A number of works in various genres have been preserved in the Vysotsky archive, in particular, the unfinished children's comic poem "... about Vitka Korablev and his bosom friend Vanya Dykhovichny" (1970-1971), the story "Life Without Sleep (Dolphins and Psychos)" ( 1968), the script "Somehow it all came out ..." (1969-1970) and also the unfinished "Novel about girls", on which he worked in the late 70s. All these experiments testify to the rich and not fully revealed creative potential of this versatile gifted person.

Speaking about the main themes and motives of Vysotsky's poems and songs, which has already been discussed in connection with the poet's creative evolution, one should once again emphasize the problematic and thematic range of his works, the acuteness of posing in them the pressing social issues of the day and the problems of the century. In one of the last performances-concerts in 1980, Vysotsky said: “And the calculation in the author's song is only for one thing - that you are worried just like me, some problems, human destinies, that you and I are worried the same thoughts and in the same way tear your soul or scratch your nerves with some injustice, human grief ”(Zhivaya Zhizn, p. 302).

The songs of Vysotsky, especially of the mature period, are always distinguished by the depth and originality of the artistic solution of the "eternal" philosophical questions of life. And here it is interesting to give a judgment on this score of three high-class professionals - a poet, a theater worker and a philosopher.

Thus, David Samoilov sees the creative evolution of Vysotsky towards the ever greater significance and depth of the social and philosophical problems he solves artistically: “In serious conversations about the phenomena and events of life, he worked out a position and drew themes for his songs. It was no longer "were the Moscow court" that nourished his inspiration, but serious views on the structure of the world. "

The same dynamics of internal growth is emphasized by Mikhail Ulyanov: “... only he could, at such a deadly limit, put all of himself into the song - despite the sometimes unassuming text, despite the sometimes street melody, Vysotsky's song became a bitter, deep, philosophical thought about life. .. In his songs, especially in the latter, there was not only feeling and passion, but a fervent thought, a thought that comprehends the world, a person, their very essence. "

Finally, the testimony of Valentin Tolstykh, who noted the fusion of life and being, lyricism and philosophy in the poet's work, is characteristic: “Vysotsky talks about love and hate, about time and struggle, about birth and death, rising in his lyrical outpourings to a philosophical understanding of the worldly close, recognizable themes and problems ".

Speaking about the songwriting of Vysotsky as a kind of artistic, philosophical and poetic system, about ways to combine individual poems and songs into thematic groups, about ways of cyclization, one should especially dwell on the poems of the military cycle and the originality of his solution to this topic. Speaking at the evening on February 21, 1980, the poet emphasized: “... I write about the war not in retrospect, but in association. If you listen to them, you will see that you can sing them today, that people are from those times, situations are from those times, but in general, the idea, the problem is ours, the present. And I apply in those days simply because it is interesting to take people who are in the most extreme situation, at the moment of risk, who in the next second can look into the face of death ... ”(Zhivaya Zhizn, p. 304).

The fact that Vysotsky wrote about people in the most extreme situation, looking into the face of death, often becoming senseless victims of the war, and at the same time emphasizing that this is “our problem, the current one,” says a lot. Obviously, even then, especially at the beginning of 1980, when the troops had just entered Afghanistan, he acutely felt, foresaw that the war would remain our national tragedy for a long time to come. In one of the key poems of the military cycle, "He did not return from battle" (1969), the tragic death of one of the countless privates of the Great War is interpreted as an everyday fact that acquires a symbolic sound. The bitterness of loss, the blood connection between the living and the dead, in contrast, are shaded here by a picture so serene against the background of human tragedy of eternal and beautiful nature:

Today spring has escaped, as if from captivity.

I called him by mistake:

"Friend, stop smoking!" - and in response - silence ...

He did not return from battle yesterday.

Our dead won't leave us in trouble

Our fallen are like sentries ...

The sky is reflected in the forest, as in water, -

And the trees are blue.

Nature and above all the Earth itself always appears in Vysotsky's poems alive and animated. In "Song of the Earth" (1969), the title image is revealed as a synonym for the human soul. Hence - the lines-personifications passing by the refrain: “... who said that the Earth died?

No, she hid for a while ...

Who believed that the Earth was burned?

No, she turned black with grief ...

Bare Nerves of the Earth

They know unearthly suffering ...

After all, the Earth is our soul,

You can't trample your soul with your boots. "

In Vysotsky's poetry, large and general plans are closely related. The cruel truth of the war, the rough reality of the depicted ("How to cover up we use the fallen ... Belly - through the mud, we breathe the stench of swamps ...") are called to approve the high measure of deeds of each and every one in the poem "We rotate the Earth" (1972). In the poems of the military cycle, the poet achieves a special capacity and heartfelt lyricism in creating a poetic image. Such is the symbol of the Eternal Flame, which comes to life before our eyes and fills with a new tangible meaning in the poem "Mass Graves", which was first performed in the movie "I Come From Childhood" (1966) and with which Vysotsky usually opened his performances and concerts - right down to the very last 1980 g.

