Features of Bella Akhmadulina's lyrics. Analysis of the philosophical and aesthetic basis of B.A.’s poetics

In particular, the author’s assumption that one of the poems included in the collection “Blizzard” was intended or dedicated to himself. Or somehow echoed the poet’s feelings towards the author of the memoirs. I was interested in the history of this poem, especially since for Akhmadulina, as I now understand, it stands in a separate row and is connected with a very important event in her life.

We are talking about the poem “Farewell”. It is better known to the general public as a song written by composer A. Petrov for the film “Cruel Romance” by Eldar Ryazanov. The composer used part of the poem - one stanza did not fit into the poetics of the romance. The song became an instant hit, just like the others musical compositions this movie. “Farewell,” created by Akhmadulina in 1960, thus sounded like a truly “cruel romance” almost a quarter of a century after the poem was written. In the film, we heard these words from the lips of Larisa (her role was played by actress Larisa Guzeeva) brilliantly performed by singer Valentina Ponomareva in this version:

And finally I will say:
goodbye, don't oblige to love.
I'm going crazy. Or I rise
To high degree madness.

How did you love? - you took a sip
destruction. That's not the point.
How did you love? - you ruined
but he ruined it so clumsily.

Small temple work
still doing it. But my hands fell
and in a flock, diagonally,
smells and sounds go away.

And finally I will say:
goodbye, don't oblige to love.
I'm going crazy. Or I rise
to a high degree of madness...

Compare with full text poems.

Parting

And finally I will say:
goodbye, don't oblige to love.
I'm going crazy. Or I rise
to a high degree of insanity.

How did you love? - you took a sip
destruction. That's not the point.
How did you love? - you ruined
but he ruined it so clumsily.

The cruelty of a miss... Oh no
I'm sorry to you. Alive body
and wanders, sees the white light,
but my body was empty.

Small temple work
still doing it. But my hands fell
and in a flock, diagonally,
smells and sounds go away.

Could this poem somehow become a dedication to the author of the mentioned memoirs? I doubt. His lines correlate with a very significant and biographically connected event with a tragic event for Akhmadulina the woman. You can understand its meaning and the state of the poet in which “Farewell” was created by referring to her biography.

Akhmadulina came to Tashkent in 1976, the collection “Blizzard” was published in 1977. Would she really attach poems written 17 years ago (the addressee, as it turned out, can be seen quite clearly in them) to the Tashkent meeting? Who could this poem really be dedicated to?

Let's compare biographical facts. I got them almost from primary sources - the memoirs of Bella Akhmadulina and Evgeny Yevtushenko, published online.

They met in 1955, when Bella was 18 years old.
This is how Evgeny Yevtushenko recalls this: “In 1955, I came across touching, childishly chaste lines in the magazine “October”: “Having dropped my head on the lever, the telephone receiver is fast asleep.” And it was worth reading next to it: “In Ukrainian, March is called “berezen”” - and, snorting with pleasure, the couple emerged, almost with a lily in their wet hair, towards the bereznya: carefully. I shuddered sweetly: such rhymes did not lie on the road. He immediately called Zhenya Vinokurov at Oktyabr and asked: “Who is this Akhmadulina?” He said that she was a tenth-grader, went to his literary association at ZIL and was going to enter the Literary Institute. I immediately showed up at this literary association, where I saw her for the first time and heard her selfless recitation of poetry. It was no coincidence that she called her first book “String” - the sound of a tightly stretched string vibrated in her voice, and you even became afraid that it might break. Bella was then a little plump, but indescribably graceful, not walking, but literally flying, barely touching the ground, with pulsating veins marvelously visible through her satin skin, where the mixed blood of Tatar-Mongol nomads and Italian revolutionaries from the Stopani family jumped, in whose honor she was named Moscow lane. Although her plump face was round, like a Siberian swan, she did not look like any earthly creature.

Her slanted, not just Asian, but some kind of alien eyes looked as if not at the people themselves, but through them at something invisible to anyone. The voice magically shimmered and bewitched not only when reading poetry, but also in simple everyday conversation, giving a lacy grandiloquence to even prosaic trifles. Bella was astonishing, like a bird of paradise that had accidentally flown to us, although she was wearing a cheap beige suit from the Bolshevichka factory, a Komsomol badge on her chest, ordinary sandals and a wreath-style country braid, which her wounded rivals said was braided. In fact, she had no equal rivals, at least young ones, neither in poetry nor in beauty. Her sense of her own uniqueness did not conceal anything disdainful of others; she was kind and helpful, but for this it was even more difficult to forgive her. She was mesmerizing. In her behavior, even artificiality became natural. She was the embodiment of artistry in every gesture and movement - only Boris Pasternak looked like that. Only he hummed, and Bella rang...”

This is the main evidence of the meeting of two poets. In three years, fate will bring them together in marriage.
For now, she is a schoolgirl. Having received the certificate, Bella, on the advice of her family, made an attempt to enter the Faculty of Journalism of Moscow State University, but she could not answer something about the question about the Pravda newspaper - she simply did not read this publication. A year later, in 1956, she became a student at the Literary Institute and got a job at the Metrostroyevets newspaper, where her poems were published.

How do unions of two young, remarkable and talented people leading a bohemian lifestyle most often end? Three years later they divorced. But the cause was not just a family boat that crashed into everyday life. Bella got pregnant. And she wanted to have a child. Yevtushenko protested, believing that he himself had not left adolescence. “I did not understand then that if a man forces the woman he loves to kill their common child in her womb, then he is killing her love for himself. ...We didn't quarrel. Our love did not die - it ceased to exist,” recalls Yevtushenko.

It was then, in 1960, that “Farewell” was written.

I moved into a room above the Eliseevsky store - let's continue Yevtushenko's story with slight abbreviations - so tiny that the women entering could not avoid the ottoman, and after a couple of months I almost went crazy from the carousel that I had arranged for myself... I made a desperate attempt to save love - I went to her at night without warning... She didn’t open. It was all over... Then I suffered for a long time, thinking that because of my young stupid cruelty, she lost the opportunity to have children - that’s what the doctors told us. But a few years later, when I learned that she had given birth to a daughter, I thanked God... But still, when I see her or just hear her voice, I want to cry.”

So this is what it is - the high degree of madness of Akhmadulina’s feelings and the secret of the words of “Farewell”...

How did you love? - you took a sip
Death...

Wine sipped from mouth to mouth... Death...

How did you love? - you ruined
but he ruined it so clumsily.

The cruelty of a miss... Oh no
I'm sorry to you. Alive body
and wanders, sees the white light,
but my body was empty.

The body that bore the fruit of love was empty... And everything was gone - the smells, the sounds... Love was gone.

She did not forgive the murder. The rejection of an emerging life, no matter how much they convince me otherwise, is a great drama, a shock akin to murder. If, of course, a person has the kind of soul that Bella was endowed with. In general, normal human soul. It is possible (and is it possible?) to take such a step only due to very serious medical or life circumstances. What kind of breakdown of the soul and restructuring of the entire body occurs in this case is known to survivors of abortion. Moreover, men sometimes, although this happens very rarely, suffer mentally no less than their lovers.

Perhaps this tragedy precisely determined the fate of Akhmadulina the woman, who, after an interrupted pregnancy, was told that she would no longer have children. Yevtushenko, gifted with no less ability to feel and think, did not forget main reason rupture. Over time, when the voice of the flesh faded within him, he wrote a summary: “This dependence on the body makes us men curious nonentities, tourists of sex.”

After separation, both Yevtushenko and Akhmadulina remarried more than once until they met faithful companions capable of selfless love.

“My love is my vague argument. I will sing it. And you judge,” Bella Akhmadulina once said.

But is it worth judging the personal lives of poets? This is not what they give us in their poems, although much of what they experience is transformed in that magical crystal, which is probably the poetic gift - greatest reward and the highest test that falls to true poets.
Concluding my short essay, I can only express my opinion: the poem “Farewell” is very personal. It concerned a single person and such an important event in life that it could never be “rededicated” to another.

Tamara SANAEVA.
Photo from the Internet.

Goal: to introduce students to the work of the poetess, to deepen the concepts of lyrical hero, rhyme, poetic meter; continue working with figurative and expressive means of language; develop the skill of analyzing poetic text.

Equipment: collection of poems by Akhmadulina “Favorites”; - Moscow, “Soviet Writer”, 1988; phonogram of the song “It’s been a year on my street” (music by M. Tariverdiev, performed by A. Pugachev), photographs of the poetess, reproduction of the painting “Blue Dancers” by E. Degas.

Progress of the lesson.

1. Organizational moment.
2. Meet the poet

Teacher's word.

Today we will talk about modern poetry. Most recently, on November 29, 2010, one of the brightest representatives of the “poets of the sixties,” Bella Akhmadulina, passed away. Along with her, Evgeny Yevtushenko, Andrei Voznesensky, Robert Rozhdestvensky, Rimma Kazakova, Andrei Bitov, Vasily Aksenov and others are usually named among the most famous writers of the sixties. Akhmadulina is a member of the Union Russian writers and a number of other organizations. She was awarded several orders, in particular, “For Services to the Fatherland, II degree” and “For Services to Fatherland III degrees." In 2004, she became a laureate of the State Prize in the field of literature and art.

Biography

(students prepared in advance tell about the life of the poetess)

Bella Akhatovna Akhmadulina(Isabella) (born April 10, 1937, in Moscow) - Russian poetess.

Brilliant start

Bella Akhmadulina began publishing in 1953, when she was still at school. She attended a literary circle at ZIL under the leadership of E. M. Vinokurov. In 1960 she graduated from the Maxim Gorky Literary Institute. Bella gained fame in the early 1960s with poetic performances at the Polytechnic Museum, Luzhniki, and Moscow University (together with Andrei Andreevich Voznesensky, Evgeniy Aleksandrovich Yevtushenko, Robert Ivanovich Rozhdestvensky), which attracted a huge audience. The sincere, soulful intonation and artistry of the poetess’s very appearance determine the originality of her performing style. Later, in the 1970s, Akhmadulina would speak about the deceptive “On the edge of fatality, along the edge of a rope” ease of these performances (“Get on stage”).

