Trends in the development of modern poetry. new time

DEVELOPMENT OF POETRY

FORM in poetry has quite solid foundations.
It's either a couplet with or without a rhyme. Or the same quatrains, quintuples. Five lines can be built with three lines for one rhyme and two for another.
There are also six lines. Where couplets, first and second, can have one rhyme or different ones, and between them there are two lines with a different rhyme. All this is FREE FORMS - here the writer himself chooses the order of the lines.
And there are forms where the order of the lines is set once and for all - these are SOLID FORMS: sonnet, octave, triolet, etc.

Look closely at Kwiatkowski's poetic dictionary. How many interesting things you will learn from it about poetry. How much has been created in poetry over the centuries of its existence! Has literature exhausted its possibilities?

Not! And it's unlikely to run out. After all, there is such a moving thing as CONTENT. Look at least briefly how it has changed over time. First, these are hymns to the gods, agricultural calendars and teachings. Then, there are love poems by Catullus, Tibullus, Propertius or Ovid. At the same time, hymns and odes (Pindar and Bacchilid) are created in honor of the winners of the Olympiads. In the Middle Ages, the everyday theme began to penetrate more and more into poetry. It comes from a change in the worldview of people. They begin to believe more and more in the creative possibilities of man. This is especially evident in the literature of the Renaissance.

If the FORM in poetry remains unchanged up to the present day, then the CONTENT changes and very abruptly. Scenes of social life have already firmly taken their place in poetry. Many types of verse (odes, eclogues, idylls) go down in history. Yes, and here it is necessary to make a reservation: we have many poets who turn to the theme of the village, although not in the form that it was in antiquity. Many old stories have been reimagined. The ode has not died either. Mayakovsky, for example, wrote "Ode to the Revolution". Ode exists in the work of Pablo Neruda - "Ode to simple things."

However, the new conditions of life strongly dictate their plots, is it worth turning to what is destined to die long ago? The time of the nichevoks (a trend in poetry), the futurists and other formalists has passed. But our troubled time imperceptibly resurrects the past. Unfortunately, it did not remain only in the history of literature, but only lurked underground, waiting in the wings. And that hour has come.

Russian writers have been thinking and talking about revolution for a long time.
Writer, if only
Wave, and the ocean is Russia,
Can't help but be outraged
When the elements are outraged!
Writer, if only
There is a nerve of a great people,
Can't be amazed
When freedom is struck!
Yakov Polonsky (in the album K.Sh. 1871)

Here are Nekrasov's words on this matter:

The Russian people carried enough
………………………………………..
Will endure everything - and wide, clear
Breast will pave the way for itself.

But when the revolution took place, they did not seem to recognize it. It seemed to them that freedom would come as a gift from above - bloodlessly, peacefully. But the reality turned out to be harsher, and from the lips of many writers there was a cry: “Bring back the past!”

Didn't the same thing happen in literature in the years preceding perestroika? The dissidents criticized the government, demanded fundamental changes in the country, and when all this happened, it turned out that neither literature nor they themselves were needed by the new government.
So what, shout again: "Bring back the past"?
The abolition of censorship, complete indifference to what is written and how, the opportunity to publish books at one's own expense, other freedoms - I am sure - this is not the path that literature needs. Perhaps some of the readers knowledgeable of history literature, for some time and will have fun reading modern opuses; a child is amused by a new toy until he recognizes its device, that is, until he takes it apart, then he throws it away. So it is in literature. When the reader realizes that there is nothing serious behind all these frills, he will lose interest in them.

Take, for example, the detective novel so widespread today. This is by no means a novelty in world literature. The first detectives were created by Edgar Allan Poe. But the genre became popular with the advent of Sherlock Holmes. AT Soviet time many works in this genre were also created. So how does the Soviet detective novel differ from the modern one? It seems that all the specifics of the genre are preserved in them, but ...
But this BUT - and is the most important! Soviet writers in their works embodied the moral ideal Soviet man. A person of high moral and professional culture guarding the interests of the state. What was important to us was not the adventures of the hero in general, but the purpose for which they were made. The reader was attracted primarily by the charm of the hero's personality, complete trust in his thoughts and actions. We sympathized with him and imitated him. Unbeknownst to the reader, such novels performed the function of moral and patriotic education.
Who is the hero of modern detectives? Most of the time it's a lone detective. protecting the interests of one person (the oligarch, or simply "rich Pinocchio"). Therefore, we most often do not feel much sympathy for the heroes of the detective story, we just follow the development of events and that's it. Such novels are written for the purpose of entertaining the reader. To master them, it is enough to have only an easily excitable psyche.

Something similar happens in poetry.
Once, in our literary association, one modern poet, who writes difficult and incomprehensibly, was asked to explain the meaning of his poem. Here's an excerpt:
A gift knife is sold in the market,
to cut dry marmalade.
There were no solemn owls ... On the bench
lies a tilted umbrella.

Candy rattles in a tarnished box,
and a bumblebee scurries timidly.
I again dream about myself in a slavish way,
I will pour enamel on the ground.

An odalisque from Renault will suit me,
and then the sibyl - the people's commissar.
I'll prove to them that I'm blind from the shine
rays piercing Rome,
……………………………….
and then seven more of the same stanzas of a text not connected by a common meaning.

The author with a serious look began to say something scientifically incomprehensible. But we have learned from all that has been said only one thing: the less specific content in the verses, the higher they are valued by lovers and creators of this kind of art. But even our great M.V. Lomonosov (1711-1765) said:
- Those who write darkly, either unwittingly betray their ignorance, or deliberately hide it. They vaguely write about what they vaguely imagine.

Many writers in the West also tried to declare poetry as an instinctive influx, not subject to the control of the mind. So thought, for example, the French poet Stéphane Mallarmé (1842-1898). However, I drew attention to one feature of such poems: the declarations of poets almost never coincide with the practice of their work. I think because declarations are not able to cover the whole range of feelings that is born in the process of creative upsurge, inspiration. Declarations and manifestos are most often written at a young age, when youthful enthusiasm is strong, when you want to deny everything, change everything, do it your own way. But over the years, the necessary experience is accumulated, sometimes the poet’s worldview itself, his attitude to creativity, to life changes. Creativity is also influenced by the increase in the cultural level of the author and the attitude of the reader towards him and critical remarks, etc. For some artists, there are several such changes, and this is quite natural: life does not stand still, and man along with it. After all, a person is not a machine once and for all programmed, but a living, thinking organism, sometimes reacting sharply to the environment. Our A.S. Pushkin was just such an author. He began as a romantic poet, and ended his work as a staunch realist. It seems that Mallarme himself later changed his point of view on creativity. After all, a real author does not act on inspiration, not under the influence of some kind of spell. No, he always wants to convey a thought (feeling!) and be understood by his reader.

