaw, stupid, with “light blue
On my feet, vines are shoveling, They flap on the face and on the shoulder, And tears do not dry out. Well, I’m running and laughing.
Certainly, the fascination with folklore affected the work of N. Starshinov.
K. Ya. Vanshenkin (1925) is a poet whose poems are so musical that many of them became folk songs. He gravitates toward the novelism, the plot closure of the episode, and strives for the unity of the genre form and content: “His short poems can be correlated with the lyrical miniatures of prose writers:” zatesyami “,” pebbles on the palms, “” moments. “They can find all the elements of the epic structure: an exposition given by two or three stingy strokes, a string, the development of events leading to a climax, finally, a denouement. “5 So, for example, the poem “The Boy” is built:
He was a thunderstorm of our district, A boy from the neighboring yard. In a dense garden, I ambushed, Playing there with the guys in the war. And somehow he saw a girl from the garden of a girl who was not alone. culmination:
Now flashed scattered books – No wonder they are afraid of him, like fire. And suddenly she said: – There are boys. Please, guide me. decoupling:
Sunspots lay on the ground. A commander left with the girl next to him.
The poem ends with a conclusion that gives the work a philosophical depth, shows the eternal, eternal triumph of life:
And the subordinates did not understand that it was he who left the childhood.
Some poems become a lyrical commentary, seemingly fleetingly glance, notes on what the author sees. These are “Wasps”, “Cricket”, “Parting”, “I flinched: one-legged guy.”:
I flinched: the one-legged lad stood at the bottom – confident and dexterous, On the only felt boot – a skate, Tied up with a disheveled rope. Freely pushed his crutch And drove, waved snowy smoke. I was passing by. I also pretended that every day there is such.
“Reporting” style of narration emphasizes the sincerity of the author, his objectivity, helps to convey the immediacy, the uniqueness, the concreteness of this experience – and at the same time the typical, timeless boundaries of it.
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