Finding your own style

The first collection of poems by Bella Akhmadulina “String” (1962) is marked by searches own themes. Later, her collections “Music Lessons” (1969), “Poems” (1975; with a foreword by P. G. Antokolsky), “Candle”, “Blizzard” (both 1977) were published; collections of Akhmadulina’s poems were constantly published in periodicals. His own poetic style was formed by the mid-1960s. For the first time in modern Soviet poetry, Akhmadulina spoke in a high poetic style. Sublime vocabulary, metaphorical nature, exquisite stylization of the “ancient” style, musicality and intonation freedom of the verse make her poetry easily recognizable. The very style of her speech is an escape from modernity, the middle, everyday life, a way of creating an ideal microcosm, which Akhmadulina endows with her own values ​​and meanings. The lyrical plot of many of her poems is a communication with the “soul” of an object or landscape (candle, portrait, rain, garden), not without a magical connotation, designed to give them a name, awaken them, bring them out of oblivion. Akhmadulina thus gives her vision to the world around her.

“My friends have beautiful features...”

The aesthetic dominant of Akhmadulina’s work is the desire to sing, to “give thanks” to “any little thing”; her lyrics are filled with declarations of love to the passerby, the reader, but above all to her friends, whom she is ready to forgive, save, protect from an unjust trial. “Friendship” is the fundamental value of her world (poems “My Comrades”, “Winter Isolation”, “Already Bored, and inopportunely”, “The Craft has brought our souls together”, etc.). Glorifying the purity of friendly thoughts, Bella Akhmadulina does not deprive this theme of dramatic overtones: friendship does not save from loneliness, incomplete understanding, from mutual hopelessness (verse “It’s been a year on my street, “Two Cheetahs”): “There is no fiercer love in the world than friendship” (“I’m already bored...”). Liberal criticism was at the same time supportive and condescending, unfriendly and official, reproaching her for mannerism, pompousness, and intimacy: Akhmadulina always avoided, unlike other “sixties” activists, socially significant social topics.

Chosenness motive

Bella Akhmadulina’s lyrics do not reproduce the history of mental suffering, but only point to them: “In the anguish of which I am capable,” “Once, swaying on the edge,” “It happened like this...”. She prefers to speak about the tragic basis of existence in an allegorical form (“Don’t cry for me! I will live...” “Spell”), but more often in poems about poetry, the very process of creativity, which occupy a very large part in her works. great place. Creativity for Akhmadulina and “execution”, “torture”, and the only salvation, the outcome of “earthly torment” (poems “The Word”, “Night”, “Description of the Night”, “It’s So Bad to Live); Akhmadulina’s faith in the word (and loyalty to it), in the indissolubility of “literacy and conscience” is so strong that the overtaking dumbness is tantamount to non-existence for her, the loss of the high justification of her own existence.

Akhmadulina solves the traditional theme of confrontation between the poet and the crowd without the usual denunciation of the uninitiated (the poem “Chills”, the poem “The Tale of Rain”): Moscow bohemia, in conflict with the poet, appears not inescapably hostile, but genetically alien. In the collection “Mystery” (1983), “Garden” (1987; State Prize, 1989) poetic hermeticism, a description of solitary walks, “nightly delusions”, meetings and partings with cherished landscapes, keepers of a secret, the meaning of which cannot be deciphered, is combined with a socio-thematic expansion of poetic space: inhabitants of suburban suburbs, hospitals, unsettled children, pain appear for which Akhmadulina transforms into “participation in love.”

Other faces

Bella Akhmadulina is also known for her translations of Georgian poets (G. Tabidze, S. Chikovani, A. Kandaladze, M. Kvilivadze, etc.) and as the author of bright, high-style essays dedicated to friends, writers and artists [“Dreams about Georgia” , Tbilisi, 1977; fully included in the book of memoirs and essays “A Moment of Being” (M., 1997)]. The story “Many Dogs and a Dog” was published in the unofficial almanac “Metropol” (1979).

Bella Akhmadulina starred in films (“There Lives a Guy Like This,” 1964). (L. M. Shchemeleva)

1. 3. Reading the poem “ON MY STREET FOR ANY YEAR”

On my street for what year
footsteps sound - my friends are leaving.
My friends are slowly leaving
I like that darkness outside the windows.

My friends' affairs have been neglected,
there is no music or singing in their houses,
and only, as before, the Degas girls
blue ones trim their feathers.

Well, well, well, let fear not wake you up
you, defenseless, in the middle of this night.
There is a mysterious passion for betrayal,
my friends, your eyes are clouded.

Oh, loneliness, how cool your character is!
Shining with an iron compass,
how coldly you close the circle,
not heeding useless assurances.

So call me and reward me!
Your darling, caressed by you,
I will console myself by leaning against your chest,
I will wash myself with your blue cold.

Let me stand on tiptoe in your forest,
at the other end of a slow gesture
find foliage and bring it to your face,
and feel orphanhood as bliss.

Grant me the silence of your libraries,
your concerts have strict motives,
and - wise one - I will forget those
who died or are still alive.

And I will know wisdom and sorrow,
mine secret meaning they will trust me with items.
Nature leaning on my shoulders
will announce his childhood secrets.

And then - out of tears, out of darkness,
from the poor ignorance of the past
my friends have beautiful features
will appear and dissolve again.

1959

1. Conversation on issues.

W. - What mood does this poem evoke?

Calm, a little sad, but the sadness is light and light.

U. - Why does this feeling arise?

Friends leave, but they will still return.

U. - What means help us, readers, to feel this state of light sadness? Let's try to find them. First, let's determine the poetic meter of this poem.

(Students write out the first quatrain, make a diagram, determine the meter).

U. So, we have got iambic pentameter, with an extra syllable in even lines.

U. - What meter is this?

Two-syllable, with stress on every second syllable.

W. - That's right. We also talked about the simplicity and lightness of this meter. Here is one proof of the slight sadness that permeates this poem.

W. - What is the rhyme here?

Cross, inaccurate.

U. - Now let’s pay attention to the sound range. What techniques are heard here?

Alliteration. Lots of repeated sounds n, l, m.

U. - Let’s remember phonetics, what sounds are these?

Sonorous.

W. - That's right. And we have already talked about the fact that sonorous sounds are calming.

What other sounds predominate?

Soft and dull. They, in combination with sonorous ones, also have a calming effect.

U. - Is there any other sound design in this poem?

Assonance. Sounds of oh, uh.

W. - Okay. What color is this poem?

From dark blue to light blue, with light splashes of green.

W. - Why?

There are words with shades of color: “darkness”, “little blue”, “night”, “blue”, the foliage is also green.

U. - Technique of color painting. What mood do these colors convey?

It's also sad.

U. - Why is the lyrical heroine sad?

Betrayal.

U. - What is the intonation of this poem?

The intonation is sublime. There are a lot of exclamation marks, there is an appeal.

U. - Who does the lyrical heroine address?

To loneliness. She says her “character is cool.” He asks to “call and reward.” This is personification.

U. - Yes, the loneliness in this poem is alive and quite palpable. But what does the expression “How cool your character is!”

Loneliness is hard to bear. But there is also the personification of “objects will entrust their secret meaning to me”, “Nature, leaning on my shoulders, will announce its childhood secrets.”

W. - That's right. We found an avatar with you, what other paths can we find here?

Epithets. “Mysterious passion”, “cold blue”, “strict motives”, “beautiful features”, etc. Comparisons loneliness with a compass closing the circle,and with the forest, and the heroine with a “darling”, caressed by loneliness.

U. - Did you notice anything unusual in this poem?

Yes, there is an unusual word order in some sentences.

U. - This technique is called inversion. Let's write down the definition of this figurative and expressive means.

Inversion(from Latin inversion permutation) unusual word order. Inversion gives the phrase special expressiveness.

U. - Is there anything incomprehensible in this poem?

The expression “Degas girls// blue ones trim their feathers”, what does it mean?

U. - Here the poet refers to the painting of the French impressionist Edward Degas “Blue Dancers”.

(The teacher shows the picture).

U. - Why do you think Akhmadulina pays attention to this picture, in which “as before, Degas’ blue girls arrange their feathers”?

Because in the lives of friends lyrical heroine a lot has changed, there is no longer “no music, no singing”, only this picture serves as a reminder of the past.

U. - Fine. What is this poem dedicated to?

Friends who upset the heroine, and loneliness.

U. - Why do friends leave? After all, not all of them have a “mysterious passion for betrayal”?

People grow up and have little time left to communicate with each other. Everyone has their own affairs and concerns. And only occasionally do they meet briefly and “dissolve again.” When people are young, they spend more time with friends and make new acquaintances. And in adulthood, they sometimes meet with those closest to them, forgiving them a lot and cherishing them.

U. - That is, a person cannot live without friends? Doesn't family replace them?

No. Not completely. After all, friends remind you of what people were like before, help you immerse yourself in pleasant memories about lost youth, a person again feels young, cheerful and carefree.

U. - The second theme of this poem is loneliness. Most of the poem is dedicated to him. Why?

Due to the resentment and the fact that friends have their own worries, the heroine of this poem most of spends time alone.

U. - Right. But is she afraid of this loneliness? What does she expect from him? I ask you to reflect on this question at home by answering in writing this question, be sure to support your thoughts with examples from the text.

5. Conclusion

Teacher's word.

To summarize, I want to tell you that composer Mikhail Tariverdiev wrote music for this poem. And the resulting song was performed in the film “The Irony of Fate or Enjoy Your Bath” performed by Alla Pugacheva. Let's listen to this wonderful song.

