Artistic features of the poetry of Joseph Brodsky. The main stages of creativity

In every art, in addition to feelings and inspiration, there is also a lot of work, there is a technique of mastery. A great artist must master this technique perfectly, because it is the material basis, the foundation on which a work of art is built.

The most wonderful idea may not reach the reader if the author did not take care to put it in a worthy form. For a true artist, content and form merge into one; they are inseparable. And therefore, when studying the work of any artist of words, plunging into the world of his ideas and images, our literary science does not ignore the form of his works.

A truly poetic work always has a specific address, always addressed to a real or imaginary interlocutor. A poet always wants to convince something, prove something, or, in any case, convey the feelings that excite him to his listener or reader; if he knows well what he needs to say, if he himself has deeply experienced what worries him, then his speech becomes intelligible, convincing and lights up our hearts with a reciprocal feeling.

But, of course, at the same time he needs to have a good command of the means of his art. It is absolutely necessary to learn to put your thoughts into a worthy literary form.

The purpose of this work is to consider “cosmogony as a spatial organization.”

consider the work of I. Brodsky;

consider the cosmogony of I. Brodsky;

1. The creative path of Joseph Brodsky

Brodsky was born on May 24, 1940 in Leningrad. He, perhaps the most “non-Soviet” citizen of the USSR, was named Joseph in honor of Stalin. Already with early years In Brodsky's life, much is symbolic. My childhood was spent in a small apartment in the same “St. Petersburg” house where D.S. Merezhkovsky and Z.N. Gippius lived before the revolution and from where they went into emigration. Alfred Nobel once studied at the school Brodsky attended: in 1986 Brodsky would become a Nobel laureate. He recalled his childhood reluctantly: “An ordinary childhood. I don’t think childhood experiences play an important role in later development.”

In adolescence, his independence and obstinacy manifested themselves. In 1955, without finishing his studies, Brodsky went to work at a military plant as a milling machine operator, choosing to educate himself, mainly by reading. Wanting to become a surgeon, he goes to work as an assistant dissector in the morgue of the hospital at the Leningrad Kresty prison, where he helps dissect corpses. Over the course of several years, he tried more than a dozen professions: geophysics technician, orderly, fireman, photographer, etc. Looking for a job that can be combined with creativity. I first tried to write poetry at the age of 16. What prompted me to write was the impression of reading Boris Slutsky’s collection. The first poem was published when Brodsky was seventeen years old, in 1957: Farewell, / forget / and do not blame me. / And burn the letters / like a bridge. / May / your path be courageous, / may it be straight / and simple...

At the turn of the 1950s–1960s, he studied foreign languages (English and Polish) and attended lectures at the Faculty of Philology of Leningrad State University. In 1959, he became acquainted with a collection of poems by E.A. Baratynsky, after which he finally became stronger in his desire to become a poet: “I had nothing to read, and when I found this book and read it, then I understood everything what I needed to do...”.

Brodsky's reading impressions of this time were unsystematic, but fruitful for the development of his poetic voice. Brodsky’s first poems, according to his own vocation, arose “out of oblivion”: “We came to literature from God knows where, practically only from the fact of our existence, from the depths” (Conversation between Brodsky and J. Glad). Restoring cultural continuity for Brodsky’s generation meant, first of all, turning to Russian poetry of the Silver Age. However, here too Brodsky stands apart. By his own admission, he did not “understand” Pasternak until he was 24 years old, until that time he had not read Mandelstam, and almost did not know (before personal acquaintance) Akhmatova’s lyrics. For Brodsky, from his first independent steps in literature to the end of his life, the work of M. Tsvetaeva was of unconditional value. Brodsky identifies himself more with the poets of the early 19th century. In Stansy to the City (1962) he correlates his fate with the fate of Lermontov. But it also affects here characteristic poet: fear of being like someone else, of dissolving one’s individuality in someone else’s meanings. Brodsky demonstratively prefers the lyrics of E. Baratynsky, K. Batyushkov and P. Vyazemsky to Pushkin’s traditions. In the poem 1961 Procession, Pushkin's motifs are presented in a deliberately aloof, detached manner, and placed by the author in an alien context, they begin to sound frankly ironic.

Brodsky's creative preferences were determined not only by the desire to avoid banality. The aristocratic poise of the “enlightened” Pushkin muse was less close to Brodsky than the tradition of the Russian philosophical poetry. Brodsky adopted a meditative intonation, a penchant for poetic reflection, and dramatic thought. Gradually, he goes further into the past of poetry, actively absorbing the heritage of the 18th century - Lomonosov, Derzhavin, Dmitriev. Mastering the pre-Pushkin layers of Russian literature allows him to see vast areas of poetic language. Brodsky realized the need to synthesize continuity and identify new ones expressive possibilities Russian classical verse.

2. Cosmogony of I. Brodsky

In the early 1960s, he began working as a professional translator under contract with a number of publishing houses. At the same time, he became acquainted with the poetry of the English metaphysical poet John Donne, to whom he dedicated the Great Elegy to John Donne (1963). Brodsky's translations from Donne are often inaccurate and not very successful. But Brodsky’s original work became a unique experience in introducing the Russian word to the hitherto alien experience of baroque European poetry of the “metaphysical school.” Brodsky’s lyrics will absorb the basic principles of “metaphysical” thinking: rejection of the cult of experiences of the lyrical “I” in poetry, “dry” courageous intellectuality, dramatic and personal situation of the lyrical monologue, often with a tense sense of the interlocutor, colloquial tone, use of “non-poetic” vocabulary ( colloquialisms, vulgarisms, scientific, technical concepts), constructing a text as a series of evidence in favor of a statement. Brodsky inherits from Donne and other metaphysical poets and “ business card» schools – so-called “concetti” (from Italian – “concept”) is a special type of metaphor that brings together distant concepts and images that, at first glance, have nothing in common. And the poets of the English Baroque in the 17th century, and Brodsky in the 20th century. used such metaphors to restore broken connections in a world that seemed tragically broken to them. Such metaphors are at the heart of most of Brodsky’s works.

Brodsky's metaphysical flights and metaphorical delights coexisted with a fear of lofty words and a feeling of often bad taste in them. Hence his desire to balance the poetic with the prosaic, to “understate” lofty images, or, as the poet himself put it, “aiming at a ‘descending metaphor.’” It is significant how Brodsky describes his first religious experiences associated with reading the Bible: “at the age of 24- x or 23, I don’t remember exactly, I first read the Old and New Testament. And this made perhaps the strongest impression on me in my life. Those. the metaphysical horizons of Judaism and Christianity made quite an impression. It was difficult to get a Bible in those years - I first read the Bhagavad Gita, the Mahabharata, and only after that the Bible came into my hands. Of course, I realized that the metaphysical horizons offered by Christianity are less significant than those offered by Hinduism. But I made my choice towards the ideals of Christianity, if you like... I would, I must say, use the expression Judeo-Christianity more often, because one is unthinkable without the other. And, in general, this is approximately the area or parameters that determine my, if not necessarily intellectual, then at least some kind of mental activity.”