And in the Eternal Flame - you see a flared tank,

Burning Russian huts

Burning Smolensk and burning Reichstag,

The burning heart of a soldier.

In 1985, astronomers of the Crimean Observatory named the newly discovered planet between the orbits of Mars and Jupiter - Vladivysotsky. In space, among a huge number of planets, a small luminous point wanders, and this eternally living celestial body is associated with the name of the famous poet, singer and actor - Vladimir Vysotsky. So who is he - an actor, poet or composer? In one of his interviews, he himself answered this question in the following way: “I think that the combination of those genres and elements of art that I am engaged in and I am trying to make a synthesis of them, maybe this is some new kind of art. Maybe all this will be called in the future by some one word, but now this word is not yet available. "

So what are the features of Vysotsky's lyrics? What are the features of all his work? And his work is interesting and multifaceted. He has written more than 600 songs and poems, played more than 20 roles on the stage of theaters, 30 roles in films and television films, in radio plays. He most often called his genre on the stage an author's song. He wrote his first poem in 1961. Vysotsky began to write his songs only for his friends, to sing in a small courtyard company. Therefore, the first songs were so street and even a little hooligan. Later he began to write about the war and on more philosophical topics.

The poet was asked a lot why he, who had not gone through and had not seen the war, wrote about it, and wrote as if he himself took part in it. He replied: “... We are children of the war years - for us this will not be forgotten at all. One person aptly remarked that we are “finishing the war” in our songs. We all have a sore conscience because we did not take part in this. I pay tribute to this time with my songs. It is an honorable task to write about people who fought ":

I will not leave this heavenly square.
Numbers are not important to me now, -
Today my friend is protecting my back
This means that the chances are equal.
("The Pilot's Song")

These are not songs - flashbacks: they are written by a man who has not gone through the war. These are association songs. If you think about them and listen attentively, you will see that they can be sung now: just characters and situations from those times are taken, but all this could have happened here, today. And these songs are written for people, most of whom also did not participate in these events. But, according to M. Kulchitsky:

War is not fireworks at all,
It's just hard work
When black with sweat, up
The infantry is sliding along the plowing field.

These songs are written on military material with an estimate of the past, but it is not at all necessary that the conversation in them is only purely about the war ... He wrote many songs about the war for the cinema as well. Vysotsky himself starred in films, but admittedly, the fate of the actor did not work out for him. The cinema did not use all its possibilities. Half of the roles played are episodic. He really revealed himself only at concerts, where he always worked in full force. Each concert is like the last. Singing songs, he could be so rumbling, so stormy and raging that people sitting in the hall had to close their eyes and pull their heads into their shoulders, as if from a strong wind. And it seemed: another second, and the ceiling would collapse, and the speakers would explode, the strings would burst, unable to withstand the tension, and Vysotsky himself would fall, suffocate, die right on the stage ... And he sang. He breathed. But his next song could be amazingly quiet. And from this she sank into the soul even more. Vysotsky, who had just seemed like a pulsating bundle of nerves, suddenly became the embodiment of sublime tranquility, became a man who had comprehended all the secrets of life. And each word sounded in a special way. Vysotsky paid a lot of attention to the sports theme. He wanted to create a whole program with a song about each sport. This, of course, is an exorbitant task, since there are a lot of sports. However, he worked hard and wrote a few things. For example, the song "Professionals", which he wrote after the USSR-Canada game of hockey, when Soviet hockey players became world champions for the fifth time. The game was tough, and our fans feared that Canadian professionals with strong skills would be able to win, but everything turned out to be different:

... Professionals, desperate little ones,
Lottery game - who will be lucky.
Play with a partner like a bull with a matador -
Though it seems to be the opposite.

He has a "Song about a short-distance skater who was forced to run a long run (And he really didn't want to)" or also a joke song - "A song about a sentimental boxer." And the famous "Morning Gymnastics", such an anti-alcoholic joke song, like a parody of some gymnastics exercises:

Deep breath, wider arms,
Take your time - three, four! -
Cheerfulness, grace and plasticity!
General strengthening,
Sobering in the morning
If he is still alive - gymnastics.

"The Song About the Long Jumper" is dedicated to Vladimir's friend, the famous long jumper G. Klimov. He is in misfortune: he constantly crosses the board from which he starts, and his records are not counted:

What happened, why are they screaming?
Why did my coach ring?
Just eight forty is the result,
True, he crossed the line.
"Song about a weightlifter" is dedicated to Vasily Alekseev, the most powerful man in the world:
... But marked by the grace of a mustang,
I'm shackled, I'm not quick in my movements.
Boom, boom overloaded, -
My eternal rival and partner.
He also has a poem about chess:
... The move is behind me - what to do? It is necessary, Seva, -
At random, like in the taiga at night ...
I remember that the queen is the most important:
Walks back and forth and left and right, -
Well, horses like - with the letter "G".