Mayakovsky dreamed of being understood by his people. He even said that one day they would say from the podium that the level of understanding of poetry had increased by so many percent! A witty joke, but there is a lot of truth in it. To understand poetry truly, in its entirety, is not given to everyone. After all, poetry implies not only the direct meaning contained in the lines of the verse, but also what lies between the lines is not expressed directly, but is quite understandable to a reader with a rich imagination, with extensive experience in reading poetry. And how such a reader will recoil from poetry, having met with verses devoid of meaning!
Mayakovsky in his works dreamed of himself, not trusting anyone, "to tell about the time and about himself." This is the highest goal ever set before poetry.

What is real or genuine poetry? POETRY of Pushkin, Lermontov and other classics? This is, above all, the poetry of feeling. FEELINGS not feigned, but genuine, poured out from the depths of the soul! And of course, it's a PLOT. Interesting, exciting. And, finally, this is the POETRY OF THOUGHT. Not many of Pushkin's contemporaries knew him as a poet of thought!

To make the reader think not about WHAT the poet wanted to say, but about HOW he said it, did it - this is a task, and a very difficult one, for any true poet. When the reader solves charades about what the author wanted to convey to him, THE CONNECTION between form and content is LOST, and it is impossible to separate them from each other!
Without knowing the content, it is difficult to assess the artistic side of the work. Real poetry will only make its way when it has a genuine, demanding, intelligent reader. The reader must know exactly what can be demanded from poetry, that is, know its possibilities. And, of course, he must know what he expects from her.
Reading the classics, we try to understand not the content, but those means that make the content ingenious! What could be more pleasant than such reflections for the reader. In this case, I mean not just a reading person, but a reader-creator, a reader-co-author-poet who himself wants to achieve the same clarity, simplicity and genius in his works.

Literary work takes a lot of time and effort. Indeed, in order to be at the level of his time, the author must know and see a lot, constantly expanding his horizons, reading, observing, communicating. Know not only fiction, but also books on other issues: philosophy, history, art criticism, dictionaries and much, much more. In addition, he needs time for serious reflection about what he has read, about life, about what he has written, etc.
Thinking is especially time-consuming, and over the years it becomes a necessity. Most major writers finished their creative way books of reflections on life and work. (Tvardovsky "On the Elninskaya land", Paustovsky "The Tale of Life"). This is especially clearly seen in the example of the life and work of Leo Tolstoy. At the end of his life, he turns to the genre of journalism, in which he reveals his worldview, his views on the most burning issues of our time.

REALISM

A search in the literature is certainly necessary.
A person will always strive to know all the possibilities of this type of art, to reach its most extreme points, when further searches will be useless. Experiments in the field of literature were carried out both in antiquity and in subsequent eras.

V.Ya.Bryusov (1873-1924) did a lot in the field of form and content.
He tried to embody scientific and technical achievements in poetry, and for this we should be grateful to him. He quite fully showed all the technical possibilities of the verse, but how many modern authors know about this?

The whole trouble of modern experimenters is that they have too low a culture, and therefore their experiments are reduced to repeating what has already been created sometime in the past and rejected by subsequent generations.
Look, Blok started out as a symbolist and ended up as a realist. Mayakovsky began with complex stylistic constructions, but came to simplicity, utmost clarity and conciseness of his poetic language. This was especially clearly expressed in the introduction to the poem "Out loud". Even such an ardent ego-futurist and selfish as Igor Severyanin, living abroad, wrote beautiful realistic works. Is this not an object lesson for modern modernists!

I repeat, a search is needed. But HOW and WHERE?
Realism is the only correct way of real, not fictitious art.
Realism allows you to see life as it is, allows the reader to compare his life with the life of the characters in the book, allows you to understand "what is good and what is bad," in the words of Mayakovsky. And this is especially important for our youth: only on the path of realism can you fully realize your potential and reveal your talent to the fullest.

Unfortunately, it is not obvious to everyone that writing "about something I don't know about" is not what makes the author work, create; study the character and relationships of their heroes, peer into surrounding nature, look for a better, more accurate, bright word to express thoughts, etc. The literature of modernism requires only absurdity: it is worse to twist phrases, but what they are about - what a difference! It's sad that there are so many readers for books like this...
And this is grief for literature! This is not speculative reasoning, but the opinion of science: such books destroy the human body, corrode the soul with pessimism, disbelief in oneself ...
I involuntarily recalled the words of Giordano Bruno (1548-1600) - "Art makes up for the shortcomings of nature", said four centuries ago.
Something to think about...

Today flattering hope is flattering,
And tomorrow - where are you, man?
As soon as the hours passed,
Chaos flew into the abyss,
And all, like a dream, your century has passed.
G.R.Derzhavin

The 60s, filled with the optimism of searches and discoveries, gave many artists the opportunity to describe and comprehend what was happening before. A remarkable phenomenon in various works of those years was an active hero, the classical verse was updated and enriched with a new rhyme, the verses began to be distinguished by greater freedom of lyrical expression, and poetry of vivid publicism developed.

By the mid-60s, critics began to talk about the emerging attraction of many poets to lyrical reflections, to the development of the genre of philosophical poetry (themes of good and evil, life and death, moral and spiritual renewal of the individual).

And if the turbulent beginning of this decade was characterized by a kind of “revival” of the formal experiment in the work of young pop artists A. Voznesensky, E. Yevtushenko, P. Vegin, V. Sosnora and others, who were unanimously called innovators by critics, then with the advent of “quiet” lyric poets N. Rubtsov, A. Zhigulin, A. Peredreev, A. Prasolov, E. Balashov and others, who worked in line with classical traditions, criticism stated the fact of the prevalence of the traditional principle in the young poetry of that period.

At the same time, in poetry there were tendencies towards convergence of different lyrical systems, towards their interpenetration, as, for example, the lyrics of V. Sokolov gave rise to many motives of poetry of both “loud” and “quiet” lyricists. And by the end of the decade, the young themselves felt the need for “autumn nudity” (E. Yevtushenko).

The 60s qualitatively changed the work of poets of the older generation: A. Akhmatova, A. Tvardovsky, A. Prokofiev, M. Isakovsky, V. Lugovsky, V. Bokov and others, as well as front-line poets K. Vanshenkin, Yu. Drunina, A. Mezhirova, M. Dudina, O. Berggolts and others. The memory of what they experienced again and again made them comprehend the past, commensurating it with the present. They created the best examples of meditative and philosophical lyrics, creatively continuing the traditions of F. Tyutchev, A. Fet, E. Baratynsky in their work.