From now on, almost every year the poet created poems about Christmas on the eve or on the very day of the holiday. His “Christmas Poems” formed a certain cycle, work on which lasted for more than a quarter of a century.

In the early 1960s, Brodsky’s social circle was very wide, but he became closest to the same young poets, students of the Technological Institute E. Rein, A. Naiman and D. Bobyshev. Rain introduced Brodsky to Anna Akhmatova, whom she bestowed friendship and predicted for him a brilliant poetic future. She forever remained a moral standard for Brodsky (the poems of the 1960s are dedicated to her: Morning mail for A.A. Akhmatova from Sestroretsk, The roosters will crow and crow..., Candlemas, 1972, On the centenary of Anna Akhmatova, 1989 and the essay Muse of Weeping, 1982).

Over the hills of the sky,

on a long road,

returning without a song

from the land of Italy,

over the country of vegetable gardens,

over native fields

kingfisher flies by

and flaps its wings.

And from the heights of the Olympics,

inaccessible to jackdaws,

there, on the alpine slopes,

where the violets turn yellow, -

at least her eyes are sharp

and space doesn’t bother you, -

the bird sees the hills,

but cannot understand them.

Between the pines on the steep slopes

the bird whirls around screaming

and, lingering in the clouds,

strives to return to his homeland again.

Only the peaks are remembered

yes blooming poppies,

what's on Monte Cassino

they were Poles.

Already by 1963, his work became more famous, Brodsky’s poems began to actively circulate in manuscripts. Despite the lack of significant publications, Brodsky had a scandalous reputation for that time as a “samizdat” poet.

On November 29, 1963, a letter against Brodsky was published in the newspaper “Evening Leningrad” signed by A. Ionin, Y. Lerner, M. Medvedev. In 1964 he was arrested.

Joseph Alexandrovich Brodsky (1940-1996) - Russian and American poet, laureate Nobel Prize in literature 1987 Postmodernist picture of the world.

Two periods:

1) the early stage, which ends in the mid-60s: the poems are simpler in form, melodic, bright and enlightening (“ Pilgrims”, “Christmas Romance”, “Stanzas”, “Song”).

2) in the late Brodsky, the motifs of loneliness, emptiness, the end, and absurdity predominate, the philosophical and religious sound intensifies, and the syntax becomes more complex. (“ Meeting”, “To the Death of a Friend”, “Kelomäkki”, “Developing Plato”, the cycles “Parts of Speech” and “Centaurs”).

"Christmas Star" 1987 . - philosophical and poetic interpretation of biblical motifs. Brodsky presents the plot and circumstances more concisely, enumeratively and, perhaps, somewhat decoratively.

However, the conditionally legendary - a cave, a desert, winter, oxen, wise men, a baby in a manger, a star - here is concretized in a special poetic way, overgrown with plastic, visible, tangible object details and at the same time spiritualized.

And most importantly, a philosophical perspective arises, a feeling of boundless outer space. And the key becomes the capacious symbolic image of a star, and with it the Universe, God. The glances of the baby - the Son of Man - and the star - the Father - meet, cross, and at their intersection one can feel the keen and intent gaze of the poet himself.

Linear composition - the arrow of time; a certain segment; eye contact over people. God the father. Newborn (not Jesus). Is the picture of the world Christian? Formal signs of a Christmas plot. Any birth is a miracle.

He was just a dot. And the dot was a star.

Carefully, without blinking, through the rare clouds,

at the child lying in the manger from afar,

from the depths of the Universe, from its other end,

the star looked into the cave. And it was the Father's gaze,

"Candlemas" 1972 the last one at home. dedicated to Anna Akhmatova. "Meeting" = "Meeting". Man's meeting with God. Part 1 – parallels with the Gospel. 2 is a person facing death. This is Simeon's path from life to death, in “ the deaf-mute domain of death". without fear and horror, because he knows that the Savior has come. This knowledge illuminates and sanctifies his path. Christian death does not bring non-existence. It is temporary and conditional.

He was going to die. And not in the street noise

He opened the door with his hands and stepped out,

but into the deaf and dumb domains of death.

He walked through a space devoid of firmament,

he heard that time had lost its sound.

And the image of the Child with radiance around

fluffy crown of the death path

Simeon's soul carried before it

like some kind of lamp into that black darkness,

in which no one has hitherto

I didn’t have a chance to light my way.

The lamp shone and the path widened.

"Lullaby" 1992 on behalf of the Virgin Mary. The feeling of loneliness between man and God. The Mother of God is not sad about the fate of Jesus; she is not preparing him for upcoming events. But just as a mother accustoms a child to eat and dress independently, she accustoms the God-man to loneliness. Desert image = symbol of loneliness

Get used to the desert, son.

Like fate.

Wherever you are, live from now on

in it for you.

Opinion of Irina Sluzhevskaya: 1972, the year of exile, becomes the end of the plot about God. After this trait, biblical images and motifs appear much less frequently in Brodsky. The poet does not return to the “Christmas” poems, which are usually remembered on such occasions, until 1987. The divine principle disappears for a long time from the composition of Brodsky’s universe.

If we talk about Brodsky’s “Christian text” within the framework of the years 70-72, then the central event here is not the appearance of God, but death. It is around it, like shavings around a magnet, that Brodsky’s texts are grouped, in which God is either recognized or rejected, in order to ultimately remain behind the horizon, which, as we remember, is “sharp than a knife.”

In 1970, Brodsky’s most voluminous anti-God poem was written, refuting several axioms of Christianity at once - "Conversation with a Celestial."

The question of immortality here hangs in the air: we do not hear the answer to it. Brodsky's interlocutor, God, whom the poet leaves speechless, remains silent throughout the entire text, confirming the law derived for him: “all faith is nothing more than one-way mail.” Since God is silent in the text, the lyrical hero speaks continuously, asking questions and answering them himself. As if continuing Pasternak’s “practice with philosophy,” he defines faith and suffering, man and pain, forms of life, crucifixion, and time. But when it comes to immortality, he too becomes silent. The monologue stops. For the first time, the focus is not on the voice, but on the scene, the surroundings, the circumstances. Silence and silence come into focus. The focus is death. Before entering her circle, the hero is loud, aggressive, and “exclamatory.” he addresses the figure he calls " one of the dolls crossing the midnight dome."