Many of Vysotsky's songs are dedicated to climbers. “Mountaineering is not a sport, but even if it is a sport, then competitions are inappropriate here - they will not lead to anything good,” Vysotsky said this phrase in an interview. The poet wrote songs, as if plunging into the atmosphere of what he writes about. The same happened on the set of the movie "Vertical". He, together with the film crew, came to the mountains, and they simply conquered him with their beauty:

... Only mountains can be better than mountains,
Which I haven’t been to yet.

He met a lot there with smart, good people, and people in the mountains behave completely differently than in an ordinary urban setting. They unfold in a completely different way. The fact is that the situation during the ascent is close to the military one, and therefore people behave as in battle:

Here you are not a plain, here the climate is different, -
Avalanches are coming one after another!

You rarely see it elsewhere. Vysotsky himself said: “I was invited to perform somehow by climbers, I came to them, they wanted to listen to me for a long time, but then it suddenly turned out that some group had an accident. All of them, as one, were blown away by the wind, they left at night, in bad weather, went on the route to save people. Why do people go up? Probably to check, to see what kind of person you are, to understand better the people who are with you. Because there is no police in the mountains, there is no ambulance that could save you or help you out ":

In the mountains, neither stone, nor ice, nor rock are unreliable, -
We only hope for the strength of our hands,
On the hands of a friend and a hammered hook, -
And we pray that the insurance won't let you down.

He did not sing songs about the sea, about the storm, about sailors so often, but he had a lot of them. He was admired by the sea's mutual assistance, and in the songs "Man Overboard" and "Save Our Souls" he reflected this:

There was a storm - the ropes tore the skin from the hands,
And the anchor chain squealed like a devil
The wind sang a song, and suddenly
A voice rang out: "Man overboard! .."

There were many sailors among his friends, and he often sang to them in the wardrooms. Vysotsky's sea songs are a special category of soulful songs:

Only gazes turn back again -
The earth holds tenaciously, everything is not so.
Why do not the sights converge for too long,
Why is the beacon blinking too often ?!

Vladi Vysotsky met Marina in 1967, and only in 1980 they got married. But it was a difficult union. Vysotsky has children from his first marriage, and so does Marina. The situation was further complicated by the fact that M. Vlady lived and worked in Paris. They both were connected only by the telephone. He called Paris at any time of the day or night, sang newly written songs into the telephone receiver, confessed his love. It is a pity that the connection could be interrupted at the most sacred place, it acted on the nerves of both. An incredibly complex tangle of feelings arose. This is stated in a song address to the telephone operator of the international station 07. In this monologue, the whole of Vladimir Vysotsky, with his dazzling passion, with an unbridled desire to love now, and not sometime in the future:

This night is illegal for me.
I write - there are more topics at night.
I grab the dial of my phone
Dialing eternal 07.-
Hello girl!
What is your name? Tom.
Seventy-second! I'm waiting! Zataya breath!
It can't be, repeat, I'm sure - at home!
Here! Already answered! Well, hello, it's me.
When they did manage to meet, they were just happy:
I have not seen another hand like this
That would caress me so ...

Great love inspired Vysotsky to create lyrical musical and poetic works that were unique in spirit and character, which enriched his songwriting with their melodies, content, form:

Crystal house on the mountain for her.
Himself, like a dog, he grew up in a chain.
My silver springs,
My gold placers.
Love inspired Vysotsky, and he devoted more and more poems to her:
What day of the week, what time
You will come out to me carefully ...
When I carry you in my arms
Where it is impossible to find ...

The poet did not like to advertise his personal life, and therefore he spoke little about it, but various newspaper writers and other “readers” of his work supplemented this shortcoming with their conjectures. And he answered them:

... I do not like it when they crawl into my soul,
Moreover, when they spit on it.

Crowds of fans, who saw in him only an idol, and not a creator, constantly pestered him with stupid questions about his personal life. To avoid ambiguities, Vysotsky wrote a song that answered many questions from the curious:

I will cover all questions in full,
I will give satisfaction to curiosity.
Yes! I have a French wife
But she is of Russian origin.
No! I have no mistresses now.
Will there be? I don’t intend to.
I have not drunk for about two years.
Will I drink it again? I don’t know, I’m not sure.