The recording of the composition sounds.

1. Organizing homework.

Answer in writing the question “Is the lyrical heroine afraid of loneliness?” The answer needs to be justified.

T. M. Mironova, Municipal Educational Institution Secondary School No. 22 with UIOP, Elektrostal, Moscow Region

Bella Akhmadullina is the author of beautiful poems, many of which have become popular romances. But she is lost in the galaxy of many famous poets- songwriters. But this woman perfectly sang the most wonderful feeling on earth - love. Few poets knew how, like her, in the face of love, to neglect all the arguments of reason, to surrender to the surging feeling and achieve mutual love, despite any obstacles.

Akhmadullina’s love can be different: passionate, tender, sad, farewell, but never calm. For a poetess, a feeling is a whirlwind of emotions, no matter what, that touch all the strings of the soul. That’s why her poems about love are so popular among readers, it’s impossible to tear yourself away from them. You always seem to empathize with the heroine Akhmadullina in her feelings, and you find similar emotions in your soul.

The most famous poem, which was set to music and included in the movie, is “And finally, I will say...” The theme of this poem is parting with a loved one. The heroine says goodbye to him, she no longer needs his love: “Farewell, don’t oblige to love.” But this farewell is not easy for the heroine, everything is raging within her, and she feels: “I’m going crazy or ascending to a high degree of madness.”

This repetition of one phenomenon, “madness,” in different words, emphasizes and enhances attention on these words. The heroine’s feelings are beyond her control. She is unable to control them: her grief is so deep.

The heroine reproaches the hero: “As you loved, you sipped.” That is, she says that he was unable to delve deeply into her feelings, to understand the full depth of her emotions. Here there is a hidden comparison of the heroine with a glass of wine. It is to the word “wine” that it is appropriate to use the verb “sip”, that is, lightly sip, barely touching it with your lips. The same applies to the lyrical heroine - the hero simply took advantage of her feelings. She reproaches him not for ruining her, but for “ruining her so ineptly.” That is, the lyrical hero trampled all her feelings and left her no hope. Now the heroine has nothing to rely on in life.

The second stanza begins: “And finally, I will say.” One gets the impression that the heroine simply cannot say goodbye to her beloved and is trying to hold him back for one more brief moment. In this stanza, she describes her already pre-fainting state: the brain stops working, “the hands have fallen”: “And the smells and sounds go away in a flock diagonally.” Perhaps the heroine is waiting for her former lover to take pity on her and not leave her, or perhaps she is talking about her condition even when it doesn’t matter whether anyone listens to you or not.

So, this poem reveals a love theme - parting with a loved one. It represents a lyrical monologue of the heroine addressed to an unfaithful loved one.

Although the poem is small in volume, it is very meaningful in meaning and in the expression of feelings. This is also facilitated by the visual and expressive means chosen by Akhmadulina. Here there is: “I’m going crazy, or ascending / To a high degree of madness.” There are paraphrases that add lyricism to the monologue: “The temple is still doing a little work,” “smells and sounds are leaving in a flock.” There are also comparisons: “in a school” - they are compared to a school of fish that very quickly change direction of movement.

There is a lot in this poem syntactic means expressiveness. This is also an inversion: “I’m going crazy...”, “How you loved...”, “And in a flock diagonally,” etc. There are many addresses that are expressed by the personal pronoun “you”, there are anaphors: “And finally I will say”, “How you loved...”.

There are a lot of repetitions in the poem. These are the already named “And finally, I will say”, the verbs “loved”, “destruction”, “destroyed”. Repetition focuses attention on them. We understand that here they will be key words, that is, the most important words of the poem, which contain the main meaning.

In addition, the poem is full of action verbs, but this does not give it much dynamism, since the verbs are repeated and describe not physical actions, but the manifestation of feelings.

By the way, the third stanza of the poem is a repetition of the first stanza. Therefore, we can say that the work has a ring composition. It shows: where the heroine came from, that’s where she came. The lyrical heroine said goodbye to her lover, although it hurt, but she probably did not let him go. This circling in a circle shows that the heroine will never be able to part with her loved one. Although the second stanza ends with the fact that she has already become accustomed to this thought, she is insensitive to real world, to her surroundings.

In the end, I would like to cite the words of Akhmadullina herself as proof that she considers love to be the most important thing in life: “My love is my vague argument. I will sing it. And you judge.”

Beautiful Bella, who thundered in her time, still sounds - in recordings, in each of her poems, in each line, not even voiced - yet silent.

Analysis of Akhmadulina's poem Games and pranks

A very sweet - just sweet - poem. Someone is playing with the poetess, she guesses who. And it helps readers understand, by mentioning the frost and, of course, the sun, a wonderful day, harnessed (by the will of the Poet) horses. This is a game of lines, but it is also a process of continuity, inheritance and a little love. For the poetess, Pushkin is indeed real.

Analysis of the poem August Akhmadulina

Here the month is animated: generous and beautiful. It seemed as if the stars were falling from the sky onto my shoulders. And he gave Bella love. The poem recalls walks and sunsets, playing the piano with four hands. But everything was supposed to end in the fall.

Akhmadulin a Snowfall analysis of the poem

Naturally, the beauty of winter and the power of nature are conveyed. But here there is also a philosophical note of feeling like oneself part of the Universe, and thoughts about creativity. The greatness of nature is the reason for “luck of the mind,” that is, a person (only with the help of something greater than himself) is lucky to create a poem - a combination of thought and sound in the word and the world soul.

Analysis of the poem Candle

This piece became a song. A simple wax candle revives the times of noble gentlemen and ladies. The image of Pushkin appears again, and the poetess tastes her native speech - pure taste.

Analysis of the poem December

Just four lines about beauty and joy. It turns out that winter has its own rules of the game, in which laughter is required. And the main thing is to give shape to the snow, lifting it from the ground, where it will end up again, flying like a snowball or standing like a snow woman.

Analysis of the poem Akhmadulina Parting

The most famous song based on Bella's poems. Even doubt creeps in that this novel could have been written so recently, every line about suffering and separation, even deception, is so subtle and sensual. The heroine forgives the deceiver, blesses him and asks him not to promise anything, as he apparently intends to do.

Analysis of the poem That month of May

This poem became especially famous in the popular TV series "The Thaw". Lines about growing up. At first, the frivolous, joyful and generous heroine, comparing herself to a goldfinch, dips her wings into the air. But over time, this bird became stricter, and compares its smile with the grin of a Jew, especially an old one. But she doesn't want to become a boring woman knitting. And he is inspired to life by the sight of a child disrupting the order of adults.

Analysis of the poem Two cheetahs

The two cheetahs are directly compared to two lovers. The cheetahs were able to find their love, despite the bars of the zoo, under the gaze of amused visitors... And the cheetahs lie nearby, not paying attention to anything, as if in the jungle. Love, even mixed with melancholy, is stronger than all artificial rules.

Analysis of the poem Milk

An amazing poem about motherhood. It starts with milk, which the reader uses to wash down, for example, gingerbread cookies. Just milk. But if, together with the poetess, you think about the concept of milk, feel its power... If you perceive the whole world not as a familiar reality, but as a miracle of the Universe, then life will become spiritual.

Having experienced each poem, the reader will want to give up his indifference. Akhmadullina called for indifference with her poetry.

Analysis of Akhmadulin’s poem according to plan

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  In fact, Russian nature for the most part is the nature of the north. Of course, there are also young regions in Russia, but if you look at the main parameters, then Russia is still a northern country. Severe and persistent like pine.

Akhmadulina lyrics poetry

The term “theme” has different meanings in literary criticism, which can be reduced to two main ones.

Firstly, themes refer to the most essential components of artistic structure, aspects of form, and supporting techniques. IN literary work these are the values keywords, what is recorded by them. Thus, V. Zhirmunsky thought of topics as a sphere of semantics artistic speech: “Every word that has a material meaning is a poetic theme for the artist, a unique method of artistic influence...” (Zhirmunsky V.M., 2001, p. 30). In this terminological tradition, the theme is an active, highlighted, accentuated component of the artistic fabric.

Another meaning of the term “theme” is associated with the essence of the work as a whole. The topic is understood as everything that has become the subject of the author’s interest, comprehension, and evaluation.

Modern literary theorists argue that “...theme... constitutes an integral and at the same time fundamental principle of works of art” (Khalizev V.E., 2000, p. 53), understanding by theme “... a certain attitude to which all elements of the work, some intention realized in the text” (Zholkovsky A.K., Shcheglov Yu.K., 1975, p. 150). We will focus on this aspect of the topic when analyzing the “substantial” basis of B.A.’s creativity. Akhmadulina.

The evolution of the author's concept of the world and man can be traced by studying the change in interest when choosing a subject of artistic comprehension. The first two periods (1955-1963 and 1964-1979) of the literary biography of B.A. Akhmadulina are characterized by limitation and stability thematic material. Indicator creative evolution is to expand the range of issues of interest to the poet in lyrical works written after 1979.

Bella Akhmadulina, like any major artist, does not exist outside of ideas about the relationship and relationship between man and the universe. She created in her works an original concept of the world and man. Each new stage in the poet’s work was marked by changes in her worldview, and her space-time ideas were transformed accordingly.

The main directions of development of the artistic system of B.A. Akhmadulina was outlined in her first book of poems, “String” (1962), where the principle was proclaimed that the poet is guided by when choosing the subject of conversation for his works and its depiction. The artless lines of the poem “Milk” were uttered with a certain degree of self-confidence:

Here the milk is flowing. You feed on it.

Wash down hard gingerbread.

If I want, I’ll open it to others,

precious and rare, like holidays.

The earth is vast, but there is nothing in it.

If you don't notice anything.