Shew an abyss of torment,

try, go overboard in your zeal!

But even the thought of - what's his name! - immortality

there is a thought about loneliness, my friend.

This phrase

I want to scream and see

forward - once the prospect of dying

accessible to the eye -

who from afar

will he respond? Will there be an echo?

Or she won’t encounter any obstacles there either,

how on earth?

There is no answer to these questions. But if earlier, as we have already said, the author fills the silence of God with his own monologue, now his word recedes before the all-encompassing perspective of silence, earthly silence, broken by sounds, but not by speech:

Silence of the night...

He knocks his head on the table, having fallen asleep, a correspondence student.

Brick excites the spine

stove mouse.

And outside the window

a crowd of trees in a wooden frame,

like the lungs on the school chart,

engulfed in sleep.

The main thing in "Still Life" (1971) - "pendulum intonation". Why was she chosen now? The world, divided into two opposite camps (people and things), requires this rhythmic rigidity, the tangible wire contour of all figures. The horror of death is set off by the indifference of intonation, based on the fragmentary rhythm. Short lines are spoken by a man who is incapable of more rounded speech because his throat is constricted. Why is it compressed? Is death the only reason for this?

A poem is dedicated to the woman who caused the death of the Italian poet, from which Brodsky takes his epigraph: "Death will come and it will have your eyes". Thus, a third force, love, intervenes in the confrontation between life and death. She is destined to win.

Everyone in the text is dead. People - because they have to do it. Things - because they are by nature - dead nature, still life. The solution is offered by love, but love alone is not enough for Brodsky. This is where Christ comes onto the stage. Which, of course, is more than significant. Everyone is dead, everything is exhausted. The world is out of the question. The hero killed by love is the last to die.

Thing. Brown color

things. Whose outline is erased.

Twilight. No more

Nothing. Still life.

…Death will come and find

the body whose smooth surface is visiting

death is like coming

women will reflect.

This is absurd, a lie:

skull, skeleton, braid.

"Death will come, she has

will be your eyes."

and the One who revealed that there is no death enters:

Mother says to Christ:

Are you my son or mine

God? You are nailed to the cross.

How will I go home?

As soon as I step on the threshold,

without knowing, without deciding:

Are you my son or God?

That is, dead or alive?

He says in response:

Dead or alive

There is no difference, wife.

Son or God, I am yours.

All of Brodsky's future poetry is predicted in this ending. Here the metaphysics of Christianity is based on the metaphysics of love, thanks to which the flight from the divided world takes place: “Son or God, I am yours.” Love, even with the eyes of death, robs death of meaning, of the world - of hopelessness, of existence - of the end.

"Butterfly" 1 972, the theme of the absurd. The symbolism of darkness and light as the eternal principles of Genesis. darkness and light are the two halves of the universe, unknowable and therefore devoid of meaning.

In "Butterfly" the very structure of the universe according to Brodsky changes, namely the position of God. God loses power for the first time.

the world is still absurd and God is still the creator of the absurd, but there is no way out of this aimlessness. For the first time, the hero is left alone with Nothing - a new metaphysical space that he will master until the end of his days. emptiness and Nothingness are clearly associated with death. This is an image of non-existence, categorically alien to Christian ideas.

Theme of inhumanity. Inhumanity in Brodsky's world has a double function. On the one hand, Brodsky does everything to remove the usual central position of man in the universe.

The binary opposition of living and dead, which once only God could overcome, now becomes a triangle, the way out of which is determined by the word of the poet in his mortal/immortal essence. The dual nature of this word puts it on the brink of existence. The poet's word, finite in its bodily belonging to ragged pulse, bone crunch and grave spade, - is capable of embracing the infinity of the living, the dead and the immortal, man, the universe and God.

The Christian model of existence finally submits to Brodsky's model. According to which the poet and language are the last hope of the world, without them doomed not only to the absence of a voice, but to the lack of knowledge of the infinite about itself. This is how Brodsky’s last opposition opens up. Language takes the position of God.

Letters to a Roman Friend

The poet is a private existence. Absolutization of numbers (subtraction), writes a dying friend, perhaps even while writing this letter.

The tragedy of existence, beyond which the declared particularity is not exhausted.

The friend and the emptiness disappear. And indifferent nature does not please.

Not a Christian worldview; there is no creator; no thanks. Existentialism? Things, dust, decay, things are subjective, finite, and emptiness awaits everyone.

28. Poetic creativity of I. Brodsky: main motives.

Creativity is sometimes divided into two periods:

1) the early stage, which ends in the mid-60s: poems are simpler in form, melodic, bright and enlightening (“Pilgrims”, “Christmas Romance”, “Stanzas”, “Song”).

2) in the late Brodsky, the motifs of loneliness, emptiness, the end, and absurdity predominate; the philosophical and religious sound intensifies, and the syntax becomes more complex. (“Candlemas”, “To the Death of a Friend”, “Kelomäkki”, “Developing Plato”, cycles “Parts of Speech” and “Centaurs”).

Is poetry Christian? – opinions are different. when characterizing the religious origins of Brodsky's poetry - from recognizing its Christian origin to defining it as extra-Christian, pagan. Biblical and evangelical subjects are often heard in his poems. in the late period, at the end of the 80-90s, he created such masterpieces as “Christmas Star”, “Lullaby”, “Candlemas”.

Topics, problems: philosophical - good and evil, life and death, immortality, man and the state.

The originality of his poetics and style:

- “universalism” and a kind of “proteism”, the ability to assimilate a wide variety of poetic styles and traditions.

Citation, the presence of allusions, associations, allusions to predecessors

Complex syntactic structures

Paths from a variety of previously rarely explored areas, including geography, geometry, chemistry, physics, biology, etc.

Rhythm (syllabic tonics, dolnik, according to him in my own words, “intonation verse”),

The virtuosity of his rhyme and especially stanza

Intellectuality, “scientific” nature of the language.

Main motives:

Loneliness, exile, restlessness, homelessness ("Afternoon in the Room" “Returning to your homeland”, “I visited again...”, “Stanzas”, etc.). The despair of earthly existence is overcome by poetry itself, the internal structure of the poetic word, and the poetic feeling of the author.

I was born in a big country

at the mouth of the river. in winter

she was always freezing. To me

not to return home.

Biblical motifs – Christ the Child, birth, star.

Man and state "Odysseus to Telemachus" , the motive of responsibility for the historical deeds of the fatherland manifests itself in Brodsky as a purely personal feeling of shame and disgrace. In the poem " Anno Domini" the poet directly says what is everyone’s fault for the bad ending national history– in a conformist desire to be “like everyone else.” Collectivism, according to Brodsky, is a rejection of divine predestination (“moved away from the image of the Creator”) and from life itself:

We will all be the same in the grave.