So, if at the beginning of the 60s in poetry (especially in the works of the young) there was clearly a revival of the stylistic tradition of the 20s (V. Mayakovsky, V. Khlebnikov, M. Tsvetaeva), then by the middle of the 60s the style situation quickly and changes drastically. A new direction comes to the fore, which "repelled" from the "pop" loudness of the previous period. By the end of the decade, it occupies a leading position in poetry, and the overwhelming majority of poets are guided by its stylistic tendencies. This is a phenomenon of "quiet" lyrics, focusing on the classic examples of A. Pushkin, F. Tyutchev, S. Yesenin, A. Blok. The “quiet” poets are characterized by a strong sense of the “root”, love for their “small homeland”, that corner of the earth where the poet was born and raised. The “village” lyrics of N. Rubtsov, V. Bokov, S. Vikulov, V. Soloukhin and many other poets declared themselves so widely and powerfully. The village for them was the source of everything that exists on earth: “I would like, Russia, that you do not forget that once you all began with the villages” (S. Vikulov).

Among the young poets of the sixties, whose work developed under the sign of classical traditions, N.M. Rubtsov (1936 - 1971) stands out. In critical literature, it has become commonplace to affirm the deeply traditional beginning of Rubtsov's lyrics. Indeed, a close study of the historical elegies of N. Rubtsov, his meditative lyrics reveals not only the influence of E. Baratynsky, F. Tyutchev, S. Yesenin on his poetry, but also the poet’s creative study of the artistic searches of his predecessors, as well as the continuation and development of their traditions.

I'm at Tyutchev and Fet

I'll check my sincerity.

So that the book of Tyutchev and Fet

Continue with Rubtsov's book.

N. Rubtsov managed to synthesize their poetic experience in his lyrics and introduce a new, his own understanding of the "eternal" themes of poetry into the historical development of the literary process.

The lyrics of N. Rubtsov are deeply philosophical. The poet was introduced to "eternal" themes back in early period creativity, at the very beginning of the 60s, when he wrote the poem "Masts". Then, during the second half of the 60s, the tendency to philosophize his lyrics will lead the poet to create a whole series of poems of a meditative nature, poems-reflections: “Visions on the hill”, “I will ride ...”, “My quiet homeland”, “Cranes” , "Road Elegy", etc.

The poet's philosophical generalization is expressed in his creation of generalized images of the realistic existence of a person, in his desire to understand the unknown in the life of nature, in the ability to merge with the harmony of the natural principle, becoming "a living expression of autumn."

In connection with the death in the early 70's. such significant poets as A. Tvardovsky, Ya. Smelyakov, N. Rubtsov, it seemed that there was some kind of “physical” break with the traditions in modern poetry. But this was an erroneous idea, since it did not take into account such poets as L. Martynov, Yu. Kuznetsov, V. Sokolov, E. Vinokurov, D. Samoilov, who actively worked in the 70s in line with the development of classical traditions.

The strongest connection with the classical tradition was characterized by the lyrics of L. Martynov. Being a contemporary of V. Mayakovsky, B. Pasternak, S. Yesenin, the poet organically combined in his poems the creative experience of many of them.

Particularly interesting is the introduction of L. Martynov to the Pushkin theme, which became deeply traditional in the poetry of those years (“Old Pushkin”, “Pen Drawing”, “The Spirit of Creativity”, etc.).
Interesting, thinking broadly and voluminously, the poet E. Vinokurov appears before modern literary criticism, who began writing during the Second World War and was called a soldier's poet by criticism. Deepening and developing the beloved military issues, the lyricist already at the end of the 60s begins to realize it in the generalized lyrical form of a poem - reflections on the war, heroism, honor and soldier's duty. Poetry for him becomes the "supreme act of thought", and he realizes himself as a "source of thoughts". Having embarked on the path of philosophical understanding of reality, the existence of man, Vinokurov remained faithful to the chosen path until the end of his days.

Almost all of E. Vinokurov's poems are addressed to "eternal" themes that have a universal level of existence. The theme of eternal wandering becomes a kind of guide through the poet's lyrics. It is no coincidence that conventionally symbolic images of Odysseus, Avicenna, the ancient alchemist appear in his poems. The personality in them fits the poet into the widest, cosmic context, filled with a joyful feeling of unity with eternity, with world harmony.

The uniqueness of the literary situation of the late 1970s consisted in the fact that there were no leaders in it. There were leaders, those who went ahead, but the places vacated after Pasternak, Akhmatova, Tvardovsky remained unoccupied and it was not clear who could take them.

At the end of the 70s, qualitative changes took place in poetry, connected not so much with the change of poetic generations, but with the active orientation of the young to new forms of verse and ways artistic image. What in the 60s only timidly took root in the work of "variety artists" - complicated associativity, formal experiment, symbiosis of different stylistic trends - in the late 70s - early 80s declared itself as a leading trend and everywhere won back its living space. Moreover, there were two different directions, similar to those that determined the direction of development of young poetry in the early 60s. It was a traditional direction (N. Dmitriev, G. Kasmynin, V. Lapshin, T. Rebrova, I. Snegova, T. Smertina, etc.), oriented towards the continuation of classical traditions, and “metaphorical”, or “polystylistic”, oriented for a formal experiment (A. Eremenko, A. Parshchikov, N. Iskrenko, Yu. Arabov, D. Prigov, etc.).

Thus, formally and remotely, the poetic situation of the 80s again reminded of the 60s. But the 80s differed significantly from the 60s in that from the middle of the decade, the process of “returning” to literature the previously forgotten names of N. Gumilyov, N. Klyuev, A. Platonov, M. Bulgakov and other writers, as well as their works. The 80s showed the world new works by poets A. Akhmatova, M. Isakovsky, A. Tvardovsky, who wrote “on the table” back in the 60s. At the same time, critic Yu. Idashkin in the article “ hard lessons era” (LR, 1987, No. 43) even wrote that in the mid-80s there was a dominance of “returned” poems, and the names of modern poets went into the shadows.