(Akhmadulina B.A., 1962, p. 7-8) The collection “String” (1962), which is closest in its artistic understanding of reality to the aesthetics of the “variety” movement, reflected the author’s initial attraction to plot, external eventfulness. Speed ​​and movement, which are associated with the desire for a different life, freedom and, as a result, expansion of boundaries art world, become the vital and creative element of the lyrical heroine. The collection opens with the poem “Traffic Lights,” in which two chronotopic categories collide - dynamics and statics: the author’s thirst for rapid movement is limited by the restraining force in the form of traffic lights. At this stage of the confrontation between rest and movement, preference is given to the latter: “I give myself up to be eaten // by this speed ahead” (Akhmadulina B.A., 1962, p. 52).

Between 1963 and 1965 socio-historical themes were presented mainly in the cycle “From a Virgin Notebook”, in the poems “New Blast Furnace at KMK”, “Mount Burluk on the Construction of the Abakan-Tayshet Road”, the poem “My Genealogy” and some other works. Main compositional technique there is a contrast here. In the poem “From a Virgin Land Notebook,” the chamber world of the lyrical heroine and the “big” world represented by virgin soil confront each other. The polarity is removed by the restructuring of the consciousness of the lyrical subject, which occurs thanks to the “lessons” of the virgin lands.

“The New Blast Furnace at KMK” implements a different version of the antithesis: those around them do not notice the poetic beauty of the work of a welder working at high altitude.

The narrative in works with social themes is imbued with the romantic pathos typical of the “sixties” and faith in the spiritual beauty of people. Here, hard work is poeticized and admiration is expressed for the workers, who are also bearers of a romantic worldview.

B.A. Akhmadulina declared her intention to poeticize reality. Any unremarkable object can become a reason for her to create a poem. Her works are devoted, as a rule, to some real event, impression, often ordinary, not standing out from general series. However, it shows the subject with some new side, using bold associations and comparisons: a soda fountain turns into a peasant woman giving a traveler a drink (“Soda Water Machine,” Akhmadulina B.A., vol. 1, 1997, p. 43), Chopin’s mazurka - into a girl, “ thin as a beaker” (“Chopin’s Mazurka”, ibid., p. 28). The poet recreates an ordinary event into a sacrament, a miracle. It is demonstrated slowly, as if re-arranged and theatricalized.

In the early period of creativity, poems devoted to the theme of love are most widely represented, compared to subsequent ones. There is an opinion that B.A. Akhmadulina “there are no love lyrics in the generally accepted meaning of the word”, that “... most often she conveys the feeling of love not to to a specific person, but to people in general, to the world around us, friends, trees, dogs, winter and so on” (Mustafin R., 1985, p. 250). In relation to the poet's early work, this statement turns out to be incorrect. The poems “We are parting and at the same time...”, “Your house...”, “We were fooled by this September...”, the cycle “September” and others are undoubted examples of love lyrics and belong to the best works B.A. Akhmadulina.

The poet speaks very reservedly about love as a passion. Love is understood as spiritual like-mindedness, a community of fate. Intimate lyrics by B.A. Akhmadulina is marked with the stamp of suffering, grief, quiet sadness. The means of expressing the feelings of the lyrical characters are furnishings, images of the “material” world, and landscape sketches.

The poem “We are parting and at the same time...” conveys the lyrical heroine’s perception of reality after parting with her loved one. It has two levels: real and metaphorical, associated with the sphere of human feelings. The first two and last three words of the poem belong to the real plan: “We are parting” and “due to the separation of me from you” (Akhmadulina B.A., vol. 1, 1997, p. 65), which form a ring composition. Central part the poem demonstrates an expanded psychological parallelism, where the spiritual drama of the lyrical heroine is expressed through changes in the natural world, as well as in the natural color spectrum.

To create a landscape sketch B.A. Akhmadulina uses images: inextricably linked with each other (river and banks, sky and clouds, right and left hands, latitude and longitude); representing a single whole (Ivan-da-Marya, white); successive (April and May) or antagonistic (low and high tide). All of them, taken in their original form, natural state, symbolize former harmony, unity, love. The metamorphoses occurring with them reflect the process of separation:

The river disdains its banks,

the clouds are cooling towards the sky,

nods right left hand

and arrogantly says to her: - Bye!

April no longer foreshadows May...

And Ivan da Marya falls apart...

longitudes moved away from latitudes...

(Akhmadulina B.A., vol. 1, 1997, p. 65)

Disharmony also occurs in the color spectrum of nature: “And white color does not exist - // its seven colored orphans remain” (ibid., p. 65). White- a symbol of harmony. The seven colors of the rainbow, which have become autonomous from it, are evidence of its loss. A plant with the name Ivan-da-Marya symbolizes integrity past life, the former unity of the heroes. Ivan da Marya disintegrates into yellow and blue colors, that is, its two components become separate: Ivan and Marya - as independent parts of the plant that have appeared and as heroes of the unfolding love drama. B.A. Akhmadulina appears here as an artist with an analytical type of thinking. Analysis is the main means of perceiving the world, which it breaks down into its smallest component parts.

The use of the word “devastation” in relation to nature is unusual: “Nature is being destroyed” (ibid., p. 65). It is necessary in order to express the feeling of emptiness and loss of meaning in life among the lyrical heroes. Depicting the unnatural changes occurring in nature, the author emphasizes the absurdity of separation.

The last compositional part, echoing the first, returns to the real world. It, just like the first one, is separated from the middle part with a dash. Particularly highlighted is the last line of the poem, consisting of two iambic feet instead of five, as in all other lines. The truncation of the meter conveys the confusion in the soul of the lyrical heroine and enhances the opposition of the parts framing the poem to each other. At the end, instead of the initial “we”, the pronouns “I” and “you” appear, becoming in this context evidence of rupture and suffering. Thus, pronouns serve here as the main means of building a composition. Their opposition contains the meaning of the work. The word “separation” expresses the meaning of the result of the process indicated by the word “we part,” that is, each of the heroes was left on his own.

This poem is indicative of the ways in which love themes are embodied in the early lyrics of B.A. Akhmadulina. Subsequently, turning to the problem of relationships between men and women, the author increasingly talks about friendship. The poetry of friendly feeling is the through-line motif of her lyrics and goes back to the Pushkin tradition; it corresponds to the atmosphere of the “era of idealism”, when the foundations of the artist’s worldview were laid. The poem “When my comrades are reproached...” sounds like a manifesto:

Let us be partial to our friends!

Let us think that they are beautiful!

It’s scary to lose them, God forbid!

(Akhmadulina B.A., 2000, p. 127) The poet elevates friendly feelings to the rank of the most mysterious and powerful and shifts the emphasis to the area of ​​the personal, deeply spiritual, using the word “love”: “I love to watch how, jumping out of the door, / / a boy comes out with the agility of a juggler. // According to the rules of Moscow jargon

// I like to tell him: “Hello, Andrey!”” (ibid., p. 127). An informal greeting and the introduction of specific names help create a feeling of warmth and naturalness in the relationship. The cult of friendship, approved by B.A. Akhmadulina, allowed her to hide from hostile outside world and escape from loneliness.

In the poem “Visiting the Artist,” the poet acquires and secures the status of “comrade” not only with the help of direct declarations, but also through artistic details, such as, for example, the galoshes “put on” by the heroine:

And so, having appeased the disease with aspirin,

putting on galoshes - quickly, quickly

to where, with ruddy cheeks puffed out,

the artist knows how to play the pipe.

(Akhmadulina B.A., vol. 1, 1997, p. 154) It is the “galoshes” that appear at the beginning of the poem that color the upcoming meeting not in languid love, but in cheerful and friendly tones. This detail contains a conscious element of clowning. B.A. It is important for Akhmadulina to present her heroine as funny, clumsy, and homely, in order to thus neutralize her gender.

B.A. Akhmadulina developed the poetics of friendship: its vows and commandments, prophetic dreams, meetings and separations. And in poems, dedicated to the topic friendship, the author uses a traditional love dictionary: “I thought - the end of February is soon - // and said to the person who came in: “Joy! ., vol. 1, 1997, p. 119), which loses the slightest ambiguity in her mouth and expresses new pathos.

The book “String” closes with the poem “Motor Scooter”, thus forming a ring composition of the collection: here, as in “Traffic Lights”, a “high-speed” motif sounds. However, in this work there is a peculiar parting of the poet with the element of speed. Gradually in the lyrics

B.A. Akhmadulina’s “centrifugal” principles of reflecting reality give way to “centripetal” ones, and in the last poem of the 1962 collection this turn was indicated most clearly and figuratively. In “Motor Scooter,” the author contrasts movement and rest, noise and silence (the introduction of the latter opposition expresses a desire to dissociate himself from “variety” aesthetics, which is largely alien to the author’s artistic consciousness); the poetic images of the poem are contrasted accordingly: the lyrical heroine acts as an outside observer of the flight of a “pink scooter” (Akhmadulina B.A., vol. 1, 1997, p. 40). In the creative space of B.A. By Akhmadulina, movement and noise are gradually replaced by peace and silence (“While silence descends on me, // your noise flies in distant lawns” (ibid., p. 41)); the border between inner world lyrical subject and external environment(“Farewell! Your path lies above me...” (ibid., p. 40)).

The poem “Motor Scooter” simultaneously opens the collection “Music Lessons” (1969), defining its transitional nature and placing it on the border of two stages of the author’s work, who is increasingly focused on his spiritual life, where the main place belongs, of course, to poetry.

B.A. Akhmadulina began to increasingly isolate herself from the outside world, which was manifested, among other things, in the fairly frequent use of various modifications of the category of circle in her works. Such images, as a rule, express two states of the poet’s soul: harmony, self-sufficiency and peace, on the one hand, and loneliness and emptiness, on the other.