We will miss Vladimir Vysotsky for a long time - his talented appearances on the stage of Taganka and his characters, whom he created, his funny, sad, mischievous and irreconcilable songs, his trusting hoarse voice ... In his poems and songs, the poet managed to convey the mentality and the image of the Russian people. He expressed some kind of daring, despair, confusion of the life of his people and at the same time its breadth. All this together, this poetic and at the same time mocking and wise attitude to life made his songs very vital. In October 1985, a monument to Vysotsky was unveiled at his grave. The poet is cast from bronze to his full height, as if he is trying to break free from the fetters that are tightening him. There is a guitar on it. Behind - two beautiful horse heads that remind of his best song:

... A little slower, horses, a little slower!
You do not listen tight to the whip!
But somehow I got picky horses,
And did not have time to live, I do not have time to finish singing ...

Among the numerous poems of Vladimir Vysotsky there are those in which the romantic perception of the world sounds. A romantic poet, an uncompromising maximalist in his requirements for a person, Vysotsky was looking for heroes who would engage in single combat with the elements, capable of performing a feat in the name of lofty goals. Therefore, so often in his songs situations arose that required the utmost exertion of spiritual and physical strength from a person.

Many of Vysotsky's songs are dedicated to mountains and mountaineering. One of the mountaineering songs is "Song of a Friend", written in 1966. It talks about real male friendship that arises between people in the mountains.

If a friend

It turned out suddenly

And not a friend, and not an enemy,

If you can't tell right away,

Good or bad, -

Pull the guy to the mountains -

The mountains make it possible to check which person is next to you, how reliable he is:

If he walked with you

How to fight

Standing at the top - intoxicated, -

So, as on yourself,

Trust him.

Mountains as a symbol of a dream, an unattainable search, appear in the poems: "This is not a plain for you" and "Farewell to the mountains." Vysotsky's love for the mountains is evidenced by the following lines:

Into the bustle of cities and streams of cars

We come back - there is simply nowhere

Do it! -

And we go down from the conquered peaks,

Leaving in the mountains

Leaving your heart in the mountains ...

While in the mountains on the set of the film "Vertical", Vysotsky realized that better than mountains "there can only be mountains that he had not yet visited ..." Vysotsky dedicated the song "To the Top" to the wonderful rock climber Mikhail Khergiani, who died in the Alps. He was not afraid of danger:

You walk along the edge of the glacier

Without taking your eyes off the top

Mountains sleep breathing clouds

Exhaling avalanches ...

In the song "Shooting a Mountain Echo", Vysotsky describes an echo that responds to human screams. It can help a person who is in trouble and needs help. And if his moans and cries are not heard by anyone, the echo will pick up the cry for help and amplify it many times over. But people did not want to hear the echo and "came to kill, to silence the living gorge." They shot the echo and stones fell from the mountains, which Vysotsky compares with tears:

By the morning they shot the hushed mountain,

Mountain echo -

And tears splashed like stones from the wounded rocks! ..

Vysotsky's lyrics are characterized by a creative interest in the world of the elements, in the inner dialectic of nature, a component of which is man with his joys and sufferings. And no matter how cruel life is, a person's courage and perseverance are always rewarded: In the poem "White Silence" in the conditions of the far North, a person grows mature and grows stronger:

... Our throat will release the silence,

Our weakness will melt like a shadow

And the reward for the nights of despair

There will be an eternal polar day!

In many of Vysotsky's songs, the motive of anxiety, disorder, the search for his place in life sounded. The lyrical hero of the poem "Sail" reminds us of Lermontov's hero in the poem of the same name. He is just as free, rebellious and restless:

Many summers -

To everyone who sings in a dream!

All parts of the world

May lie at the bottom

All continents

They can burn on fire

Only all this -

Not for me!

Sail! Broke the sail!

I repent! I repent! I repent!

In one of his poems, Vysotsky said: “Of course, I will come back, all in friends and dreams. Of course, I will sing, it will not come even six months ... “He kept his word, addressing us, his contemporaries. However, he did not leave us, having entered our life firmly and forever. More than twenty years have passed since Vysotsky is not with us, and his voice still sounds with the same strength and utmost sincerity, making his heart beat anxiously.

Vysotsky's time has not passed. Today we not only listen to Vysotsky - we read him and see the literary path that he traveled. We see the place that he occupied in literature. The Vysotsky phenomenon is one of the brightest and most original phenomena in the cultural life of Russia in the 20th century.

G. A. Senkevich

Dnepropetrovsk, Ukraine

SOCIAL MOTIVES IN THE WORKS OF VLADIMIR VYSOTSKY

KEY WORDS: society, system of distribution of benefits, social motivation, motivational factors, inner freedom, deviant behavior, delinquent behavior. ANNOTATION. The purpose of this study, the author set the consideration and analysis of the specific-textual functioning of the definition of "social injustice" in the poetic world of B.C. Vysotsky from the point of view of the concepts of "internal freedom" and "internal protest", which dominated the character and actions of the poet.

Dnepropetrovsk, Ukraine

SOCIAL MOTIVES IN THE WORKS OF VLADIMIR VYSOTSKY

KEYWORDS: socium, the system of distribution of wealth, social motivation, motivational factors, inner freedom, deviant behavior, delinquent behavior.