So during our lifetime we will be diverse!

The motive of oblivion, memory loss:

I don’t remember how the war ended,

and I don’t remember how old you are now

This motive is not accidental. The poem was written before leaving the USSR. Memory loss is a kind of shield that helps you start a new life

Already in his early work, Brodsky’s attraction to philosophical problems is noticeable: being - space - time - man. According to the poet himself, he is most interested in time and the effect it has on a person, how it “changes him, how it sharpens him...”.

However, in Brodsky’s poetic world, philosophical abstractions, metaphysical images and everyday reality, the mythological past and modern times intricately coexist. reality:

“How long have I been trampling...”

“And circling around the room like a shaman,

I reel in like a ball

Take upon yourself its emptiness, so that your soul

Knew something that God knows"

Hence the motifs of darkness, emptiness, silence, death, melancholy, silence, doom, hopelessness:

“Conversation with a Celestial”, “Loneliness”, "Garden" and etc.

Farewell my garden!

How long?.. Forever.

Keep within yourself the silence of the dawn,

great garden, dropping years

to the poet's bitter idyll.

“I always said that fate is a game...”

I'm sitting by the window. I washed the dishes.

I was happy here, and I won't be again.

I wrote that the light bulb contains the horror of the floor.

That love, as an act, is devoid of a verb.

the theme of creativity, words, speech, otherwise - poetry, language, developed in his poems and statements of the 70s-90s. “Language is not the medium of poetry; on the contrary, the poet is a means or instrument of language...” Instead of God - language

Theme of the story. For Brodsky, history is not a unidirectional process, as it is understood in monotheistic religions, Hegel or Marxism, but it is not completely cyclical, but rather mirror-like: the past is reflected in the future. This is what the poem is all about. "Afternoon in the Room" :

We will not die when the time comes!

But through a nail

will scrape us off the amalgam

some child!

I was reproached for everything except the weather, and I myself often threatened myself with severe retribution. But soon, as they say, I will take off my shoulder straps and become just one star.
I. Brodsky

Joseph Brodsky is an exiled poet. For too long, he and his poetry were erased from the history of Russian literature. Nowadays Brodsky’s personality and his poetry evoke contradictory feelings. His poems are admired, but at the same time, many are still ashamed of the trial in 1964, when the poet was accused of parasitism and sent into exile, for his expulsion from the country in 1972.

The poetry of Joseph Brodsky is complex and highly cultured. A. A. Akhmatova had a great influence on his work. Their meeting was decisive. The poetess gave him great support, looked after him, saw in him an imitator and heir to the poetry of the Silver Age. However, Brodsky's position in this capacity was difficult. The unfavorable situation in the country predetermined Brodsky’s transition from “longing for world culture” to “free speech.”

In his lyrics, he refers to antiquity, but the ancient heroes in his poems correspond to ordinary and, to some extent, everyday images. Brodsky's lyrics are distinguished by complex syntax. The poet in his work turns to such poetic genres as the sonnet and eclogue (“Autumn Cry of the Hawk”, “Christmas Romance”). In 1958, Brodsky wrote the poem “Pilgrims,” which is distinguished by a special artistic vision. In 1987, the poet was awarded the Nobel Prize for his contribution to literature.

In his poetry, Brodsky turns to eternal themes, biblical ones; themes of love and homeland arise in his work. The avant-garde is no stranger to his poetry. A special feature of Brodsky’s poetics is that the artistic language of his works forms a whole spectrum of shades. The technique of contrast plays a large role in Brodsky's poetry. The poet compares the most specific phenomena with general phenomena.

The lyrical hero of Brodsky's poems is a giant, observing from a bird's eye view what is happening below. He is between heaven and earth, and everything that happens “below”, everything from the position of the social structure is transitory and passing for him. Only eternity is important, since it always exists. The main images and experiences of Brodsky's poetry are stars, skies, etc. Images that require philosophical understanding (desert, darkness, air, etc.) acquire particular significance. This means that, along with eternal themes (for example, good and evil), the theme of death appears in Brodsky’s poetry, marking a tragic beginning.
In the 1960s In the poet’s lyrics, motives for reorganizing the world arise, because “the world remains false.” During this period, Brodsky wrote the poem “I walked past wild beast into a cage." It is part of the cycle “The century will soon end” (“The century will soon end, but I will end sooner...”). The lyrical hero of this poem bears the imprint of time.

Before emigrating, Brodsky turned to the Christian idea in his work. In his poetry of the 1970s. a biblical text appears, which has its own conflict, its own development of events. But at the time of the poet’s expulsion from the country, the biblical story disappears from his poetry. Later he returns to this topic again, and then his “Christmas” poems appear.
In the poems “Christmas Romance” and “Christmas Star”, lyrical images are associated with biblical texts.

Everything seemed huge to him: his mother’s breasts, the yellow steam from the ox’s nostrils, the Magi - Balthazar, Gaspard, Melchior; their gifts dragged in here.. He was just a dot. And the point was the star. Attentively, without blinking, through the sparse clouds, the star looked into the cave at the child lying in the manger from afar, from the depths of the Universe, from its other end. And this was the Father's gaze.

The poem “Pilgrims” is similar in style to the poems of N. A. Nekrasov (“And they will go like the burning sun...”), in it the idea of the eternity of existence arises (“The world remains eternal”). The image of the poet in this poem is interpreted traditionally. His role is to go through the world and improve something in it. Past the lists of temples, past temples and bars, past luxurious cemeteries, past large bazaars, peace and sorrow past, past Mecca and Rome, the blue sun of the sky, pilgrims walk across the earth. They are crippled, hunchbacked, hungry, half dressed, their eyes are full of sunset, their hearts are full of dawn. Behind them the deserts are singing, lightning is flashing, the stars are burning above them, and the birds are hoarsely shouting to them: that the world will remain the same, yes, will remain the same - dazzlingly snowy, and doubtfully tender, the world will remain false, the world will remain eternal, perhaps comprehensible, but still endless. And that means there will be no sense in believing in yourself and in God. ...And that means that only the illusion and the road remain. And be above the earth for sunsets, and be above the earth for dawns. Fertilize it for the soldiers. The poets should approve it.

In the poem “The Autumn Cry of a Hawk,” the leading motif is the motif of flight. The lyrical image is a bird. The hawk soars higher and higher, where there is no longer oxygen and there is nothing to breathe. The autumn cry of a hawk is a cry of farewell. The children below catch the “flakes”, not realizing that they are the wings of a bird. Everything is higher. Into the ionosphere. Into the astronomically objective hell of birds, where there is no oxygen, where instead of millet there is cereal from distant stars. What is heights for bipeds is the opposite for birds. Not in the cerebellum, but in the sacs of the lungs, he guesses: there is no escape. And then he screams. From a beak bent like a hook, similar to the squeal of Erinyes, a mechanical, unbearable sound breaks out and flies outward, the sound of steel digging into aluminum...