An example of a poet whose work in his in full was returned to readers only recently, V. Kornilov can serve. Many of V. Kornilov's poems saw the light only in "The Chosen" (M., 1991). Being created in different years, they found their readership only in the 90s. The poet, with his whole life and work, proved that "those who did not bow their heads are eternally right in the world." His poems are full of the energy of inner freedom, they feel a great personal responsibility for every word, for a sigh, for a step, for a thought, for the "word" for the poet is "the beginning of everything and the light." And in all this he is enviably constant. In choosing a topic, form, genre (as a rule, this is a lyrical confession), a method of rhyming (usually this is a cross rhyme). Kornilov gives preference to two-syllable classical meters - iambic and chorea, but also uses three-syllable ones, which diversifies his lyrical system. The main thing for the poet is the truth of life, albeit tragic in its basis. Many of his poems are publicistic: “To Viktor Nekrasov”, “In Memory of A. Beck”, “Young Poetry”, etc. However, despite the fact that many of Kornilov’s poems are marked by the stamp of topicality, there are also “eternal” themes in them: the poet raises problems love and friendship, civic service to the people and the Fatherland, life and death, poet and poetry.

The "returned" poetry gave a powerful impetus to modern poetry in the assimilation and development of the classical traditions of Russian lyric poetry, organically "fitting" into the main direction of the development of the poetic process of the 80s. An exception is the work of I. Brodsky, a poet of a non-Russian literary tradition, "not living by Pushkin's precepts" (B. Chichibabin).

I. Brodsky admitted that in his lyrics “typical schizophrenic nuances arise: sometimes I supply English noun a Russian suffix or as a rhyme to a Russian word pops up an English word. But I am accustomed to the element of delirium in my existence and do not consider such situations as something abnormal, rather, on the contrary.

I. Brodsky chose not the best way of “repulsing” from classical traditions - ironically, mockingly, scoffingly (for example: “I erected a different monument to myself”, “Serving the muses does not tolerate something there”, etc.). The violation of the high moral criteria of art, which took shape over the centuries not only in Russian, but also in world classics, turned out to be a tragedy of loneliness for the poet, the loss of the original and the creation of the image of a transcendental personality that exists outside of time and space, like his image-symbol of a soaring lonely and proud hawk. The formal experiment, which became the basis of the poet's artistic position, first of all gave rise to poems in his work, more like prose, viscous, "flowing" from one form to another, which are nothing more than a stream of consciousness of the author, clothed in a sign system the words. This principle of depicting reality was picked up by the poets of the younger generation of the 80s and 90s, who formed a branch of ironic, absurdist poetry.

So, the 80s seem to be more intense and contradictory in their development than the 60s and 70s. On the one hand, in the poetry of that time there was a further deepening and development of the traditional beginning, strengthening of citizenship, on the other hand, there was a sharp demarcation of young poetry into "innovators" and "traditionalists", a formal experiment was established as a way to create new poetry and as a result of this process. - Absurdist lyrics appeared and an even more pretentious genre - versification.

The process of democratization of literature meets with a response from the ruling classes. In the court government circles, an artificial normative ceremonial style, elements of the Ukrainian baroque, is being implanted.

The problem of baroque in Russian literature. The term "baroque" was introduced by supporters of classicism in the 18th century. to refer to the art of rough, tasteless, "barbaric" and was originally associated only with architecture and fine arts. This term was introduced into literary criticism in 1888 by G. Wölfflin in his work “Renaissance and Baroque”. He made the first attempt to define the features of the Baroque, reducing them to picturesqueness, depth, openness of form, i.e., purely formal features. The modern French researcher Jean Rousset in his work “Literature of the Baroque Age in France” (1954) reduces the Baroque to the expression of two characteristic motifs: inconstancy and decorativeness. In relation to Russian literature, the term "baroque" was introduced by L. V. Pumpyansky.

A broad interpretation of the Baroque was made by the Hungarian scholar A. Andyal in the book "Slavic Baroque". His point of view was developed by A. A. Morozov, who is inclined to attribute all the literature of the second half of the 17th and the first half of the 18th century to the Baroque, seeing in this direction an expression of the national identity of Russian literature. The point of view of A. A. Morozov provoked sharp objections from P. N. Berkov, D. S. Likhachev, Czech researcher S. Matkhauzerova.

P. N. Berkov spoke out with a decisive denial of the existence of Russian baroque and raised the question of the need to consider Russian virsche poetry and dramaturgy of the late 17th century. as the birth of a new classicist direction. S. Matkhauzerova came to the conclusion about the existence in Russian literature of the late 17th century. two directions of baroque: national Russian and borrowed Polish-Ukrainian.

D.S. Likhachev believes that we should talk about the existence of only Russian baroque, which was originally borrowed from Polish-Ukrainian literature, but then acquired its own specific features.

In the early 60s, I. P. Eremin analyzed in detail and in detail the features of Russian baroque in the poetry of Simeon Polotsky. The conclusions and observations of this scientist are important for understanding this problem.

Despite significant differences in views on the Baroque in Russian literature, researchers have established the most significant formal features of this style. It is characterized by an aesthetic expression of exaggerated pathos, deliberate splendor, ceremoniality, external emotionality, an excessive accumulation in one work of seemingly incompatible stylistic components of mobile forms, allegorical, ornamental plot and language.

It is necessary to distinguish between two different aspects in the content of the term baroque: a) baroque as an artistic method and style that arose and developed in a certain historical era; b) baroque as a type artistic creativity manifested in different historical periods.

Baroque as a style was formed in Russia in the second half of the 17th century, and served the emerging enlightened absolutism. In its own way social entity the baroque style was an aristocratic phenomenon opposed to democratic literature. Since the transition to the Baroque in Russian literature is carried out not from the Renaissance, as in the West, but directly from the Middle Ages, this style was devoid of mystical and pessimistic moods and had an educational character; its formation went through the secularization of culture, i.e., its liberation from the guardianship of the church.

The writers of the Russian Baroque, however, did not completely reject religious views, but represented the world in a complicated way, considered it a mysterious unknowable, although they established causal relationships. external phenomena. Departing from the old medieval religious symbolism, they closely peered into the affairs of the world, the living life of an earthly person and put forward the requirements of a “reasonable” approach to reality, despite the recognition of the idea of ​​fate and the will of God, combined with didacticism. Fiction, a system of allegories and symbols, as well as a complex, sometimes sophisticated structure of works, were built on this system of views.

The Baroque style in Russian literature of the late 17th - early 18th century prepared the emergence of Russian classicism. He received the most vivid embodiment in the style of Virche poetry, court and school dramaturgy.

Formation and development of Russian book poetry. One of the important factors in the history of Russian literature of the XVII century. was the emergence and development of book poetry. The question of its origins, causes of occurrence has occupied and occupies many researchers. Even in the last century, two opposing points of view have developed. A. Sobolevsky believed that syllabic verses - verses (from Latin versus - verse) arose under the influence of Ukrainian and Polish poetry. L. N. Maykop argued that "the first experiments of rhymed verses appeared, so to speak, by themselves and, in any case, not as an imitation of Western European syllabic verses with rhymes."