ABSTRACT. Purpose of author "s study is consideration and analysis of the functioning of the text definition" the social injustice "in the poetic world of Vladimir Vysotsky in terms of the concepts of" inner freedom "and" internal protest, "that dominant in poet" s character and actions.

The work of Vladimir Semenovich Vysotsky has been studied seriously enough to argue about his genius - a poet, actor, bard. Many literary and art critics explain its reasons in different ways. “Like an ordinary Moscow teenager, who did not show any noticeable talents in childhood and adolescence, not burdened with genius heredity, and even living in the Sukharevka and Maryina Roshcha districts (and thus already, as it were,“ intended ”to become a street hooligan , if not a delinquent), is he actually becoming an outstanding person and a national idol? " - asks the famous literary scholar Vitaly Batov. And then he answers: “A single observation, of course, will not give a final and guaranteed answer to the question about the type of personality, therefore, a prolonged analysis, that is, unfolded in time, and synthesis, that is

generalization, research of personal attitudes, life orientation, dynamics of individual forms of mental activity "

Psychoanalytic notions of genius emphasize motivational characteristics rather than intelligence. Noting the need for a high level of development of mental abilities, many psychologists tend to consider the social motive as the main one in the formation of a genius. The main "motivating" factor of Vysotsky's genius, in my opinion, is the specifics of the environment in which his talent worked.

His phenomenon consists, in my opinion, primarily in the fact that, being a product of the Soviet era, which slowed down his creative impulses, did not allow his talent to develop and, by and large, ruined him, he did not turn away from her and in his songs created an image Soviet

person. He met him every day on the streets of Moscow, in cities on distant tours. And even those people whom he knew from stories - prisoners in prison cells or soldiers of penal battalions.

They are a part of society: athletes, soldiers, hard workers, ordinary Soviet inhabitants, even street hooligans, drunkards - with all the shortcomings, habits, manner of speaking and in their own way to resist the regime, which could fully be called antisocial. The challenge to injustice lies in irony (often it cannot be called subtle) in relation to Soviet reality. The social sphere is undoubtedly a part of it. The poet's weapon is a word: it is selected with filigree precision, in accordance with the event, with the character and even with the mood of the character.

The heroes of Vysotsky's songs are simple and artless in character, he mocks over the inappropriate manifestation of scholarship and intricate behavior:

Comrades scientists, associate professors with candidates. You are worn out with X's, you are entangled in zeros. Sit, decompose molecules into atoms, Forgetting that potatoes decompose in the fields.

"Comrades Scientists"

Did a working man in the USSR feel comfortable? To some extent - yes, he did not have any special requests for life, he was content with little (guaranteed job, advance salary on time, cheap vodka, etc.), but sometimes "the social system itself" failed, and then the hard worker turned out to be not needed by the society :):

I don’t feel my feet under me -And the earth is swaying ... For the third month I have been whipping, Since it was written off cleaned From the whaler-ship.

Well, since I scourge, Non-Party, not a Jew, -I spend the night on the stairs,

Where is the warmth from the batteries.

"Song about the river Vacha and fellow traveler Valya"

However, Vysotsky does not categorically assert that everything was too bad in socialist reality, far from it. There were holidays, a system of incentives at work, a trade union and free medicine. Sometimes (very rarely) workers even went abroad, and not only nomenklatura workers. Blacksmiths, for example (

I finished forging yesterday, and tinned two plans

And I got on a business trip from the plant.

Soot, soot washed away under the shower,

ate a cold ide

And I listened to the instructions,

what is possible there, what is not.

Of course, ideological propaganda did its job, and abroad the Soviet people behaved like savages, but, nevertheless, the "iron curtain" was gradually opened. Some of the poet's compatriots saw a beautiful life, completely different values, but due to their ideological conviction, trained for years, decades, they perceived even all the unconditional benefits and freedoms of the Western world as hostile, guided by the rule “whatever happens”. The main thing in a foreign country is not to lose vigilance:

Bourgeois contagion is everywhere

walks on his heels.

Fear more than the evil eye, you illegitimate

connections there.

There are spies with a strong body,

you them at the door - they are at the window.

Say we're done with this case

"Instructions before traveling abroad"

as much bread as circuses ”, especially the wives:

Promised, you forgot, right, oh good!

That you can bring an oilcloth from Bangladesh.

Save a couple of rupees there, don't buzzy.

Bring the devil in a mortar.

Vysotsky, probably, joked sharply about this problem, since he himself was often "not on the road", grievingly experiencing separation from his French wife, who was literally torn between Moscow and Paris. He threw out his emotions and feelings about this in his song "Zero seven":

The phone is like an icon to me

The phone book is a triptych,

The telephone operator became madonna,

By shortening the distances for a moment.