Brodsky is a unique poet. His contribution to Russian literature and culture is invaluable. He changed the flow and tonality of Russian verse, giving it a different sound. Despite all the hardships, the poet lived decent life, and maybe “fate turned out to be generous to him.”

Literature and library science

However, through the comprehension of these individual spaces and their existence, Brodsky deduced general laws. Brodsky is a historian of intertemporal collisions and events by studying which one can understand what is common to all human history. This means that Brodsky, a follower of classical poetics at his core, uses in his poems only the vocabulary that best suits his intention. Brodsky can change stable word forms at will and renounces the constancy of meter in one poem.

3. Ideological, thematic and artistic features of Brodsky’s lyrics.

One of the main features of Brodsky's poetics is the philosophical nature of his work. Hence a certain set of topics that concern him. The poet sees everything through the prism of philosophy, trying to understand the rational through its internal logic, the spiritual purpose for man. For Brodsky, everything that happens in the world is just a kind of “given” through which eternal laws and stable formulas of life can be derived. Through the individual he can deduce the nature of something more global. For him, the external world is not just a single objective space, but filled with its own internal worlds, each of which lives according to its own laws, speaks its own language. However, through the comprehension of these individual spaces and their existence, Brodsky deduced general laws.The same applies to the person whom the poet considered as an object, with his own space and time. But, trying to understand the essence of things, to deduce the “metaphysical properties” of objects, he does not try to solve problems, untie knots, or help. Everything remains at the level of “pure understanding”. And yet, without actively participating in what is happening, as a participant, rejecting the role of both “leader” and “follower”, he finds the only solution - to transform what he sees in the outside world into some kind of philosophical reflections, to create his own inner worlds. The subject of his consideration is often not individual persons or characters, but collisions that are repeated in human relations of different eras. The heroes that captivate him are leaders, emperors and slaves subordinate to them, followers.Brodsky is a historian of intertemporal collisions and events, by studying which one can understand what is common to all human history. Thus, standing in the position of an outsider, he has the opportunity to more clearly and accurately describe what is happening, and deeply penetrate into the essence of things.

another one distinguishing feature Brodsky is the conceptuality of his poetics. He strives to reveal the idea, the thought in its purity, it is very important that the clarity of understanding is mirrored in the word, reasoning, text, be it a poem, drama or essay.And in his desire to express his vision, his idea of what is happening externally, as clearly as possible, he uses all possible ways and methods. And, above all, he abandons the “purity of poetic style.” This means that Brodsky, who is basically an adherent of “classical poetics,” uses in his poems only the vocabulary that best suits his intention. He can afford to use rude, colloquial, even obscene expressions. Brodsky can change stable word forms at will and renounces the constancy of meter in one poem. And this is all for the sake of the only precise definition, the derivation of a clear and correct aphorism. And the poet uses this quite often; I’ll give just a few examples.

Look how naked

and sir, I am grieving in the Lord, and this

one thing will save you from answering.

But this is a confirmation and a sign,

what's in poverty

he who drags out his days will not be afraid of theft,

what I put into the idea of camouflage.

(“Conversation with a Celestial”)

Or a bullet to the temple, as if instead of a mistake with a finger,

or pull it out of here with a new Christ.

It’s not appropriate for the mind to run wild yet,

but spitting on the wall.

("The End of a Beautiful Era")

Brodsky does not want to be intrusive or sentimental and therefore depersonalizes the first person in his poems as much as possible. All this is done in order to achieve a certain freedom of relations in the description of the surrounding world, to remove those elements that complicate understanding. Creativity for a poet is not only a form of existence, but also a certain possibility of deriving the formula of Life and resolving eternal questions.

The poet chooses a maxim as a precise tool for expressing his idea. The peculiarity of Brodsky’s use of it is that it can exist outside the context of the poem, which characterizes its quality as aphorism. According to Mikhail Kreps, a researcher of the work of Joseph Brodsky, maxims can be divided into main types: - inference - aphorism - ironic statement - paradox.Only fish in the seas know the price of freedom. (“The End of a Beautiful Era”) Life is only a conversation in the face of silence. ("Gorbunov and Gorchakov")

Of the poetic means, Joseph Brodsky uses practically everything that is possible - these are metaphors, paraphrases, epithets, oxymorons, metonymies, allegories. Old Church Slavonicisms, Americanisms, and author’s neologisms participate in the synthesis of various thematic levels in poetry. Euphemisms are also not avoided - words or phrases used by him instead of obscene or intimate ones, although frank colloquial expressions also occur. The poet refuses phraseological units as stable combinations that interfere with the pure perception of the author's idea. Brodsky pays no less attention to the phonic (sound) level of his poems. Very often he uses sound repetitions, onomatopoeia, alliteration, assonance, and paronymic attraction. To the many versions that explain why the mature I. Brodsky writes unusually long poems, why he tries and synthesizes many genres and speech styles, one can add one more: it is not exactly him who does this. This probably happens because he is trying to make the poem a “resultant” or “at least a vector,” on the one hand, of his own “I” and the norm regulating the statement (genre, style, “magnitude of construction”), and on the other, limitless the freedom that opens up in language. When the “I” dominates, the poems remain traditional in their structure, unfold according to the laws of the lyrical plot, and are limited by the traditional volume, which allows them to embody “a moment of heartfelt concentration” (Hegel). When language wins, style and genre become indifferent (they are not in language), and the endless possibilities of the word as a carrier of metaphysical meanings open up. Therefore, the point is not at all that the great poems of I. Brodsky “seem to speak with infinity itself, deny the fear of non-existence, the prospect of eternal separation, flood it with themselves, like the sea,” and “the author is obsessed with the idea of \u200b\u200binding, filling with speech tissue the gaping at his feet abyss." From this point of view, the word and the entire “speech fabric” of poetry appear as something secondary, as a way, an opportunity, if not to overcome, then to hide (“fill in”, “cover up”) the essential (fear of the finitude of human life). The word itself, with its possibilities and meanings, becomes optional, because its main function is to “hide” something. Therefore, ideally, from this point of view, I. Brodsky’s poems should strive to become an analogue of vocalization - a non-verbalized expression of a state. Meanwhile, no one doubts the load (and even semantic congestion) of the word in his poems, where a auxiliary word can be placed in the position of a full-valued word, where endless line breaks, crushing the syntagma, mark a difficult, impetuous movement, opening up unexpected layers of meaning. It is rather a movement in search of meanings and Meaning, a movement into the endless perspective of language, beyond which the significance of one’s own “I” is lost, the finitude and limitations of which are secured by line breaks, each of which may turn out to be the last point in the life of the “I”, but the movement itself is endless. This is how you plastically consolidate” the effect of the finite “I”, the infinity of language and the limitlessness of metaphysics. Therefore, poems such as “The Song of Cape Cod” or “The Autumn Cry of the Hawk” can only be completed, but not completed; one can exhaust the “moment of heartfelt concentration”, but by language. In such verses, I. Brodsky ceases to be a poet, a bearer of truth, the only subject of consciousness. He becomes rather a subject of cognition, revealing the logic of the meanings and images of language.