A significant contribution to the study of the initial stage of the development of Russian poetry was made by Soviet researchers A. V. Pozdneev, L. I. Timofeev, and A. M. Panchenko.

The emergence of book poetry dates back to the first third of the 17th century. and is associated with the strengthening of the role of cities in the cultural life of the country and the desire of the advanced layers of Russian society to master the achievements of European culture, as well as, according to A. M. Panchenko, the weakening of the role of folklore. Russian speech verse relies, on the one hand, on the declamatory verse of buffoons, and on the other hand, it uses the experience of Ukrainian-Polish syllabic poetry.

During the period of the struggle of the Russian people with the Polish intervention, in connection with the strengthening of the emotional and journalistic element in literature, the first attempts to give samples of poetic speech appear. In the "Tale" of Avraamy Palitsyn we often meet the rhymed organization of narrative speech. The Chronicle Book, attributed to Katyrev-Rostovsky, ends with rhymed verses. As L. I. Timofeev notes, the verse in these works is entirely based on the means of speech expressiveness and does not refer to any elements of musicality. However, the speech structure of the verse made it possible to convey the inner state of a person, his individual experiences. The verse was not yet ordered rhythmically: the number of syllables in a line changed freely, no attention was paid to the alternation of stresses, rhyme was used mainly verbal, masculine, feminine, dactylic and hyperdactylic. These so-called pre-syllabic verses are becoming increasingly popular.

However, along with presyllabic verses, already in the first third of the 17th century. syllabic verses appear. They are affirmed mainly in the genre of the epistle. So, in 1622, Prince S. I. Shakhovskoy “A message to a certain friend is very useful about divine writings” ends with 36 rhymed lines of unequal syllables.

The priest Ivan Nasedka ends the polemical treatise Exposition on Luthors with syllabic verses. “Many reproaches”, denunciations are written in verse by Prince I. A. Khvorostinin. At the end of his life, he creates a polemical poetic treatise directed against heretics - "The preface is set out in two-line agreement, the edge of the spell" in 1000 poetic lines.

In the first half of the XVII century. there are collections of epistles written in syllabic verse. One of these collections includes poems by the "referencers" of the Printing House with a rather diverse theme. Syllabic book songs were created in the early 50s of the 17th century. poets of the Nikon school. Among these poets, Herman stands out, having shown particular virtuosity in developing an acrostic, which can be read from right to left and vice versa, from bottom to top and from top to bottom. Syllabic verses are beginning to be used in descriptions of coats of arms, in the "Tsar's Title Book" of 1672, in inscriptions on icons, popular prints.

An important role in the development of syllabic poetry was played by the work of Simeon Polotsky and his students Sylvester Medvedev and Karion Istomin.

Simeon Polotsky(1629-1680). A Belarusian by nationality, Simeon Polotsky received a broad education at the Kiev-Mohyla Academy. Having accepted monasticism in 1656, he became a teacher in the "fraternal school" in his native Polotsk. In 1661 the city was temporarily occupied by Polish troops. Polotsky moved to Moscow in 1664. Here he taught clerks of the order of secret affairs Latin, for which a special school was created at the Spassky Monastery. In 1667, Tsar Alexei Mikhailovich entrusted Simeon of Polotsk with the upbringing of his children - first Alexei, and then Fedor.

Polotsk takes an active part in the fight against the Old Believers. At the church council of 1666, he speaks with the theological treatise "The Rod of Government", where he argues with the "petition" priest Nikita and priest Lazar. At the personal request of the king, he travels three times to admonish Habakkuk.

Simeon of Polotsk devoted his activity to the struggle for the spread of enlightenment. He actively participates in the disputes between supporters of Greek and Latin education, taking the side of the latter, since the defenders of the Greek system of education sought to subordinate the development of education to the control of the church. Polotsky believed that the main role in the development of education belongs to the school, and, turning to the king, urged him to build schools and "acquire" teachers. He is developing a project to create the first higher educational institution in Russia - the academy. Shortly before his death, he wrote a draft charter for the future academy. In it, Simeon of Polotsk provided for a very broad study of the sciences - both civil and spiritual.

Polotsky attached great importance to the development of printing: “Nothing expands such glory, like a seal,” he wrote. On his initiative and personal petition to Tsar Fyodor Alekseevich, in 1678 the "Upper" printing house was opened in the Kremlin.

One of the favorite activities of Simeon Polotsky was "rhyming", i.e., poetic literary activity, which has attracted the attention of many literary historians.

Start literary activity Simeon of Polotsk refers to the time of his stay at the Kiev-Mohyla Academy. In Polotsk, he writes poetry in Polish, Belarusian, Ukrainian, revealing an extraordinary poetic talent: he creates elegies, a satirical poem directed against the Swedish king Gustavus Adolf, epigrams (in their ancient meaning). Arriving in Moscow, Polotsky writes poetry only in Russian. Here his poetic creativity reaches its highest flowering. As noted by his student - Sylvester Medvedev, Polotsk “for every day, having a guarantee of writing in half a dozen and half notebooks, and his writing is very small and upish.”

The syllabic verse of Polotsky was formed under the direct influence of Ukrainian and Polish verse. However, the possibility of using eleven- and thirteen-syllable syllabic verse with an obligatory pair in Russian versification feminine rhyme was prepared by a long historical development of expressive means organically inherent in the Russian bookish language. The syllabic verse of Simeon of Polotsk was closely connected with that refined book "Slovenian" which they deliberately opposed to the spoken language.

Polotsky attached great educational and educational significance to his poetic works. Polotsky saw the high vocation of the poet in the ability to attract "rumors and hearts" of people. The powerful weapon of poetry, he believed, should be used to spread enlightenment, secular culture, and correct moral concepts. In addition, the verse should serve as a model for all who write in "Slovenian book language".

Simeon of Polotsk acts as the first court poet, the creator of panegyric solemn verses, which were the prototype of a laudatory ode.

In the center of the panegyric verse stands the image of an ideal enlightened autocrat. He is the personification and symbol of the Russian state, the living embodiment of its political power and glory. He must devote his life to the good of the state, the good of his subjects, to take care of their "civil use" and their enlightenment, he is strict and merciful and at the same time an exact executor of existing laws.

The panegyric verses of S. Polotsky bear "the character of a complex verbal and architectural structure - a verbal spectacle." Such, for example, are the panegyric verse "Russian Eagle". Against the background of the starry sky, the sun shines brightly with its forty-eight rays, moving through the zodiac; the virtues of Tsar Alexei are inscribed in each of its rays. Against the background of the sun - a crowned double-headed eagle with a scepter and an orb in its claws. The text of the panegyric itself is written in the form of a pillar - a column resting on the base of the prose text.

