From Commentary to Author Songs. Three Notes
- Authors: Kulagin A.V.1
-
Affiliations:
- State Social and Humanitarian University
- Issue: No 1 (2019)
- Pages: 125-139
- Section: COMMENTS
- URL: https://ogarev-online.ru/2658-7475/article/view/364275
- ID: 364275
Cite item
Abstract
The author of this article comments on the author songs by Mikhail Ancharov (“Pykhom klubit par…”), Yuri Vizbor (“Spokoino, druzhische, spokoino! ..”) and Vladimir Vysotsky (“Nikakoi Oshibki”). The subject of the study is the intertextual relations that exist between these works and the poetic texts of other authors, and its goal is to identify possible literary sources of the songs mentioned. We prove that M. Ancharov’s song “Pykhov klubit par ...” was created under the influence of B. Kornilov’s poems “Forest” and “Forest House”. This is evidenced by the similarity of lyrical situations (in the “Forest” Kornilov's lyrical protagonist also participates in a duel with a hostile nature, which takes an allegorical form), the actualization of the motif of hunting in the song of Ancharov, rhythmic consonance, general pathos and lyrical atmosphere, which bring "Pykhom klubit par ..." and "Forest House" closer together. The author confirms the conclusion of N.A. Bogomolov about the presence of a genetic link between the song by Yu. Vizbor “Spokoino, druzhische, spokoino!” and the poem by N.S. Gumilyov "The Worker". The popularity of Gumilyov's creativity among the poets of the “thaw” generation, the presence of images and lyrical motifs of "The Worker" in the early verses of Vizbor, the presence of reminiscences from another poem by Gumilyov – "Giraffe" in "Spokoino, druzhische, spokoino!.." serve to prove this conclusion. The author offers a possible source of V.Nysotsky's song “No Error”, which was not previously considered by scholars – the poem of the Oberiu-poet N. Oleinikov and playwright E. Schwartz “On the birthday of the surgeon Grekov”. The text of Vysotsky’s song and the poem are brought together by a lyrical situation based on “estrangement” arising in the consciousness of the protagonist-patient, as well as a general poetic size, trochaic tetrameter, corresponding to an energetic change of scenery and an ironic intonation of works. This version is also supported by Vysotsky’s confirmed interest in Oleinikov’s poetry in 1975–76.
About the authors
A. V. Kulagin
State Social and Humanitarian University
Email: litkaf@mail.ru
SPIN-code: 1885-4061
Doctor of Philology, professor Kolomna, Russia
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