Tragic notes can be heard in the poem “Longing for Lermontov.” The life of the poet is associated with B.A. Akhmadulina with a closed space, to which every artist is probably doomed: “and in this God-closed fate,” “empty, perfect freedom will close over you forever // empty, perfect freedom” (Akhmadulina B.A., vol. 1, 1997, p. . 116). A similar meaning is contained in the “circular” metaphor from the poem “On My Street Which Year...”:

Oh loneliness, how cool your character is!

Shining with an iron compass,

how coldly you close the circle,

not heeding useless assurances.

(Akhmadulina B.A., vol. 1, 1997, p. 33) The image of a circle is associated with loneliness, which entails spiritual coldness and melancholy. The poet sees a way out of the confined space in the silence of libraries, in the “strict motives” (Akhmadulina B.A., vol. 1, 1997, p. 34) of concerts, in communication with nature - there the secrets of existence will be revealed to him, and harmony will reign again:

And I will know wisdom and sorrow,

Objects will entrust their secret meaning to me.

Nature leaning on my shoulders

will announce his childhood secrets.

(Akhmadulina B.A., vol. 1, 1997, p. 36) In the poem “There is a change in nature again...” the poet is not burdened by his loneliness, but, on the contrary, strives for isolation in order to find peace. B.A. Akhmadulina builds a psychological parallelism in which she compares the peace that reigns in the soul of her lyrical heroine with the enclosed circle:

Oh, Lord, how this summer

there is great peace in my soul.

Thus, a complete circle is contained within itself, and the needlessness of an extra touch is unenviable and ridiculous.

(Akhmadulina B.A., vol. 1, 1997, p. 46) Heroine B.A. Akhmadulina leaves society for the world of nature and creativity. Here she cleanses herself and detaches herself from the bustle of life. Happening complete merger poet with nature:

I suddenly became as healthy as grass,

pure in soul, like other plants,

no more intelligent than a tree,

no more alive than before birth.

(“It so happened that twenty-seven...”, Akhmadulina B.A., vol. 1, 1997, p. 110) It can be assumed that the attraction to the ring rhyme of poetic lines, which in the future will become one of the main features of the author’s style , is also associated with the poet’s desire for harmony.

In “Longing for Lermontov,” the “cosmic” theme is openly stated for the first time: here B.A. Akhmadulina is trying to formalize her concept of the universe, where a person is not lost in the Universe. So far this idea has been expressed regarding the personality of M.Yu. Lermontov. The poet is named B.A. Akhmadulina “the highest youth of the universe” and placed “between the clouds and the sun, between good and evil” (Akhmadulina B.A., vol. 1, 1997, p. 115). It's about genius personality, which explains its involvement in world existence. But in the future this idea will develop in relation to man in general, including the personality of the poet himself.

Overall in early works B.A. Akhmadulina’s world appears harmonious, built according to the laws of goodness and justice. The resulting disorder is usually eliminated creative imagination the author or is compensated by the spiritual integrity of the lyrical heroine. So, for example, in the poem “And again, like the fires of open-hearth furnaces...” the artistic imagination corrects the greatest, in the poet’s opinion, historical injustice, leaving Pushkin and Lermontov alive. Changes in nature can be contrasted with peace and tranquility in the soul of the lyrical subject (“Again there is a change in nature...”).

Reality in the early works of B.A. Akhmadulina waxes poetic. The objects of the author's attention are household items, the modern technological world, natural phenomena. By animating matter, the artist endows it with the ability to feel, perceive, and psychologically experience; Moreover, the existence of animated objects is subject exclusively to the laws of conscience, goodness and justice.

The poetry collection of 1974 is named after the natural phenomenon - “Blizzard”. However, the author looks at natural disharmony from the perspective of peace and home warmth. The space in which the lyrical subject is placed is characterized by closedness and impenetrable boundaries. The poems of this book are imbued with an elegiac tonality, which appears here as the main feature of the lyrical hero’s perception of the world.

One of the works in the collection expresses another view on the problem of the relationship and relationship between man and the cosmos. Man seems to the author to be an insignificant speck compared to the huge, somewhat hostile world;

Isn't it scary, girl announcer,

over the abyss of earth and water

alone in the wild universe

rush like a ray of star?

(“February without snow”, Akhmadulina B.A., vol. 1, 1997, p. 244) The clash of these two points of view (“man = microcosm” - “man does not play any role in a world hostile to him”) will be observed in books “The Secret” (1982) and “The Garden” (1987), which marked a new stage in the work of B.A. Akhmadulina.

In the 80s her poeticized artistic space unexpectedly includes realities that were previously out of sight. The heroes of the works are soldiers who, in a drunken stupor, killed a stoker, a lonely five-year-old boy Pashka, who has already “learned wine” (“Pashka”, Akhmadulina B.A., vol. 2, 1997, p. 118); “crooked” Ninka and her brother (“The Death of an Owl”, ibid., p. 92). The poet paints unsightly pictures of the life of the inhabitants of a remote province, without being protected from the atrocities committed by the usual range of creative activities: “...We have the same fate. // I can see my death and guilt in the pitiful features of her ugliness” (“The Death of an Owl”, ibid., p. 92). Noteworthy is the appearance in the poetic dictionary of B.A. Akhmadulina’s word “chaos”. The loss of a harmonious worldview is confirmed by the emergence of the element of wind in the author’s artistic world:

In addition, there was a blast from the universe. (This wind of stars is more terrible than others). (“The Sound of Silence”, Akhmadulina B.A., vol. 2, 1997, p. 145) The wind symbolizes the restless state of both nature and the soul that has lost its integrity. The universe is called “delirium” (ibid., p. 145), “abyss” (“My Pachevsky,” Akhmadulina B.A., vol. 2, 1997, p. 121), “namelessness.”

The gaping sky, gloomily embracing

each other, they showed namelessness,

which with people and lights

conventionally called the universe

(“Night on the thirtieth of March”, Akhmadulina B.A., vol. 2, 1997, p. 109)

There are motifs of death, loneliness, detachment from life. Next to the words “I’ve been here a long time. I accepted the way // of neighbors, and friendships, and hot-tempered hugs...” (“Occupation”, Akhmadulina B.A., vol. 2, 1997, p. 77) we find the lines: “... I am something. I am a kind of bat, // not hasty in my years and not obstinate // just above the habitat of the earth” (“It’s not that I forgot anything...”, Akhmadulina B.A., vol. 2, 1997, p. .213). A person sometimes seems like a “trifle” (“Entry was forbidden. I didn’t know about it and went in...”, Akhmadulina B.A., vol. 2, 1997, p. 157). There is an invasion of external space into the internal, of chaos into space.

An artist must bring harmony into the world. Universal chaos, according to B.A.

Akhmadulina, is overcome through creative words: “Only the word tramples on nonsense and chaos // and speaks to mortals about immortality” (“I am only a volume where something lives...”, Akhmadulina B.A., vol. 2, 1997, p. 107).

In the cycles of recent years “October 19”, “Deep Fainting”, “Near the Christmas Tree” there are motives of saying goodbye to youth, summing up creative and life results.

The artistic action of the cycle “Deep Fainting” takes place in a hospital, and “fainting” in this case is a state when a person had to look into the face of death. In the first poem “In the Botkin Hospital,” the lyrical heroine B. Akhmadulina comes into contact with the “secret of secrets” (Akhmadulina B.A., 2000, p. 49): she approaches the line beyond which nothingness begins, an empty space where, in spite of everything teachings about the afterlife, “...there is no one. Bulat was not there” (ibid., p. 49). In “Afterword to I,” the author’s consciousness returns from “absence” (Akhmadulina B.A., 2000, p. 53). Next, the idea of ​​the need to cherish every moment of existence is persistently repeated: “While the living thought of death is on alert, // I hasten to bless the moment of existence” (“A Moment of Being,” Akhmadulina B.A., 2000, p. 63).

In the cycles of recent years, the author’s focus is on the image of a discharged and no longer needed woman after noisy holidays New Year's tree, which correlates with the internal state of the lyrical heroine B. Akhmadulina:

So I thought of it: the image of a plucked spruce

anyone is close to fame. The simpleton has no idea:

what is our fragile shine, if Rachel’s charm

overshadows a sad and pale smoke?

See again how the tree is naked and unarmed:

the ball was taken away from her, the heat was thrown into the cold -

isn't it terrible? “I don’t know,” the pen answered, “

It's none of my business. But I feel sorry for you...

(“Complaints of a writing pen”, Akhmadulina B.A., 2000, p. 87) The author’s soul no longer finds understanding in its former environment, does not receive satisfaction from creative work. And the poems persistently contain motifs of emphasized loneliness and abandonment.

IN late period creativity (80-90s) by the peculiarity of B.A.’s poetic thinking. Akhmadulina advocates understanding space-time relations. The landscape in the poems of these years is surprisingly deserted. The city landscape often gives way to remote rural country roads. During walks, the lyrical heroine is accompanied only by the moon and stars. In these verses she remains alone with the Universe - thus the rapprochement of earthly and outer space occurs. The landscape turns out to be inscribed in the picture of the whole world, the entire Universe and acquires an expanded, global character. Eternity, a moment, the universe seem to materialize and become poetic images works by B.A. Akhmadulina, whose lyrical heroine enters into a relationship with them: she feels a deep involvement in cosmic existence, feels like an integral part of it and at the same time realizes her universality, singularity, uniqueness: Don’t even think about answering that she is somewhere in the universe. I am in it too - But my precious hour is in it. (“To the Moon from a Jealous Man,” Akhmadulina B.A., vol. 2, 1997, p. 116) This Akhmadulina formula, despite the pessimistic sentiments that sometimes arise, is the most accurate and dominant definition of man’s position in the world. Man includes all natural elements and energies. The universe is unthinkable without him. As proof of this highest value acquire the described realities, to which the poet has some relation: the Parshin road is the road over which the “movement of the planets” takes place, thereby determining its involvement in the universe; Pachevsky's road pillar: “...he is waiting for me, and the abyss will not receive // ​​me as long as we stand together” (“My Pachevsky”,

Akhmadulina B.A., vol. 2, 1997, p. 121). The “overwhelming district” about which Jupiter and Saturn “care” all night long (ibid., p. 121) is exalted to a universal scale. The poet feels himself an integral part of the universe, identifies himself with the Universe: “I spread out, become the universe, // we are at one with it, we are one” (“I am just a volume where something lives...”, Akhmadulina B .A., vol. 2, 1997, p. 106). B.A. Akhmadulina feels the breath of eternity and sees its reflection in every moment. In her consciousness, a person is identical to a microcosm and every hour is precious.