As I. P. Eremin notes, the poet collected for his verses mostly rare things, “curiosities”, but saw in them only a “sign”, "hieroglyphic" truth. He constantly translates specific images into the language of abstract concepts, logical abstractions. S. Polotsky's metaphors, pretentious allegories, chimerical similitudes are built on such a rethinking.

S. Polotsky introduces the names of ancient gods and heroes into his panegyric verses: Foyer(Phoebus) golden", "golden-haired Kinfey", "bosom of Dievo"(Zeus), "Diva bird"(eagle). They directly coexist with the images of Christian mythology and play the role of pure poetic convention, being a means of creating hyperbole. S. Polotsky cultivates curly poems in the form of a heart, a star, a labyrinth.

Features of the style of S. Polotsky - a typical manifestation of the literary baroque 2 . All panegyric verses (800 poems), poems for various occasions of court life were combined by S. Polotsky into a collection, which he called "Rhymologion" (1679-1680).

Along with panegyric poems, S. Polotsky wrote verses on a wide variety of topics. He united 2957 verses of various genres (“likenesses”, “images”, “proverbs”, “interpretations”, “epitaph”, “images of signing”, “tales”, “exhortations”, “denunciations”) in the collection “Vertograd (garden ) multicolor "(1677-1678). The poet gave the character of an encyclopedic poetic reference book to this collection: the verses are arranged by topic in alphabetical order of titles. All works of both secular and religious subjects are moralizing in nature. The poet considers himself the bearer and custodian of the highest religious and moral values ​​and seeks to impress them on the reader.

In verses, S. Polotsky raises moral questions, trying to give generalized images "virgins"("Virgo"), "widows"("Widowhood"), considers issues of marriage, dignity, honor etc. So, in the poem "Citizenship" S. Polotsky speaks of the need for every person, including the ruler, to strictly observe the established laws. The poet considers labor to be the basis of society, and the first duty of a person is to work for the good of society. For the first time, the poet has outlined a theme that will take a prominent place in Russian classic literature - the theme of opposing the ideal ruler, the enlightened monarch of a tyrant, cruel, self-willed, unmerciful and unjust.

The philosophical question about the meaning of life is raised by S. Polotsky in the poem "Dignity". The poet sees true bliss not in the pursuit of honors, ranks, nobility, but in the ability of a person to do what he loves.

An important section of S. Polotsky's poetry is satire - "denunciation". Most of his satirical works are of a generalized moralistic, abstract nature. Such, for example, are the denunciations "Ignorant" directed against the ignorant in general; "Sorcery", revealing "babes", "whisperers".

The best satirical works of S. Polotsky are his poems "Merchant" and "Monk".

In the satire "Merchant" the poet lists eight mortals "sins to the rank of a merchant." These "sins" - deception, lies, false oaths, theft, covetousness - reflect the real social practice of the merchants. However, there is no specific satirical image in the poem. The poet confines himself to a simple statement of sins in order to conclude with a moral exhortation. "sons of darkness fierce to postpone the affairs of darkness", to avoid future hellish torments.

The satire "The Monk" is built on the opposition of the ideal and reality: at the beginning, the poet talks about what a real monk should be, and then proceeds to denunciation.

But alas, outrage! Good rank perish.

Monasticism into debauchery in many is changed.

Satirical sketches of drunkenness, gluttony, moral licentiousness of the monks are given quite vividly:

Not only the laity work in the womb,

Eliko then monks give water, saturate.

Lenten choosing to lead a life.

I strive for that, in order to eat, drink ...

Mnozi from wine buoys swear badly,

They bark, slander, shame and honest boldly ...

There are predatory waxes in sheep's clothes,

The womb works, the spirit perishes.

S. Polotsky hastens to emphasize that in his satire we are talking not about all the monks, but only about "despicable" whom he denounces "with weeping." The purpose of his satire is moralizing and didactic - to contribute to the correction of morals, and in conclusion the poet turns to "ruthless" monks with a call to stop "do this evil."

This moralistic didactics, the desire to correct the vices of society and thereby strengthen its foundations, distinguishes the noble and educational satire of S. Polotsky from the democratic satirical story, where the denunciation is socially acute, more specific.

Of the poetic works of S. Polotsky, it should be noted the rhymed arrangement of the Psalter in 1678, published in 1680. Set to music by the singing deacon Vasily Titov (he laid the foundations of chamber vocal music), the rhymed Psalter was very popular. Through this book, M. V. Lomonosov became acquainted with Russian syllabic poetry.

Thus, the work of S. Polotsky developed in line with the panegyric and didactic poetry of the Baroque with its generalization and ambiguity of symbolism, allegories, contrast and hyperbolism, didactic moralizing. The language of S. Polotsky's poetry is purely bookish, emphasizing the difference between poetry and prose.

S. Polotsky uses rhetorical questions, exclamations, inverse turns. Closely connected with the traditions of the archaic book language, Semeon Polotsky paves the way for the development of future classic poetry.

Sylvester Medvedev(1641-1691). The poets Sylvester Medvedev and Karion Istomin were students and followers of Simeon of Polotsk. “A man of great intelligence and scientific sharpness”, as his contemporaries characterized, “reference officer” (editor) of the Printing House, Sylvester Medvedev appeared as a poet only after the death of his teacher. His pen belongs to "Epitafion" by Simeon of Polotsk and panegyric poems dedicated to Tsar Fyodor Alekseevich ("Wedding Greeting" and "Lament and Consolation" on the death of Fyodor) and Princess Sophia ("Signature to the Portrait of Princess Sophia"), which the poet actively supported, for which he was executed by order of Peter.

In "Epitafion" Sylvester Medvedev glorifies the merits of " teacher is glorious» , who cares about the benefit of his neighbor. Medvedev lists the works of Simeon Polotsky.

In defense of the church, the book the Rod created is,

In her favor, the Crown and the Dinner issued is.

Supper, Psalter, verses with Rhyme,

Vertograd multicolored with Conversation.

All of these books are wise, he created a man,

In teaching the Russian race, it is manifest.

As a poet, Medvedev is not very original. He borrowed a lot from his teacher's panegyric verses, but, unlike Simeon of Polotsk, he avoided using allegorical and mythological images in his verses.