And yet, the lot of the Soviet people remained work - hard and low-paid. Almost happiness was the acquisition of everything that was considered a deficit in the USSR. And the distribution of scarce goods was handled by people for whom they felt almost awe. Vysotsky treated the Soviet system of distribution of benefits with disdain, ridiculing, on the one hand, the system that gave rise to such relations, but on the other hand, he sympathized with people who were ready to sacrifice even family relations in the pursuit of "rags".

Oh, Wan, look, goat, parrots.

No, I really will scream!

And who is this in a short T-shirt?

I, Wan, want the same.

At the end of the block, it is true, Wan,

You are the same bungle to me ...

Well, "Leave me alone"? Again "Leave me alone"?

It's a shame, Wan!

"Dialogue TV"

Unable to satisfy their main social needs - in good food, in clothes, in rest - a significant part of the population fell into

into apathy, addicted to alcohol and other addictions. Hopelessness destroyed families, introduced discord between generations, gave rise to callousness, rudeness and even violence:

And you will come home, Ivan, Eat and immediately - on the sofa, Or, over there, screaming when you’re not drunk ... What are you, Ivan?

Despite this, Vysotsky's alcoholics and drunkards are almost sublime natures, at least thinking. Their so-called deviant behavior is caused by external (often economic) factors, the main of which are low living standards and lack of social motivation. People are not optimistic, because there is no perspective in the future, all days are weekdays, monotonous and similar to each other. Attitude to his wife: "when you come home, you sit here." For many, there is only one way out - they need to drink:

Well, and I, of course, Zin, All the time pulls to the store, -And there are friends ... After all, I, Zin, I do not drink alone!

The poet empathizes, sympathizes with his hero, "tipsy" and got into everyday troubles:

In the city of Leningrad, at Five Corners, Sanya Sokolov got hit in the face. He sang non-musical, scandalized ..

"In Leningrad-city"

And yet, brother, our road is difficult! Eh, poor fellow, sleep well, Seryoga.

"Police Protocol"

“What historical tendencies did Vysotsky express in his work? - the Russian Soviet writer, historian, literary critic Natan Eidelman argues, - First of all - the problem of internal freedom against the background of the most difficult circumstances -

bodies, enormous superhuman forces, terrible forces that destroy a person. He is a free man. But not just free ... You see, we are used to the type of free person who fights with the enemy, who dies, who is sadly, tragically free. And here a man is cheerful, vividly free. Moreover, it is clear that his circumstances are not easy. His fun is connected with overcoming the most difficult circumstances. ...

Indeed, the hero of Vysotsky's songs is trying to create a certain stable world with its own rules and orders, which are valid and the only possible now and in the future. That is, there is an attempt to establish itself in a certain role, which makes it possible to realize self-will, understood by the hero as true freedom, an attempt to "preserve" this world, to make it static and unchanged. How does he try to comprehend and realize it in a socially unfree society?

It is absolutely unfair to believe that Vysotsky's characters from the so-called prison songs are elevated to the rank of heroes, there are by no means strong personalities worthy of imitation. On the contrary, we are observing a stable picture of the transformation of the personality of the criminal, he is evolving. If at first we see him smiling, mockingly perceiving his robbery, then further negative features are clearly visible in his character. The hero's unbridled willfulness becomes destructive for himself, exposing to the limit all the baseness and vulgarity of the depths of human consciousness. He becomes angry and harsh while defending the rules of the underworld. This destroys the idea of ​​a criminal life as a free and correct life, true, reveals its shortcomings and negative sides. A number of researchers of V. Vysotsky's works are inclined to this opinion, for example

Mer, E. I. Solnyshkina, Yu. N. Blinov, and other scientists.

Freedom of Vysotsky as a citizen, most likely - flight, impulse, scope. A bird, an airplane evoke in the poet a sense of the fullness of being, perhaps, the triumph of free movement. In an allegorical sense, this means social freedom. The social motivation of the characters in the songs is mentioned in the works of literary researchers V. Aleinikov and A. Ananichev. The last social satire of Vysotsky is considered one of the brightest in the 20th century and puts his poems on a par with the works of Zoshchenko, Ilf and Petrov.

As for drinking people, Vysotsky does not have excessive pathos, as, say, the hero Venichka Erofeev ("Moscow-Petushki"), who is proud of the fact that he drinks, and not only does not condemn his behavior, but also seeks to present it a little whether not as socially justified, to some extent even bravura. This can be seen at least from the names of his famous cocktails (and associations from them), which the author's fantasy has clothed in bright pompous forms. Let's trace the growth of dynamics: "Tear of a Komsomol member" - "Jordan streams" - "Canaan balsam" - "Bitch giblets". Hence: "Hymn to Democratic Youth" - "Music of the Spheres". What could be more sublime?