To structure the model of the world B.A. Akhmadulina, one should proceed from the fact that the central object of the author’s reflections is human creative activity. As a result, the relationship “man and world” turns out to be identical to the relationship “artist and world”, since the lyrical subject in the poetry of B.A. Akhmadulina, as a rule, is primarily a creative person. Thus, spatio-temporal ideas that reveal the structural features of the author’s model of the world are based on “... the triple alliance of labor, nature and culture” (Novikov V., 1985, p. 25).

The theme of creativity is central to the poetry of B.A. Akhmadulina, through her prism all motives and images are refracted. She talks in her poems about the torment of the artist of words, conveying the feelings of a poet waiting in vain for inspiration. Thus, “muteness” for her is not just a metaphor denoting a state of creative silence. It has a material expression: “...Like steam from the mouth, // muteness rounded the lips” (“Muteness”, Akhmadulina B.A., vol. 1, 1997, p. 125); “I have a heavy dumbness in my lips” (“Other”, Akhmadulina B.A., vol. 1, 1997, p. 127). “Muteness” has a mysterious power that cannot be overcome by all the efforts of the mind, straining in vain to create a poetic line.

It is contrasted with the same imperious and difficult to define state of the soul - “inspiration - excessive, continuous, // the inhalation of a moment by a mute soul” (“Muteness”, Akhmadulina B.A., vol. 1, 1997, p. 125). The creative act is understood by the poet as something beyond the control of reason and will. Within the framework of this phenomenon, the following concepts-images are interpreted in a special way: “forehead” as the receptacle of the highest, God-given wisdom (the author almost never uses the words “head”, “mind”); “larynx” (“throat”) - “a gift to the structuralist and Freudian” (Aksenov V., 1984, p. 179) - as an organ of singing, free self-expression; Instead of the word “creativity” the word “craft” or the combination “holy craft” is often used.

The poem “Wonderful Theater Poems...” affirms the irrational essence of the creative process. The creation of a work of art is equated to a theatrical performance, but the poet in it performs the function of an actor, the development of the plot does not depend on him. The director (or “conductor”) is the “impeccable genius of heaven” (Akhmadulina B.A., vol. 1, 1997, p. 249) - the whole process is organized by an unknown force that guides the author, pushes him to perform magnificently.

The focus of the author's attention on such problems was often regarded by critics as evidence of a creative crisis and became the object of attacks on their part. B. Sarnov was the first to speak about “alarming” symptoms back in 1969, referring to the poem “What Happened? Why can’t I...”, in which words were uttered that were immediately adopted by the reviewers:

Why can't I

I haven’t known for a whole year, I can’t

compose poetry and only silence

I have a heavy one in my lips?

I'm already old

habit of putting word after word.

(Akhmadulina B.A., vol. 1, 1997, p. 127) G. Kubatyan, in a generally friendly review of the collection “Poems” published in 1976, points to the narrowness of B.A.’s poetic thinking. Akhmadulina, whose verse, in his opinion, turns out to be closed in itself (Kubatyan G., 1976, p. 27). In the artist’s concentration on the problems of creativity, the author of the article “And goodness will fall on the soul...” sees evidence of “narrowness of interests and peace” (ibid., p. 27).

E. Klepikova’s article “Idle Verse” is imbued with ironic pathos. The mockery lies behind the comparison of “poetic economy” (Klepikova E., 1976, p. 59) B.A. Akhmadulina with “a medieval small-scale principality, which was given all the features great power"(ibid., p. 59). The critic’s irritation is caused by the orientation of the author’s works on only three themes, “... which the poetess varies with rare tenacity” (ibid., p. 59). Among them, naturally, there is the theme of creativity.

Emigrant criticism, on the contrary, welcomed Akhmadulin’s rejection of the civic themes that dominated the lyrics of the Thaw, and her passion for creative introspection. This feature was seen as a protest against the sociologization and bias of art, a manifestation of authorial freedom and independence, evidence of moral purity: “All her work is a rebellion, an uprising for the right to one’s own vision of the world, for the right to be an individual in spite of the faceless” (Neymirok A., 1964, p. 174); “...the theme of art and oneself is one of the most “blooded” themes of Akhmadulina and diverse in poetic expression” (Rzhevsky L., 1967, p. 264). True creativity is born as a result of the creative activity of a free artist. Freedom is an indispensable condition for the birth of true works of art. It was from this attitude that B.A. proceeded. Akhmadulina, already in his early lyrics, asserting the poet’s right to inner peace:

Without promising anything in return, distant art attracts me...

(“Lunatics”, Akhmadulina B.A., 1962, p. 50)

I'm embarrassed and timid in front of the sheet

clean paper.

This is how a pilgrim stands

at the entrance to the temple.

(“New Notebook”, ibid., p. 34) The author is also concerned about the problem of relationships creative personality and society. In the poem “Poetry Day,” Pushkin’s motif of the poet’s self-opposition to the listening crowd sounds: “On the road where my trace is lost, // people flock to the festival” (ibid., p. 30).

In the lyrics of the late 90s. the fate of the artist from B.A. Akhmadulina correlates with the fate of the mythological hero Pan, “who was born of the nymph Dryopa” (“Involuntary sins on the night of December 25”, Akhmadulina B.A., 2000, p. 83). The goat-legged and two-horned Pan evokes tenderness in the poet. B.A. Akhmadulina identifies herself with this strange freak: both to Pan among the gods, and to the author among ordinary people there was a place. In pursuit of the Syringa he liked, Pan forgot about everything in the world. The syringa turned into a reed; to relieve the pain, he created a pipe and became “alien to earthly beauties and matchmakers” (“Involuntary sins on the night of December 25,” Akhmadulina B.A., 2000, p. 85). For the poet only love is his pipe, i.e. lyrics. Pan's pipe becomes the embodiment of lyrical element, creative inspiration: “All my life I have been waiting for the command of the pipe: // suddenly my ear will take pity and call out...” (ibid., p. 85).

In the poem “Closing the Notebook” by B.A. Akhmadulina reflects on the subject of artistic representation in works and admits: “No matter how you hide it, the hero of the plot is the brain” (Akhmadulina B.A., 2000, p. 80). The author likens the poet, occupied “only with the contemplation of the brain” (ibid., p. 80),

To Narcissus: “He and I, albeit distant, are still related” (ibid., p. 81). This analogy suggests that the artist is focused on himself. This idea is expressed quite clearly in the “Message” that concludes the cycle “Deep Fainting”:

No, I’m not vying for anyone’s attention... ...I’m writing to myself... Or rather: I’m writing to myself. (Akhmadulina B.A., 2000, p. 92)

The poet creates only for himself, is busy studying his own reflection, but he is far from narcissism. B.A. Akhmadulina comes to the conclusion that the artist will be considered a “freak” in any case: both if he finds a place for himself among people, as Pan found among the gods, and if he consciously separates himself from them, like Narcissus. His poetic gift condemns him to loneliness.

The theme of creativity is related to this author with the problem of literary memory and tradition. Poems dedicated to great poets are evidence of a reverent and respectful attitude towards predecessors. In the works of B.A. Akhmadulina meets many famous names: M. Tsvetaeva, A. Akhmatova, A. Blok, O. Mandelstam, B. Pasternak, G. Derzhavin, M. Lermontov. Great predecessors enter her artistic space through realities that the reader associates with their names. From the title of the poem “House with a Tower” it is clear that the poet’s thoughts are addressed to Vyacheslav Ivanov and those who visited his famous “Tower”. The city of Tarusa, which very often becomes the subject of B. Akhmadulina’s thoughts, is associated in the mind with the personality of Marina Tsvetaeva. Often poets are the lyrical heroes of her works. However, “... these are not “anthological” poems, where this or that famous image is depicted... These are judicial poems. In them she pronounces a verdict on the unhappy, and sometimes not entirely unhappy, fate that befell this or that great Russian poet” (Rein E., 1997, p. 10).

Russian literature of the post-Pushkin era is characterized by an appeal to the personality of the great poet. This tradition received a unique embodiment in the works of modern writers and poets, including in the poetic heritage of B.A. Akhmadulina.

Through all the creativity of B.A. Akhmadulina passes Pushkin theme. The largest part of the poet’s “Pushkin” lyrics comes from the 70s and 80s. - the waiting period, the so-called “interval”. At this time, writers with particular force asserted their right to dialogue with their predecessors. The feeling of the need for great interlocutors was characteristic of many poets and prose writers. Memory poetic word and the attitude towards tradition are among the most important problems of this time.

A.S. Pushkin is the subject of depiction in many works by B.A. Akhmadulina (“And again, like open-hearth fires...”, “Excerpt from a small poem about Pushkin,” “September again, like the darkness of times ago...”,” “Occupation,” “Adventure in an antique store,” “Dachny novel”, etc.). Spiritual and moral maximalism, loyalty to traditions, understanding of the past as a living moment of modernity determines the tonality and emotional coloring of Pushkin’s lyrical portraits.

Works by B.A. Akhmadulina, dedicated to the great poet, can be thematically divided into two groups: poems related to individual facts of Pushkin’s biography, and to his work.