Karion Istomin (? - 1717). A more talented and prolific student of Simeon of Polotsk was Karion Istomin. Poetic creativity he began in 1681 with welcoming panegyric verses to Princess Sophia. Glorifying in " I will honor the good-natured virgin, the poet talks about the importance of Wisdom (Sophia in Greek means "wisdom") in government and in people's lives.

Just like S. Polotsky, K. Istomin uses poetry as a means of struggle for enlightenment. In 1682, he turned to Princess Sophia with a collection of poems (16 poems), in which he asked to establish her in Moscow educational institution for teaching liberal sciences: pedagogical, historical and didactic.

With a number of instructions to 11-year-old Peter, the poet speaks in the book "Intelligence" (1683). True, these instructions come from the name of God:

Study now, study diligently,

In your youth, the king is wise, enlighten,

Sing before me, your God, boldly

Yavl court and truth, a civil case.

The book "Polis" was written in verse, giving a description of the twelve sciences. K. Istomin often creates acrostics (poems in which whole words or phrases are formed from the initial letters of lines), and also uses verses for pedagogical purposes: in 1694 he compiled the “Small Primer” to teach Tsarevich Alexei Petrovich, and in 1696 "Big primer", where each letter is supplied with a small didactic poem.

Thanks to the activities of S. Polotsky and his closest students, syllabic verse begins to be widely used in literature. A new poetic genre arises - lyrics, the appearance of which is a clear evidence of the beginning of personality differentiation. The principles of syllabic versification, developed in the second half of the 17th century, were further developed in the work of the syllabic poets of the first third of the 18th century: Pyotr Buslaev, Feofan Prokopovich.

However, the syllabic verse did not completely supplant the pre-syllabic one, which even outlived it and entrenched itself in the later paradise verse, while the syllabic-tonic system of Russian versification, developed by V.K. Trediakovsky and M.V. Lomonosov, replaced the syllabic.

10. Trends and genres in the development of poetry in the 30s

A distinctive feature of the poetry of the 30s was the rapid development song genre closely related to folklore. During these years, famous "Katyusha" (M.Isakovsky), "Wide is my native land..." (V.Lebedev-Kumach), "Kakhovka" (M.Svetlov) and many others.

Poetry of the 1930s actively continued heroic-romantic line previous decade. Her lyrical hero- a revolutionary, a rebel, a dreamer, intoxicated by the scope of the era, aspiring to tomorrow, carried away by the idea and work. The romanticism of this poetry, as it were, includes a pronounced attachment to the fact. “Mayakovsky Begins” (1939) N. Aseeva, “Poems about Kakheti” (1935) N. Tikhonov, “To the Bolsheviks of the Desert and Spring” (1930-1933) and “Life” (1934) V. Lugovsky, “The Death of a Pioneer” ( 1933) by E. Bagritsky, “Your Poem” (1938) by S. Kirsanov – specimens of Soviet poetry of these years, not similar in individual intonation, but united by revolutionary pathos.

It sounds and peasant theme carrying its own rhythms and moods. The works of Pavel Vasiliev, with his "tenfold" perception of life, extraordinary richness and plasticity, paint a picture of a fierce struggle in the countryside.

A. Tvardovsky's poem "Country Ant" (1936), reflecting the turn of the multi-million peasant masses to collective farms, epicly tells of Nikita Morgunka, unsuccessfully looking for a happy country of Muravia and finding happiness in collective farm labor. The poetic form and poetic principles of Tvardovsky became a milestone in the history of the Soviet poem. Close to the folk, Tvardovsky's verse marked a partial return to the classical Russian tradition and at the same time made a significant contribution to it. A. Tvardovsky combines the folk style with free composition, the action is intertwined with meditation, a direct appeal to the reader. This outwardly simple form turned out to be very capacious in terms of meaning.

She wrote deeply sincere lyrical poems M. Tsvetaeva, who realized the impossibility of living and creating in a foreign land and returned to her homeland in the late 30s. At the end of the period, moral questions occupied a prominent place in Soviet poetry ( St.Schipachev).

The poetry of the 1930s did not create its own special systems, but it very capaciously and sensitively reflected the psychological state of society, embodying both a powerful spiritual upsurge and the creative inspiration of the people.

The specifics of Russian versification

(The main stages in the development of versification in Russian poetry)

At the heart of poetic speech lies, first of all, a certain rhythmic principle. Therefore, the characteristic of a particular versification consists, first of all, in determining the principles of its rhythmic organization, that is, in establishing the principles that build poetic rhythm. From this point of view, versification systems are divided into two main groups: quantitative (quantitative) versification and quality (qualitative) versification.

The rhythm of speech in itself does not create verse, just as verse is not reduced to rhythm proper. If, on the one hand, a certain rhythm is generally inherent in speech due to physiological reasons (inhalations and exhalations, breaking speech into more or less uniform segments), then on the other hand, a clear rhythmic organization of speech arises, for example. in the labor process, in working songs that fix and enhance the rhythm of work.

Folk versification is one of the least developed areas of Russian versification. Regarding the very principles of its design during the XIX century. the most diverse, mutually exclusive assumptions and conjectures were expressed. One of the first researchers of Russian folk versification - A.Kh. Vostokov, noting in it "the independent existence of two various measures, that is, singing and reading”, analyzed in it only the “second measure”, that is, the phenomena of speech rhythm. At the same time, Vostokov came to the conclusion that in folk versification "not feet, not syllables, but prosodic periods, that is, stresses, are counted."

One of the most characteristic species Russian folk verse - epic verse - consists of three "prosodic periods", that is, it carries three dominant phrasal stresses, of which the first most often falls on the third syllable of the verse, and the rest are separated by syllabic intervals ranging from one to three syllables. Permanent feature epic verse is the special structure of the clause - dactylic with an optional semi-stress on the last syllable. This clause is outward difference verse actually epics from the later so-called. "historical songs" built on female endings.

Based on the same principles, various forms folk lyrics, which fall into a number of varieties, differing in the number of phrasal stresses in the verse and in the type of its endings (among which the masculine is uncommon). This applies mainly to the so-called. “drawn-out” songs, since dance songs, due to the orderliness of inter-stressed syllabic spaces, often come close to the forms of “literary”, syllabo-tonic verse.

Accent (speech) systems of versification are divided into three main groups: syllabic, syllabo-tonic and tonic. All groups are based on the repetition of rhythmic units (lines), the commensurability of which is determined by the given arrangement of stressed and unstressed syllables within the lines, regardless of their quantitative ratios, and the expressiveness of which depends on the intonational-syntactic (and not musical) structure of the verse.

