Relationship to death
Vvedensky wrote back in the 1920s: "I am interested in three things: time, death, God." Oberiuty lived and worked in the era of increased mass repression of the deaths of people in our country and it is no accident that the theme of death is both philosophical and metaphysical, and how the everyday passes through the work of all the poets of this direction. So, A. Vvedensky in the poem Some conversations (1936-1937) by the mouth of one of the three heroes of the work declares: "It's good to sit in the garden, Smiling at the star, And counting in the mind, A lot of us will die for the winter." Discussing the philosophical-metaphysical aspect of death, Vvedensky in the program poem "I'm sorry that I'm not an animal ..." (1934) declares his opposition to the death of man himself and the ultimate, transient nature of things in this world:
I do not like that I'm mortal ... The worm crawls behind everyone, it bears a monotone.
In the ballad of A. Vvedensky, "Gluttony" discusses the philosophical and metaphysical problem of the finiteness of human being and reveals the life-long situation. In the text of the ballad, you can see a number of anti-aesthetic and physiological-naturalistic passages.
But the heart will freeze Alas, forever, And the yellow will rush From there water.
And the world will turn the other side And the worm of the grave will scream into the body.
In the poem "The Lynch Court" Vvedensky draws an expressive picture. The crowd listens to the speech of a certain Petrov, who broadcasts that an American skyscraper will be built on the site of a public garden. Petrov writes something down in his notebook. " The vigilant listener from the crowd asks what it is he is recording. "Word by word, and the dispute begins." The crowd takes the side of a man of medium height, and Petrov, saving his life, chases the horse and disappears behind the turn. The crowd is worried and, in the absence of another victim, a man of average height grabs a man and tears his head off. The severed head rolls over the pavement and gets stuck in the drainage hatch. The crowd, satisfying their passions, diverges. "
We have described, and psychologically analyzed by Jung syndrome of the collective unconscious crowd, in a faceless, not personified form, ready for any violence on the initiative of any random member of this community.
Death from Oberiut appears as an absurdist suicide, and as a mass phenomenon, performed by the masses according to the Jungian laws of the collective unconscious.
Relation to nature
H. Zabolotsky is anti-urbanist. For him, the city is hostile to the individual: the stone jungles of the city are destroying the interconnectedness of personality and nature. The poet believes that the return of man to nature is necessary.
In the Mixed Columns Zabolotsky publishes the poem "In our homes," in which these anti-urban moods and attitudes find their expression:
In our dwellings We live here smartly and ugly. Managing life, born from people. We forget about trees.
Zabolotsky in the "Poem of the Rain" writes about his attitude to nature:
Nature in a harmonious sarafan, Head in the sun rested, All day playing on the organ. We call this: life.
In another poem "The Lodejnikov the poet touches on the metaphysical aspect of nature and considers the relationship between death and being:
Nature everlasting winepress connects death and being in a tangle, but the thought was powerless Connect two sacraments it.
This typological attitude to nature for the Oberiuts is interpreted by S. Semenov very convincingly.
In the center of the poet's attention is the image of the parent land, from which it breathes with power, love, affection. She gives life, and she takes life after the hour of death. The fantasy of the artist allowed Zabolotsky to temporarily dissolve into Nature, become a tree, grass, a bird - a part of it in the literal sense, as in the poems "In our houses", "Temptation", "Man in the water". Animals, plants, elements are endowed with consciousness, come to life Like how revived in the previous cycle, the elements of urban life. But if in satirical poems about petty-bourgeois vegetation, the author, by virtue of artistic perception, "infused" in the objects of the evil, vindictive spirit, disfiguring the psyche of people, in works of nature he recognizes the fact of the existence in it of a "comprehensive soul", that is, a universal spiritual absolute. She thinks, suffers, doubts, but at the same time remains majestic, proud and indulgent towards the ignorant, selfish consumer consumer, like an adult magnanimous Mother. A person is not able to assess everything, protect and save. On the contrary, he humiliates and ruins her in mercenary impulses, not thinking that he himself is the child and the continuation of nature.
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