For the first time A.S. Pushkin became the subject of B.A.’s depiction. Akhmadulina in the early 60s, when the poems “Candle” (1960), “And again, like open-hearth fires...” (1962) were written. At the same time, the universal elements of its poetic style. The last poem dedicated to the tragic deaths of Pushkin and Lermontov - two great people. The author builds an opposition between white and black colors, which traditionally correlate with the categories of life and death. In the lines “Who was taken along this white road on a black sled?” (Akhmadulina B.A., 1962, p. 35) the use of the epithet “black” emphasizes the bitterness of loss; and the contrast between “snow-white winter” and “sleigh”, a gaping dark spot in the snow, is the absurdity of the poet’s death. Another example: “Not the one who lay with his curly head crushed in the snow” (Akhmadulina B.A., 1962, p. 35). The function of color antithesis is the same as in the first case. B.A. Akhmadulina is trying to change the course historical events, colliding the color meanings of the words “Dantes” and “snowdrift.” Negative meanings, enclosed in black, correspond to the sinister essence of Dantes. The living image of the poet also grows on the basis of the subtle connection of the motives of the poem by M.Yu. Lermontov "Death of a Poet". The author quotes, but the quoted words do not appeal to the personality of A.S. Pushkin, but to his killer. The death of Pushkin and Lermontov is unacceptable, absurd, and, starting with this work, B.A. Akhmadulina will reject her possibility:

For their salvation - forever

this order has been approved

and the triumphant ignoramus

sentenced and convicted.

(Akhmadulina B.A., 1962, p. 37) A.S. Pushkin is a kind of patron deity of poets for B.A. Akhmadulina. He is invariably present in the life of the lyrical heroine: either as a ghost silently walking through the garden, or as a spirit dissolved in space, whose magical gaze the author feels on himself and his work (the poem “Candle”). Pushkin’s caressing, approving gaze testifies to the worthy fruits of his night’s labor. The poem written overnight is dedicated to the topic of friendship - one of the heartfelt topics Pushkin's lyrics:

You're already thinking about friends

increasingly, in the old way,

and stearic stalactite

you'll do it with tenderness in your eyes...

(Akhmadulina B.A., vol. 1, 1997, p. 63) The poem “Candle” recreates an atmosphere that helps to plunge into Pushkin’s world, although the poet’s name is mentioned only once in the final stanza. Pushkin’s image seems to be dissolved in the work, appearing in everyday realities that refer to his era and testify to his presence: “all it takes is a candle”, “age-old old-fashionedness”, “pen”, “florid, intelligent letter” and intricate”, “in the ancient way”, “the gentle taste of native speech”, “Pushkin looks tenderly” (ibid., p. 63).

The motifs of “Candles” are continued in the poem “September Again, Like the Darkness of Times Ago...”, where the theme of continuity and the right of the great poet to a worthy place in the world of poetry and culture are even more sharply emphasized. The time of year in the work is Pushkin's. It was at this time that a ghost appears in the garden, in which B.A. Akhmadulina seems to materialize the image of Pushkin:

I suspect the garden of mysteries:

everything seems like someone is there and walking around.

It's not more scary for me, but only more fun,

That the area is haunted.

(Akhmadulina B.A., vol. 1, 1997, p. 213) In this work B.A. Akhmadulina creates the cosmic image of A.S. Pushkin. He is a spirit dissolved in the Universe. Pushkin is eternity. The poet expressed her attitude towards the national genius in her speech “About Marina Tsvetaeva”: “...Russians have been with Pushkin and with everything Pushkin for almost two hundred years. We, the tragic minions of the twentieth century, received from him such an experience that, perhaps, prompts us to amazing art” (Akhmadulina B.A., 1997, p. 21).

“Darkness of time ago” the poet sent his gaze to the Moon. She has absorbed them forever, and those who are capable and worthy have the opportunity to meet Pushkin’s gaze:

The attention of whose eyes,

once perceived by the moon,

made the reverse path of the rays

and on earth did you see me?

Oh, I know who is more closely than everyone else,

I silvered her with two pupils!

(Akhmadulina B.A., vol. 1, 1997, p. 213) The image of the Moon in the works of B.A. Akhmadulina is complex and ambiguous. One of its meanings correlates with the inspiration that the Moon gives with its presence, and the secret that it keeps and which the lyrical heroine is trying to unravel. It is this meaning that is realized in the poem “September again, like the darkness of times ago...”. The author paints a pantheistic picture of the world, where the image of the poet is an omnipresent deity. The lyrical heroine hears, feels his presence, sees him in all the surrounding realities of reality. Creating the image of Pushkin, B.A. Akhmadulina gradually, in her creative manner, makes it clear who and what she means: September, ghost, Moon, gaze. Following a series of thoughts and individual pictures, the conclusion follows:

And Pushkin’s inevitable gaze burns my cheek all night long. (Akhmadulina B.A., vol. 1, 1997, p. 214) The mixing of eras, real and irrational, the destruction of epic distance and the transition from a distant plane to the zone of contact with the present day is one of the defining features of B.A. Akhmadulina, when she reflects on the “good geniuses”, people dear to her from the past.

Thus, the lyrical work “Autumn Day - a Special Day...” can be conditionally divided into two parts, opposed to each other according to the temporal relationship of the realities described. The lyrical events of the first part are contemporary with the real author’s “I”: on an autumn day the lyrical heroine B.A. Akhmadulina goes for a walk. However, this autumn day is a “special day - of yore inaccurate cast" (Akhmadulina B.A., 2000, p. 7). "Inaccuracy" arises due to changed value orientation modern society. The author’s bitter smile is caused by the presence in the immediate spatial proximity of the “Disgraced Stepson of the Alleys” (ibid., p. 7) of an “edible sign” (ibid., p. 7), which is looked at by a “young athlete” (the use of the outdated form “young” reinforces ironic attitude towards oxymoronic combinations of high and low in the cultural space of contemporaries).

In the second part of the poem, the lyrical heroine B.A. Akhmadulina turns to memories of her youth. The author recalls the “teachers” who raised a whole generation of talented poets in the “temple of sciences” (Akhmadulina B.A., 2000, p. 7): “a Peredelkino exile”, “a fresh native of Siberia” (ibid., p. 8), “ a sufferer buried in Nice” (ibid., p. 9) - and mourns their tragic fate.

One of the poems in the cycle “October 19, 1996” is called “A Trip to the City,” but it talks about a trip that did not take place. The lyrical heroine B.A. Akhmadulina was never able to get away from the beauty of the autumn fading nature. She looks at the garden covered with gold and comes to the idea that “the beauty of a dull time” (Akhmadulina B.A., 2000, p. 15) was created by A.S. Pushkin. The image of the great poet rises to the image of the Almighty Creator, who created the universe with his word. Autumn that has come today is Pushkin’s “word”:

For now a worthless village

you give gold and scarlet,

what will add to your word

notebooks prisoner and fugitive?

(Akhmadulina B.A., 2000, p. 15) Here the opposition “living word” by A.S. is constructed. Pushkin, creating objective reality, and existing only in in writing"word" B.A. Akhmadulina. In addition, how “dead” and “living” nature are contrasted with each other, closed and open space, embodied respectively in the images of a room, from the window of which the lyrical heroine looks at the autumn landscape, and a garden, which “creates and writes itself” (ibid. , p. 15)

Among the lyrics and lyro-epic B.A. Akhmadulina, recreating the lyrical portrait of A.S. Pushkin, there are works dedicated to the poet’s “heartfelt passions”: “An excerpt from a small poem about Pushkin”, “Now about those whose children’s portraits ...”, the poems “A Country Romance” and “An Adventure in an Antique Store”.

In “Excerpt from a small poem about Pushkin” we are talking about the novel by A.S. Pushkin with Karolina Sobanska. Beautiful, cheerful, lively, well educated, a lover of fine arts, Sobanskaya shone for many years in Odessa big world during the time of the Vorontsovs, her stormy life was full of romantic events. Their relationship with A.S. Pushkin for a long time were shrouded in mystery. This probably explains Akhmadulin’s interest in this page of the poet’s biography.

“Excerpt...” consists of two parts with short but succinct titles: “He and she”, “He - her (November 1823, Odessa)”. In the first part, the author sketches a psychological portrait of A.S. Pushkin. He appears dangerous to woman's heart hero: “when in love - dangerous, angry in speeches”, “frantic pulse”, etc. (Akhmadulina B.A., vol. 1, 1997, p. 221). K. Sobanskaya B.A. He calls Akhmadulina “divine”, “enchantress”: “everything in her is dark and strong, like in nature...” (ibid., p. 222). Her husband is “guileless, not famous for anything, quiet, unprepossessing and necessary for appearance” (ibid., p. 221). This sketch of appearance highlights the ardent disposition of A.S. Pushkin, the attractive power of the poet’s character, emphasizes the beauty and intelligence of his beloved.

All characteristics of the hero are given in incomplete sentences, concise and capacious in content:

Horrible if insulted. Jealous. Born in Moscow...

The pulse is frantic. Where are the Nile waters?

(Akhmadulina B.A., vol. 1, 1997, p. 221) In “Excerpt...” the author betrays his manner of “weaving” a poem, reflecting, meditating, deviating from the topic. The powerful energy and strength of the poetic feeling of the lyrical hero are expressed concisely, fragmentarily, the more powerfully the final thoughts sound, devoid of any didactics, edification, which is generally unusual in the creative manner of B.A. Akhmadulina. The poetic techniques correspond to the character, the excited state of the characters and the author, who is intensely following the development of events.

The second part of “Excerpt...” is a letter from A.S. Pushkin to K. Sobanskaya. Almost every sentence in this section is an unfinished thought. Elements of poetic syntax (ellipsis, short and harsh commentary in parentheses: “crossed out”, etc.) convey excitement, the desire to hide love under cold, dry phrases. There is a period at the end of the sentences left for the final version. They are the complete opposite of the “crossed out” ones: Not young (crossed out)... I’m young... Coquetry suits you (crossed out)... Coquetry doesn’t suit you.