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Introduction

Joseph Alexandrovich Brodsky is an outstanding Russian (as he himself always claimed) poet, essayist, and playwright. He was the youngest of the Nobel laureates. Already at the age of twenty, he realized himself as an instrument of his native language and submitted to this mission. The result is nine books of poetry and a play in Russian and a book of essays in English language, not counting many periodic publications. All this was published in the West, mainly in the USA, where Joseph Brodsky has lived since 1972.

Genuine poets, and not just mercenaries and conscripts from poetry, love most of all those poems that they have not yet completed.

It was not easy to force the poet to list his favorite poems out of everything he wrote. Joseph Brodsky did not want to republish some of his old poems and poems. He was quite cautious and reserved about the mass publication of his poems in Russia.

Brodsky was far ahead of his time in the depth of his thoughts. The number of problems he raises in his works is enormous. He considered human society in the dynamics of its cultural development under the prism of the universal, spiritual. It was culture that he considered the only hope for survival, for the salvation of society. But most of all Brodsky was interested in language as a form of cultural existence. Language, according to Brodsky, is a thread stretched from the past to the future, connecting space and time.

1. The creative path of Joseph Brodsky

Brodsky was born on May 24, 1940 in Leningrad. He, perhaps the most “non-Soviet” citizen of the USSR, was named Joseph in honor of Stalin. From an early age, much in Brodsky’s life was symbolic. My childhood was spent in a small apartment in the same “St. Petersburg” house where D.S. lived before the revolution. Merezhkovsky and Z.N. Gippius and where they went to emigrate from. Alfred Nobel once studied at the school Brodsky attended: in 1986 Brodsky would become a Nobel laureate. He recalled his childhood reluctantly: “An ordinary childhood. I don’t think childhood experiences play an important role in later development.”

At the turn of the 1950s-1960s, he studied foreign languages (English and Polish), attended lectures at the Faculty of Philology of Leningrad State University. In 1959, he became acquainted with a collection of poems by E.A. Baratynsky, after which he finally became stronger in his desire to become a poet: “I had nothing to read, and when I found this book and read it, then I understood everything what I needed to do...”.

Brodsky's reading impressions of this time were unsystematic, but fruitful for the development of his poetic voice. Brodsky’s first poems, according to his own vocation, arose “out of oblivion”: “We came to literature from God knows where, practically only from the fact of our existence, from the depths” (Conversation between Brodsky and J. Glad). Restoring cultural continuity for Brodsky’s generation meant, first of all, turning to Russian poetry of the Silver Age. However, here too Brodsky stands apart. By his own admission, he did not “understand” Pasternak until he was 24 years old, until that time he had not read Mandelstam, and almost did not know (before personal acquaintance) Akhmatova’s lyrics. For Brodsky, from his first independent steps in literature to the end of his life, the work of M. Tsvetaeva was of unconditional value. Brodsky identifies himself more with the poets of the early 19th century. In Stansy to the City (1962) he correlates his fate with the fate of Lermontov. But here, too, the poet’s characteristic feature is reflected: the fear of being like someone else, of dissolving one’s individuality in other people’s meanings. Brodsky demonstratively prefers the lyrics of E. Baratynsky, K. Batyushkov and P. Vyazemsky to Pushkin’s traditions. In the poem 1961 Procession, Pushkin's motifs are presented in a deliberately aloof, detached manner, and placed by the author in an alien context, they begin to sound frankly ironic.

Brodsky's creative preferences were determined not only by the desire to avoid banality. The aristocratic poise of Pushkin’s “enlightened” muse was less close to Brodsky than the tradition of Russian philosophical poetry. Brodsky adopted a meditative intonation, a penchant for poetic reflection, and dramatic thought. Gradually, he goes further into the past of poetry, actively absorbing the heritage of the 18th century - Lomonosov, Derzhavin, Dmitriev. Mastering the pre-Pushkin layers of Russian literature allows him to see vast areas of poetic language. Brodsky realized the need to synthesize continuity and identify new expressive possibilities of Russian classical verse.

2. Cosmogony of I. Brodsky

In the early 1960s, he began working as a professional translator under contract with a number of publishing houses. At the same time, he became acquainted with the poetry of the English metaphysical poet John Donne, to whom he dedicated the Great Elegy to John Donne (1963). Brodsky's translations from Donne are often inaccurate and not very successful. But Brodsky’s original work became a unique experience in introducing the Russian word to the hitherto alien experience of baroque European poetry of the “metaphysical school.” Brodsky’s lyrics will absorb the basic principles of “metaphysical” thinking: rejection of the cult of experiences of the lyrical “I” in poetry, “dry” courageous intellectuality, dramatic and personal situation of the lyrical monologue, often with a tense sense of the interlocutor, colloquial tone, use of “non-poetic” vocabulary ( colloquialisms, vulgarisms, scientific, technical concepts), constructing a text as a series of evidence in favor of a statement. Brodsky inherits from Donne and other metaphysical poets and the “calling card” of the school - the so-called. “concetti” (from Italian - “concept”) is a special type of metaphor that brings together distant concepts and images that, at first glance, have nothing in common with each other. And the poets of the English Baroque in the 17th century, and Brodsky in the 20th century. used such metaphors to restore broken connections in a world that seemed tragically broken to them. Such metaphors are at the heart of most of Brodsky's works.

Brodsky's metaphysical flights and metaphorical delights coexisted with a fear of lofty words and a feeling of often bad taste in them. Hence his desire to balance the poetic with the prosaic, to “understate” lofty images, or, as the poet himself put it, “aiming at a ‘descending metaphor.’” It is significant how Brodsky describes his first religious experiences associated with reading the Bible: “at the age of 24- x or 23, I don’t remember exactly, I read the Old and New Testaments for the first time. And this made perhaps the strongest impression on me in my life. That is, the metaphysical horizons of Judaism and Christianity made quite a strong impression. The Bible is difficult was available in those years - I first read the Bhagavad Gita, the Mahabharata, and only after that the Bible came into my hands. Of course, I realized that the metaphysical horizons offered by Christianity are less significant than those offered by Hinduism. But I made my a choice towards the ideals of Christianity, if you like... I would, I must say, use the expression Judeo-Christianity more often, because one is unthinkable without the other. And, in general, this is approximately the sphere or the parameters that define mine, if not necessarily intellectual, then at least some kind of mental activity.”