The syllabic group includes, for example. French, Polish, Italian, Spanish and other systems. (This group included the Russian and Ukrainian systems in the 16th-18th centuries.) The syllabo-tonic group includes the English, German, Russian, Ukrainian and other systems (which at the same time largely belong to the tonic group). Fundamental difference between these groups is not; in all three groups, we are talking about the accent basis of the rhythm, which gives one or another, often passing into each other, variations. Therefore, the above traditional division is largely conditional.

The simplest form of accent system is the tonic verse, in which the commensurability of lines (rhythmic units) is based on a more or less constant preservation in each line certain number stresses with a variable number of unstressed syllables (both in the line as a whole and between stressed syllables). The same number of stresses in each line may not be observed in practice, but this does not change the rhythmic pattern.

Syllabic verse is a tonic verse in which the number of syllables in a line and the place of some stresses (at the end and in the middle of a line) are fixed. The remaining stresses (at the beginning of each half line) are not fixed and may fall on different syllables.

If in tonic versification there is complete freedom in the number and arrangement of unstressed syllables; in syllabic - a fixed number of syllables with relative freedom of their arrangement, then in syllabic-tonic verse there is both a fixed number of syllables and their place in the line. This gives the poetic units the most distinct commensurability.

Stresses in syllabo-tonic verse are located either through one unstressed syllable(two-syllable sizes), or through two (three-syllable sizes). Transferring the terminology of ancient versification to syllabo-tonic verse, two-syllable meters in which stresses fall on odd syllables are called choreic, and disyllabic meters, in which stress falls on even syllables, - iambic.(The equating of a stressed syllable with a long one, and an unstressed one with a short one, of course, has no real grounds and can only be accepted as a terminological convention.) Accordingly, three-syllable meters with stresses on 1/4/7th, etc. syllable are called dactylic, with accents on 2/5/8th, etc. syllable - amphibrachic and with accents on 3/6/9th, etc. syllable - anapestic.

Depending on the number of stresses in a line, the sizes are designated as two-, three-, four-, etc. foot iambs, dactyls, amphibrachs, anapaests, etc. This terminology (considering its conventionality) is firmly rooted in use and is quite convenient.

In practice, in syllabo-tonic meters, stressed syllables are not always kept in a fixed "syllabo-tonic" order. As a reverse phenomenon, both in tonic and syllabic verses, the arrangement of stresses can take on a regulated iambic, choreic, etc. character. Thus, in French and Polish verse, examples of trochaic can be found; the Italian ten-syllable verse is close to the syllabo-tonic. That. there is no strict line between groups of accent verse; there are a number of intermediate constructions, and the actual distinction between groups occurs to a greater extent statistically, according to the frequency of metric phenomena.

Key moments in the history of Russian versification

Until the end of the XVI century. in Russia, as well as in Ukraine, the folk song system of versification dominates. Complication public relations from the end of the 16th century, familiarization with Western culture, the development of writing lead to the fact that in book poetry of the 17th century. folk verse is replaced by speech. This syllabic verse develops under the influence of the main Polish syllabic verse, which is used for writing. S. Polotsky, D. Rostovsky, F. Prokopovich, A. Kantemir, early Trediakovsky. Syllabic versification dominated until the 30s. 18th century in Russia, and in Ukraine even later, until the 70s.

30s 18th century in Russian literature are characterized by the expansion of the creative range, the creation of new literary images and genres, the development literary language. A search is underway for a more individualized and expressive poetic system. These searches are carried out both within the limits of syllabic verse (Kantemir, Trediakovsky), and under the influence of Western European tonic and tonic-syllabic verse (Trediakovsky, Gluck and Chaus, Lomonosov), and in connection with the further study of folk versification (Trediakovsky).

The search ended both in practice and in theory with performances by Trediakovsky and Lomonosov (Trediakovsky's New and Brief Way of Composing Poetry, 1735, and Lomonosov's Ode on the Capture of Khotin, 1738). These works laid the foundations of modern syllabic-tonic verse, which found its most complete and perfect expression in Pushkin's work.

Despite the dominant importance of syllabo-tonic verse, already in the 18th century, in essence, already in Lomonosov, with undoubted distinctness in Sumarokov, later in Vostokov, in Pushkin (fairy tales, Songs of the Western Slavs), the development of tonic verse was also outlined. This was caused, on the one hand, by the growing interest in folk verse with a tonic structure, and on the other hand, by attempts to imitate ancient complex meters, which turned into tonic constructions in Russian interpretation.

A huge contribution to the development of Russian classical poetry was made by Zhukovsky, Lermontov and, of course, Pushkin. With A.S. Pushkin, many scientists associate the formation of the literary language as it is presented now. Although the writer himself experimented with the language very intensively. Famous is his Onegin stanza from the novel in verse "Eugene Onegin", which was based on a sonnet - a 14-line poem with a specific rhyme scheme.

With the advent of the era silver age versification is being democratized. Constant experiments with the poetry of avant-garde movements (futurism, dadaism, acmeism) lead to a change in the structure of construction. Poems written according to this system are called pulsating lines (or impulsarism). However, the style of impulsarism is represented in modern poetry more widely than among the poets of the Silver Age. Poems are characterized by a wide variety of artistic techniques: the division of lines by rhythmic division (for example, the arrangement of lines in a “ladder”, the alternation of long and short lines), repetitions, paraphrases, sound writing, private vocabulary, and so on. The current state of poetry is rather contradictory and multifaceted, since it combines numerous currents and principles that have accumulated throughout the history of versification. The use of archaisms, dialects, high-sounding words, practically reduced to a minimum, led to the fact that the poems became difficult to read, but easy to understand. This led to poetry becoming more thematically directed, bypassing high art towards the path of pragmatic postmodernism.

1. Skripov, G.S. About Russian versification / manual for students. M .: Education, 1979. - 64.

2. Vostokov A. Experience about Russian versification, ed. 2nd. - St. Petersburg, 1817.

3. Sokalsky P.P., Russian folk music, Great Russian and Little Russian, in its melodic and rhythmic structure. - Kharkov, 1888.

4. Korsh F., On Russian folk versification, in the book: Collection of the Department of the Russian Language and Literature Acad. Sciences, vol. LXVII, No. 8. - St. Petersburg, 1901.

5. Maslov A. L., Epics, their origin, rhythmic and melodic warehouse, in the book: Proceedings of the Musical and Ethnographic Commission, consisting of the Ethnographic. Department of the Society of Lovers of Natural Science, Anthropology and Ethnography, vol. XI, M., 1911.

6. Russian literature of the XX century / ed. V.V. Agenosov, in two parts. M.: Drofa, 2002.

7. On the current state of literature. Access mode - http://impulsarizm.narod2.ru/