(Akhmadulina B.A., vol. 1, 1997, p. 222) The final lines of the letter are written as if in a feverish delirium: “Believe that I (crossed out) ... that you, // oh how I you (crossed out forever ...” (ibid., 222). It is interesting that the lines of the second part of the work did not belong to the pen of B.A. Akhmadulina. She herself stipulates that she is a translator. The second part of the work, its epistolary form, “fixes” the appearance of A.S. Pushkin, created in the first part.

A fantastically lyrical story is conveyed by B.A. Akhmadulina in the poem “Adventure in an Antique Store.” The lyrical hero (author) comes to an antique store following some “call of smell or color”, “an indistinct gesture of an unknown soul” (Akhmadulina B.A., vol. 3, 1997, p. 48) and draws attention to a portrait in black case. A conversation takes place with an antiquarian who has been living for two centuries, having become immortal from grief and love for the one depicted in the portrait. He worshiped her, but she gave her heart to “the great-grandson of Ganiballov” (ibid., p. 51). The antiquarian received only a portrait, which he jealously guarded from prying eyes.

At the end of the poem, the poet acknowledges the fantastic nature of the “adventure”. She created this story in order to once again come into contact with the world of Pushkin’s things and the people around him. Lyrical excitement helps the author to imagine the extraordinary character of the poet, to feel the thrill of a joyful rapprochement with him, to once again declare the eternity of A.S. Pushkin. An antiquarian is a person who has gone into the past along with the era, and A.S. Pushkin is always modernity:

Sober life would become very complicated if antiquarians acted like this and lived things like living creatures, and the other one would actually be killed.

(Akhmadulina B.A., vol. 3, 1997, p. 53) Correlation with the poetic world of another artist arises when the author quotes someone else’s lines in his works. The poet uses direct literary quotations with or without reference to the original source. For example:

Came the bass of the earth and waters, which said drawn out, as if without effort at all, so frivolously, so importantly: “... I won’t tell you the road where...”

(Akhmadulina B.A., “String”, vol. 1, 1997, p. 174) Affiliation last line Peru A.A. Akhmatova is indicated in the epigraph to the poem. These four words served as the impetus for writing lyrical work, the entire content of which boils down to the expression of the author’s emotions about them. It’s called “String”.

In the poem “Monstrous and Ghostly Resort...” we find a sentence formatted as a quotation:

And Ferapontov’s lips say

over the former and future vale:

“The earth was formless and empty,

and the Spirit of God hovered over the waters.”

(Akhmadulina B.A., vol. 2, 1997, p. 175) It is an abbreviated and slightly modified phrase from the “First Book of Moses” for translation into poetic speech: “The earth was formless and empty, and darkness was upon the deep, and the Spirit of God hovered over the waters.” The work is permeated with both an ironic intonation and a feeling of fear that arises at the sight of the “monstrous and ghostly resort” and all its realities (motel, Mercedes, Porsche, snack bar). The quote indicates that the author has a presentiment of impending death without spiritual world.

In the works of B.A. Akhmadulina often uses hidden citation, i.e. the use of images, motifs, speech patterns, rhythmic and syntactic moves that clearly characterize another author. The poem "Blizzard" begins with the following stanza:

February - love and anger of weather.

And strangely shining around,

the great north of nature

the poverty of dacha places awoke.

(Akhmadulina B.A., vol. 1, 1997, p. 165) Closeness to Pasternak’s “February! Get some ink and cry..." is obvious. In the third stanza B.A. Akhmadulina makes a completely transparent hint that the entire poem is related to the personality of the great poet:

It's so stormy! Not otherwise - the blizzard is dedicated to the one who took these trees and dachas to mind so much.

(Akhmadulina B.A., vol. 1, 1997, p. 165) Exclamations “Solveig! Solveig! (Akhmadulina B.A., vol. 2, 1997, p. 217) from the poem “I am only the foot of my mountains...” refer to A. Blok.

The subject of reflection is also the artistic techniques used in writing the work. In this case main meaning the poem comes down to fixing the natural “flow” of words, which in themselves are a form of being; and then this process commented from a different, relatively objective, plane. The author can justify the choice of words in the work:

That the lungwort loves the temptation of the stormy dawn Above Parshin, when rain is expected there tomorrow, the dictionary also noticed, calling it “unclear”... (“Blossoming sequence”, Akhmadulina B.A., vol. 2, 1997, p. 133) The lines of the poem “Goose Parker” fall on paper as if against the will of the author, and B.A. Akhmadulina emphasizes the conventionality of the form and content of the work: “You’re crazy, Parker, you’re wrong!” (Akhmadulina B.A., vol. 2, 1997, p. 71). The opening lines of the poem “Why does he walk? I love alone...”, according to the author, are thoughts that have not yet been recorded in writing: “Who read // in advance what was not written?” (ibid., p. 112). B.A. Akhmadulina openly admits that the inclusion of an opponent’s remark in the text is a necessary poetic device: “You are not there, and it’s not right // for you to ask questions... // Only this opponent was invented by me” (ibid., p. 112).

In the lyrics of B.A. Akhmadulina 80s. the tendency to contrast objectively existing and artistic reality has intensified. Moreover, the latter is considered genuine. In the poem “The Garden,” which is one of the key poems in Akhmadulin’s work, one can find an illustration of this attitude:

I went out into the garden, but wilderness and luxury

they live not here, but in the word: “garden”.

It is the beauty of roses that have grown

nourishes hearing, smell, and sight.

The word is more spacious than the surroundings...

(ibid., p. 7)

What follows is a stream of associations associated with the word “garden”. The concept of “word” becomes primary, and everything around it stems from it. The text seems more important and more real than reality itself. The poet goes into the world of verbal illusions, which are true life for him: “I didn’t go out anywhere. // I just wrote this: // ““I went out into the garden...”” (ibid., p. 8). The image of a garden in the lyrics of B.A. Akhmadulina acts as a symbol of poetry and art. Consequently, true joy and fullness of being are found only in the creative element, that is, in the word. The poet’s whole life turns into “poems of a wonderful theater” (“Poems of a wonderful theater...”, Akhmadulina B.A., vol. 1, 1997, p. 249).

In the context of world culture, the word is associated with Creation, the Creator. Scripture says: “And in the beginning was the Word, and the Word was with God, and the Word was God. All things came into being through Him, and without Him nothing came into being that was made” (John 1:1,5). In the lines of the poem “On the motive of ikos”: “My life-giving one, not to the heavenly land - I ascend in the night by candlelight to your wondrous, to my verbal paradise” (Akhmadulina B.A., 2000, p. 516) poet, to our view, comprehends the biblical statement. A similar interpretation of the gospel truth is given in the author’s commentary given in the story-diary “Despair”: “... The verbal paradise is an abode not of words, not of literature, but of the spirit, a spiritual paradise. The sought-after perfect and happy inseparability of both – this is, after all, the Word?” (ibid., p. 171). B.A. Akhmadulina claims divine power and the essence of the word. True creativity must be an expression of the spiritual world created by the creator. The poet exists only in the word, he must merge with it, dissolve in it. His world is a “verbal paradise,” which, in turn, is part of God’s world. The word, thus, has a high creative, constructive meaning and is an undeniable value.

Faith in the word can be considered as an absolute in the poetic consciousness of B.A. Akhmadulina. The poet surrenders himself to the power of language, which determines the past, present and future of culture, that is, it is its main guardian. Language, acting as a certain aggregate of collective memory, dictates to the poet his place and role at that moment in culture, which coincides with the time of his life.

So, as an absolute, B.A. Akhmadulina chose a language that is transformed into a kind of model of the world, harmonious, living according to more perfect laws than the world as such. Orientation towards the search for an objective and transpersonal absolute is characteristic of the classical paradigm. The subjection of the poet and the poetic word to some impersonal higher power- God, people, state, canon, truth, ideal - refers to the most important postulates of classical aesthetics. However, language has traditionally been perceived not as an absolute, but only as a means of achieving harmony; attention to language as the most important ontological force was born from the culture of modernism and later postmodernism.

Let us recall that the poetic world of B.A. Akhmadulina is densely populated by great literary predecessors, among whom we will meet representatives of the classical Russian tradition of realism of the 19th century in the person of A.S. Pushkin, and representatives of poetry " silver age": A. Akhmatova, O. Mandelstam, M. Tsvetaev, B. Pasternak. In this way, the author creates the effect of continuity of cultural tradition, oriented towards the classical paradigm, and forms an image of culture that is significant in its place in the artistic system, incorporating modernist experience.

The above allows us to conclude that B. Akhmadulina’s aesthetics are constructed as an attempt to synthesize classical and modernist trends. The artistic quests of I. Brodsky are very close to her in this regard.

So, the lyrical heroine B. Akhmadulina looks at the world from the position of a creative person. In the early stages, she is possessed by the desire to reflect in her soul all the movements of the changing world. Over time, the main subject of the image becomes the spiritual life of the author and his literary work. Understanding the essence and purpose of the artistic word, B. Akhmadulina comes to the idea of ​​its self-sufficiency and ability to overcome world disharmony. The poet perceives the world as a text and creates the effect of a conventional border between objectively existing and artistic reality. Since B. Akhmadulina’s ideological position is based on the statement “man (the artist) is a microcosm,” then man is the highest value for her.

In the center of the artistic world B.A. Akhmadulina is a multifaceted image of culture. As a result main theme The author's reflections include the creative activity of the lyrical heroine herself and other artists. Here the poet, surrounded by an aura of chosenness, is opposed to society. The state of creative inspiration, according to B.A. Akhmadulina, cannot be defined in categories human mind, it is not subject to the will of the artist himself. In the creation of a work of art, he is assigned a passive role. With the theme of creativity from B.A. Akhmadulina is associated with the use of the technique of exposing the “working” moments of writing, when the reader witnesses the emergence of the work to which he turned.