On November 29, 1963, a letter against Brodsky was published in the newspaper “Evening Leningrad” signed by A. Ionin, Y. Lerner, M. Medvedev. In 1964 he was arrested.

After the first closed judicial trial the poet was placed in a judicial mental hospital, where he stayed for three weeks, but was declared mentally healthy and able to work. The second, open, trial in the case of Brodsky, accused of parasitism, took place on March 13, 1964. The court's decision was deportation for 5 years with mandatory involvement in physical labor.

He served his exile in the village of Norinskaya, Arkhangelsk region. There was enough free time here, and it was completely filled with creativity. Here he created the most significant works of the pre-emigrant period: To One Poet, Two Hours in a Tank, New Stanzas for Augusta, Northern Mail, Letter in a Bottle, etc.

Brodsky was released early. Instead of five, he spent a year and a half in exile and then received permission to return to Leningrad. “What a biography they’re giving our redhead!” - exclaimed A. Akhmatova at the height of the campaign against Brodsky, anticipating what service his persecutors would do him by endowing him with a martyr's aura.

In 1965, in the wake of outrage over the persecution of the poet, Brodsky's first book, Poems and Poems, was published in New York.

In his work of these years, experimentation based on the classical tradition gives increasingly interesting results. Thus, in 1966 experiments with syllabic verse of the 18th century. clothed in dense writing style Imitation of satires composed by Cantemir. Brodsky transforms the classic syllabic-tonic system of versification for Russian poetry from two sides: not only through appealing to the past experience of two centuries ago, but also through ultra-modern exercises in technique at the intersection of blank verse and rhythmic prose - for example, Stopping in the Desert (1966), which later gave the name to a poetry collection published in 1972 in the USA.

The main genre in Brodsky’s work becomes the easily recognizable long elegy, a kind of semi-poem - aphoristic, melancholy, ironically reflective, with a fragile syntax aimed at updating a stable language. Brodsky can update the language, like the futurist poets, through experiments with stanzas and “typesetting graphics” (i.e., playing with “ appearance» printed text and the associations it evokes). Thus, in the poem 1967 Fountain, thanks to the special stanza and distribution of words across the space of the page, the printed text resembles the outline of a multi-tiered park fountain.

In the pre-emigrant period of Brodsky's work, tragic irony was invariably shaded by a generous perception of the world and emotional openness. In the future, the proportions between these principles will change significantly. Emotional openness will go away, and its place will be taken by a willingness to stoically accept the tragedy of existence.

In 1972 Brodsky left the USSR. He leaves on an Israeli visa, but settles in the United States, where he teaches Russian literature at various universities until the end of his days. From now on, Brodsky, in his own words, is doomed to a “fictitious situation” - a poetic existence in a foreign language environment, where a narrow circle of Russian-speaking readers is balanced by international recognition.

Leaving his homeland, Brodsky writes a letter Secretary General Central Committee of the CPSU to L.I. Brezhnev: “Dear Leonid Ilyich, leaving Russia not of my own free will, as you may be aware of, I decide to turn to you with a request, the right to which is given to me by the firm consciousness that everything that made by me in 15 years literary work, serves and will still serve only for the glory of Russian culture, nothing else. I want to ask you to give me the opportunity to preserve my existence, my presence in the literary process. At least as a translator - in the capacity in which I have acted until now.” However, his request remained unanswered.

Even Brodsky’s parents were not allowed to go to their son at the request of doctors (Brodsky, as a heart patient, needed special care). He was not allowed to come to Leningrad himself for the funeral of his mother (1983) and father (1985). This was largely responsible for his later reluctance to attend hometown in the 1990s.

In the USA, Brodsky began writing in English. His English-language creativity was expressed primarily in the genre of essays (collections Less than one, 1986, On grief and reason, 1995). Basically, Brodsky's essays consisted of articles written on request as prefaces to editions of works by Russian and Western classics (A. Akhmatova, M. Tsvetaeva, W. Auden, C. Cavafy, etc.). On his own initiative, as he admitted, he wrote only 2 or 3 articles. In 1980, Brodsky received US citizenship.

“The biography of a poet is in the style of his language.” This postulate of Brodsky determines the evolution of his lyrics. By the mid-1970s, Brodsky's lyrics were enriched with complex syntactic structures, constant so-called. “enjambment” (i.e. transfer of thought, continuation of a phrase into the next line or stanza, discrepancy between the boundaries of the sentence and the line). Contemporaries testified to the poet's constant desire to read his poems aloud, even when the situation was not conducive to it. The poet has almost no simple sentences. Endless complex sentences imply the endless development of thought, its test for truth. Brodsky the poet does not take anything for granted. Each utterance clarifies and “judges” itself. Hence the innumerable “but”, “although”, “therefore”, “not so much... as” in his poetic language.

The experience of the “mature” Brodsky is the experience of a deep experience of the tragedy of existence. Brodsky often violates grammar, resorts to shifted, incorrect speech, conveying tragedy not only in the subject of the image, but above all in the language.

The abandoned Fatherland is gradually elevated in Brodsky's poetic consciousness into a grandiose surreal image of the empire. This image is wider than reality Soviet Union. It becomes a global symbol of the decline of world culture. Giving a clear account of the meaninglessness of life (Mexican Romancero, 1976), Brodsky’s lyrical hero, like the ancient Stoics, tries to find support in the highest principles of the universe, indifferent to man. Time appears in Brodsky’s poetry as such a higher principle, which generally replaces God. “All my poems are more or less about the same thing: about Time,” the poet said in one of his interviews. But at the same time, in his poetic universe there is another universal category that is able to curb Time and defeat it. This is the Language, the Word (Fifth Anniversary, 1978). The process of poetic creativity becomes the only possibility of overcoming Time, and therefore death, a form of victory over death. The lines prolong life: ...I don’t know in which land I will lie down. / Squeak, squeak pen! Translate the Paper (Fifth Anniversary, 1977). For Brodsky, “the poet is an instrument of language.” It is not the poet who uses language, but language expresses itself through the poet, who only has to tune his ear correctly. But at the same time, this instrument is life-saving and completely free.