For Vysotsky, drunkenness is by no means fun, but sadness, emotion, mental anguish (Song "Lie on the Bottom"):

A friend served me vodka in a glass, a friend said that it would pass, a friend introduced me to Verka while drinking: Verka will help, and vodka will save me.

Neither Verka nor vodka helped: From vodka - a hangover, but from Verka - what to take! I would like to lie down like a submarine, - And do not transmit the call signs! ..

"Lie to the bottom"

The lack of optimism in Vysotsky's heroes is a disease, a depressive

standing is caused by a variety of factors, many of which have a social cause. Suffice it to recall that in the USSR, social policy also had an ideological connotation, with which the poet strongly disagreed. It was possible to fight the system directly, except perhaps from outside the country, but even in this case, the omnipotent KGB was able to influence dissidents, intimidating them, and sometimes even physically eliminating them.

Vysotsky chose his own path - the path of a patriot and a citizen.

“If you try to determine the place of Vysotsky in the history of our culture

in a word, the most accurate will be: the personified conscience of the people, - says the Russian literary critic Andrei Lapov. - Therefore, he is the favorite of the people, therefore, the mass pilgrimage to his grave on Vagankovsky has been for how many years, therefore, there is an endless sea of ​​flowers at his monument, therefore any reminders about him are snapped up - books, booklets, cassettes, records. During his lifetime, he became neither a national, nor an honored, nor a laureate. He was not awarded official awards and titles. But it has truly become popular. His talent, his work were the very monument not made by hand. "

LITERATURE

1. Ananichev A. Not for the sake of scoffing, but for the sake of transformation // Vysotsky's World: Research and materials. Issue III / Comp. A.E. Krylov and V.F. Shcherbakov. M .: GKTsM B.C. Vysotsky, 1998. 255-263.

2. Aleinikov V. The name of the time: On the unofficial literature of the 70s: Literary memoirs. // New literary review. 1998. - No. 1. - S. 223 - 256.

3. Batov V. Vladimir Vysotsky: psychohermeneutics of creativity / Ministry of Culture of the Russian Federation; Russian Institute of Culturology; Int. Ped. acad. - M., 2002 .-- 224 p.

4. Blinov Yu.N. Dominants of the poetics of existentialism in V. Vysotsky // The World of Vysotsky. Research and materials. Issue II / Comp. A.E. Krylov and V.F. Shcherbakov. M .: GKTsM B.C. Vysotsky, 1998. 267-278.

5. Lapov A. "Creativity of Vladimir Vysotsky" URL: http://www.mark5.ru/14/4887/indexL1.html

6. Solnyshkina E.I. The concept of freedom in the songs of the prison-camp theme B.C. Vysotsky // Anthropocentric paradigm in philology: Materials of the international scientific conference Part 1. Literary criticism. - Stavropol, 2003.S. 322-325.

At all times, poetry has had a tremendous impact on public life. The poets' creativity contributed to spiritual emancipation, revealed human vices, made us think about the life around us. One of these poets was Vladimir Vysotsky - the personification of the conscience of the people.

Vysotsky's work is a biography of our time. In a huge number of poems written in different periods, the poet touched on very important milestones in history. Three main themes occupied a significant place in Vysotsky's civil poetry: the Great Patriotic War, the tragedy of the people during the period of Stalin's personality cult, the stupidity and inertia of the Soviet bureaucracy.

Vysotsky's poems about the Great Patriotic War sound with such piercing power, saturated with such a scorching truth that it seems as if the author himself drank a dare in the war. The poem "We rotate the earth" is amazing. The symbolic image of a soldier stops the movement of the fascist hordes:

We turned the earth back from the border,
It was the case at first.
But our battalion commander turned it back,
Kicking off from the Urals.

It would seem that everything collapsed, disappeared, "the sun went back and almost went down in the east." But "shift companies on the march" stopped the Earth's rotation and "spun" the planet back until they reached Berlin. Of course, the exploits of our soldiers in this war were glorified even before Vysotsky, but with what feeling he writes about it! The poet tells about the courage of Russian soldiers in the poem "They clung to the heights ...":

They clung to the height, as if they were their own.
Mortar fire, heavy.
But again we climb, wheezing, on her
Behind the flare of a signal rocket.
And shouts of "hurray!" froze in the mouth,
When we swallowed bullets
We have occupied that height seven times,
We left her seven times.

And this height, to which the soldiers went on the attack, became for them the crossroads of all destinies and paths, the personification of the Motherland, which must be defended.

In the works of Vysotsky, the war appears not as a ceremonial portrait, but as a harsh truth, ugly, cruel, but always true. In the poem "The One Who Shot ..." the poet told about a soldier who refused to carry out an unjust sentence. In another work, Vysotsky turned to the fate of people from the penal battalion. These soldiers at the front were spared little and even less cherished. They covered the space in front of the enemy's fortifications with their bodies, paved the way for other units:

Penalties have one law, one end:
Koli, slash the fascist vagrant.
And if you don't catch lead in your chest
You will catch a medal for courage.

Until recently, it was forbidden to write about "penalties". But Vysotsky wrote. He wrote about them, and about rifle companies storming unnamed heights, and about pilots who died in an unequal battle, about battles with Alpine riflemen in the mountains, about paratroopers and submariners. War is not only victories, but also blood and death. Since there were victims, it means that there were widows and orphans. The poet in his poems managed to convey the longing of wives, mothers, brides who took their men to war:

The willows cry for you
And without your smiles
Rowan trees turn pale and dry ...

Vysotsky's poems about the Great Patriotic War are a tribute to memory and respect for those who died for our future. But they died not only at the front. In the cruel and dark years of Stalin's personality cult, millions of honest people were shot, sent to prisons and camps. This fate did not escape the participants in the war. The "Great Leader" said that we have no prisoners, but only traitors. And many former soldiers have become "enemies of the people." Vysotsky openly sympathized with the victims of repression. His poems on this topic, which was forbidden in those days, were especially noticeable amid the almost universal silence. In the poem "The Hitcher" the poet wrote about how they became "enemies of the people." Two people met on the train, talked:

My tongue came loose like a lace
I scolded someone, mourned.
And then they sewed me a little business
Under the article of the criminal code.
Calmed down - everything will change,
They gave a time limit, they did not give me time to come to my senses.

In The Hunt for Wolves and its sequel, The Hunt from Helicopters, the author spoke about the psychology of people who became guilty without guilt. They understood the horror and unnaturalness of what was happening, but they could not rebel:

You lay down on your stomach and removed your fangs,
Even the one, even the one who dived under the flags,
Smelled wolf pits with paw pads;
The one whom even a bullet could not catch -
He also bellowed in fear and lay down - and weakened.

Among the poems of Vysotsky, telling about the time of the personality cult, the poem "Bath in White" occupies a special place. From him frost on the skin! The plot is simple, but the poet managed to convey the feelings and thoughts of an innocently condemned person so that we feel like participants in the events. Despite the fact that people suddenly became "enemies of the people", they continued to believe in Stalin:

And then in the quarry, in the drowning,
Swallowing tears and raw
Closer to the heart we pricked the profiles,
So that he can hear the beating of hearts.

But then too much "faith and the forest fell down." And now, obviously, after Stalin's death, the former prisoner with a distorted fate increasingly thought that the leader's profile on his chest was the stigma of a criminal on an innocent person.

The poet's poems about the cruel lessons of history are a poetic requiem for all innocent convicts and serve as a warning against the danger of a repetition of "dark times".

Vysotsky always responded to the events taking place in the country. In the difficult years of stagnation, when everything new and progressive was choking, every honestly spoken word was persecuted, the poet could not reconcile himself with the surrounding reality, withdraw into himself. In the poem "Old House" he wrote with pain and bitterness:

Who will answer me - what kind of house is this?
Why is it in the darkness - like a plague barrack?
The light of the lamps went out, the air poured out ...
Ali forgot how to live with you?

The main character was looking for a "land where it is light", but there is no hope for a change for the better. The dream of some other life seems naive:

We have not heard of such houses,
We got used to living in the dark for a long time.
From time immemorial we are in evil and in a whisper
Under the icons in black soot.

The poet has repeatedly addressed the question of how difficult it is to preserve oneself, to remain honest in the midst of the surrounding atmosphere of lies and hypocrisy. In The Song of the Microphone, Vysotsky said bitter, but very true words:

Often we are replaced by others,
So that we do not interfere with lies.

The poet would be the author of many satirical poems. Vysotsky ridiculed bureaucrats, officials, sycophants, ordinary people. He was a merciless judge for himself, for his weaknesses and mistakes. It was this that gave him the moral right to scourge bureaucrats and tribune phrasemongers, respectable crooks and militant inhabitants with the power of satire. Thus, the poem "Save Our Souls" tells about the fate of sailors who perish in a submarine. It reflects the state of our society during the period of Brezhnev's "timelessness":

Save our souls!
We are delirious with suffocation.
Save our souls!
Hurry up to us!

Vysotsky loved his Motherland with all his heart. He said: "I am nothing without Russia!" He suffered for his people, was proud of them, experienced all its hardships, shouted in his poems to be heard, to reach the hearts and minds of people. Indeed, the first collection of his poems, which, unfortunately, saw the light after the death of the poet, was called "Nerve". Truthful works of the poet were read voraciously, aroused wide public resonance. It was a feat of sorts. Now in our country there is a process of renewal, and how we miss Vysotsky! It is believed that he was good for his time. I think people like him are needed now, just like then people of high civic courage.