Left alone with Language and Time, Brodsky’s lyrical hero loses all emotional connections with the world of things, as if leaving his body and rising to an almost airless height (Autumn Cry of a Hawk, 1975). From here, however, he continues to discern with clarity and indifference the details of the world left below.

Brodsky's verbosity, his incredible lengths are due to the desire to curb Time with Language.

In 1978, Brodsky became an honorary member of the American Academy of Arts, from which he, however, left in protest against the election of Yevgeny Yevtushenko as an honorary member of the Academy.

In December 1987, he became a writer-winner of the Nobel Prize in Literature - “for comprehensive authorship, full of clarity of thought and poetic depth,” as stated in the official resolution of the Nobel Committee.

The Nobel Prize brought financial independence and new worries. Brodsky devotes a lot of time to settling numerous immigrants from Russia in America.

Since the late 1980s, Brodsky’s work has gradually returned to his homeland, but he himself invariably rejects offers to come to Russia even temporarily. At the same time, in exile, he actively supports and promotes Russian culture. In 1995, Brodsky was awarded the title of honorary citizen of St. Petersburg.

3. Literary views of Joseph Brodsky

Brodsky poet metaphysical lyrics

Joseph Brodsky is often called "the last real innovator", "a poet of a new dimension" or "a poet of a new vision".

In all the “definitions” of Brodsky the poet, the word “new” is present. And this, I think, is no coincidence.

He is a poet and thinker, striking in his unconventional thoughts. Any cultured person follows the path developed by humanity, and his pride lies in the fact that he repeats the latest achievements of culture. Brodsky, on the contrary, avoids reading what dozens of generations before him sought to understand.

To the question: “What is your poetic hierarchy?” Brodsky responded in an interview with John Glad: “Well, first of all we are talking about values, although not only about values. The fact is that every writer constantly changes his assessments throughout his life. In his mind there is, as it were, a table of ranks, let's say, so-and-so is below, and so-and-so is above... In general, it seems to me that a writer, at least I, builds this scale for the following reasons: this or that author, this or that idea is more important for him than another author or another idea - simply because this author absorbs the previous ones."

“Ultimately, every writer strives for the same thing: to overtake or retain lost or current time.”

Language, according to Brodsky, is anatomy, the highest creative value, language is primary.

Brodsky's work explores the conflict between two philosophical categories: space and time.

“What interests me most,” writes Brodsky, “and has always interested me, is time and the effect it has on a person, how it changes him, how he sharpens him, that is, this is practical time in its duration. This, if whatever happens to a person during life, what time does to a person, how it transforms him... in fact, literature is not about life, and life itself is not about life, but about two categories, more or less less than two: space and time... time is a much more interesting category for me than space.”

The poet does not like space because it expands in breadth, that is, it leads to nowhere. Time loves because it ultimately ends with eternity, passes into it. Hence the conflict between these categories, which partly takes the form of opposition between white and black.

“The dictate of language is what is colloquially called the dictate of the muse; in fact, it is not the muse that dictates to you, but the language that exists in you at a certain level, against your will,” Brodsky said in one interview; He repeated this idea in his Nobel speech.

What ontological value does the artistic word have in modern world, which puts the individual before a choice: “to live his own life, and not one imposed or prescribed from the outside, even the most noble-looking life” or “to waste this only chance on repeating someone else’s appearance, someone else’s experience, on a tautology”?

The word as resistance to any kind of despotism, as the future of culture, realized in its present.

“A poet’s speech takes him far...” - Brodsky embodied these words of Tsvetaeva in his poetic experience, as well as in the life that cast him on a distant shore.

Conclusion

On May 24, 1980, on his fortieth birthday, Brodsky wrote a poem that summed up not only his own life over the previous years, but to a certain extent the search for Russian poetry in the field of language, poetic form, cultural and historical context, artistic and ethical freedom. Here is not only the fate of Brodsky, but, in general, the fate of the Russian poet in general.

I entered a cage instead of a wild beast,

burned out his sentence and nickname with a nail in the barracks,

lived by the sea, played roulette,

dined with God knows who in a tailcoat.

From the heights of the glacier I looked around half the world,

He drowned three times and was cut open twice.

I abandoned the country that nurtured me.

Of those who have forgotten me, a city can be formed.

I wandered in the steppes, remembering the cries of the Hun,

put on himself, which is coming back into fashion,

sowed rye, covered the threshing floor with black felt,

and did not drink only dry water.

I let the blued pupil of the convoy into my dreams,

ate the bread of exile, leaving no crusts,

allowed his cords all sounds besides howling;

switched to a whisper. Now I'm forty.

What can I tell you about life? Which turned out to be long.

It is only with grief that I feel solidarity.

But until they filled my mouth with clay,

only gratitude will be heard from it.

Brodsky considers the poet’s only duty to society to be “to write well.” In fact, not only before society, but also before world culture. The poet's task is to find his place in culture and correspond to it. Which, I think, Brodsky did successfully.

The loss of connection with the living, changing Russian language cannot pass without leaving a trace; this is payment for fate, which, through the poet’s suffering, torment and fantasies, gives him the right to feel fully himself as an instrument of language at the moment when language finds itself not in the usual state of givenness, but in a position of elusive value, when the autumn cry of a hawk acquires a painful shrillness.

Reviewing the work of Joseph Brodsky, you involuntarily come to the conclusion: this is a poet of a new vision. A poet like no other in the history of Russian literature of the 20th century.

Bibliography

1. Brodsky I. Selected poems. // M., "Panorama", 1994.

2. Brodsky I. Part of speech. Selected Poems. // M., " Fiction", 1990

3. Brodsky I. Letters to a Roman friend. // Leningrad, "Ex Libris", 1991.

4. Gordin Y. "The Brodsky case: the story of one massacre." // and. "Neva", 1989, No. 2.

5. Yakimchuk N. “I worked, I wrote poetry.” The case of Joseph Brodsky. // and. "Youth", 1989, No. 2.

6.Baevsky V.S. History of Russian poetry. 1730-1980 M.: New school, 1996.

7.Barannikov A.V., Kalganova T.A., Rybchenkova L.M. Russian literature of the twentieth century. Reader for 11th grade. - M.: Education, 1993.

8. Prishchepa V.P., Prishchepa V.A. Literature of Russian abroad. Tutorial. - Abakan, 1994.

9. materials from the site http://www.ed.vseved.ru/ From the “Nobel Lecture” by Joseph Brodsky

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Artistic features of the poetry of Joseph Brodsky. The main stages of creativity

1. The creative path of Joseph Brodsky

2. Cosmogony of I. Brodsky

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Artistic features of the poetry of Joseph Brodsky. The main stages of creativity

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2. Cosmogony of I. Brodsky

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