The artistic techniques highlighted in the late lyrics of N. Zabolotsky are not too numerous and varied. The author, as a rule, tries to avoid excessive hyperbolization, multifaceted metaphors, etc. are not often used. At first glance, the poet's mature work tends to be somewhat primitive. However, it is the simplicity and clarity of Zabolotsky's poems that are his individual literary qualities. Great importance the poet pays to the semantic side of the language. He is interested in the word as such, and specifically - the figurativeness of its meanings, its semantic content. An important role in the work of Zabolotsky is played by such an artistic technique as antithesis. Indeed, the poet's poems often contain the sharpness of the confrontations between natural phenomena and the phenomena of human existence, philosophical concepts and worldviews. N. Zabolotsky is a searching and questioning creator, in whose hands the poetic material undergoes constant metamorphoses.

For example, the poem "About beauty human faces"consists of two opposite parts. The first part is monumental, heavy. Under the guise of some immovable block, the author veils the poverty of the human soul. The lack of spiritual and emotional movement makes people "frosty", unable to think, feel and sympathize:

Other cold, dead faces

Closed with bars, like a dungeon.

Others are like towers in which

Nobody lives and looks out the window.

In the second part, on the contrary, the “small hut”, which is “unsightly, not rich”, symbolizes the inner content of a person. The “window” of this hut sends “spring breath” into the world. So is a person: if he is full inside, then light and beauty come from him. Such epithets as "spring day", "jubilant songs", "shining notes" change the mood of the poem, it becomes joyful, radiating goodness.

Thus, the antithesis of large (even huge) and small is the artistic device on which the entire poem is based. However, this does not mean that Zabolotsky does not use other methods in it. On the contrary, the poem "On the beauty of human faces" is very allegorical, allegorical. After all, each "tower", "shack", "hut" is an indication of a particular person, his character and inner world.

N. Zabolotsky uses apt comparisons. In the poem “On the Beauty of Human Faces”, they can be observed in sufficient numbers: “likeness of miserable shacks”, “like magnificent portals”, “like a dungeon”, “like towers”, “likeness of songs”. It is also unusual that there is no division into stanzas in the work: the poem is one stanza of four quatrains. This is probably due to the fact that the entire poem is entirely concentrated on one main idea, it is based on one main idea.

Here it is worth recalling Zabolotsky's "Ugly Girl", in particular, a vivid comparison - "reminiscent of a frog." In this poem, as in many others, one can distinguish subtle allegory, a deep psychological analysis: “pure flame” as an image of the soul, a comparison of spiritual filling with “a vessel in which there is emptiness” or with “fire flickering in a vessel”:

I want to believe that this flame is pure,

that burns deep within,

One will hurt all his pain

And melt the heaviest stone!

And let her features are not good

And she has nothing to seduce the imagination, -

Infant grace of the soul

Already see through in any of its movements.

Heroes and images of Zabolotsky become as deep as possible. They are more pronounced and more clearly defined by the poet compared to his early lyrics.

Parallelism as an artistic device is also characteristic of the late lyrics of N. Zabolotsky. For example, in the poem "The Storm is Coming" (1957), we see a vivid parallelism of natural phenomena with the state of mind and thoughts of the author himself.

The image of a cloud is peculiar and unique in the poem:

A frowning cloud moves

Covering half the sky in the distance,

Moving, huge and viscous,

With a lantern in a raised hand.

In these lines, the cloud is endowed with some special meaning, we can say that it is animated. The cloud moves like a searching or lost wanderer, like a formidable arbiter of destinies. In this context, this image is read not just as a natural phenomenon, but as something more.

The above work is characterized by a special metaphor:

Here it is - a cedar at our balcony.

Split in two by thunder,

He stands, and the dead crown

Supports the dark sky.

Such high level metaphorization, undoubtedly, once again allows us to single out as a special and unique phenomenon the late lyrics of N. Zabolotsky: the “dead crown”, propping up the “dark sky”.

In conclusion, the poet draws a parallelism between a tree split in two and his own state of mind. However, this is not only parallelism, it is also an allegorical statement of the author, expressing the duality of his worldview:

Sing me a song, tree of sorrow!

I, like you, broke into the heights,

But only lightning met me

And fire burned on the fly.

Why, split in two,

I, like you, did not die at the porch,

And in the soul is the same fierce hunger,

And love, and songs to the end!

Of particular importance for the work of N. Zabolotsky is the philosophical understanding of nature, the close relationship between nature and man, as well as their mutual alienation. In the poem “I am not looking for harmony in nature…” (1947), the poet sees nature as a huge “world of contradictions” filled with “futile play” and “useless” hard work.

The poem is filled with personifying metaphors: “blind night”, “the wind will be silent”, “in an anxious half-sleep of exhaustion”, “the darkened water will calm down”. Here there is such an artistic device as comparison. The author compares nature with a "mad but loving" mother who does not see herself in this world without her son, who is not complete without him:

So, falling asleep on your bed,

Crazy but loving mother

conceals in itself high world child,

To see the sun with my son.

In this work, one can single out an implicit antithesis, the opposition of good and evil:

And at this hour the sad nature

Lies around, sighing heavily,

And wild freedom is not dear to her,

Where evil is inseparable from good.

When tired of violent movement,

From uselessly hard work,

In an anxious half-sleep of exhaustion

When a vast world of contradictions

Satisfied with a fruitless game, -

Like a prototype of human pain

From the abyss of water rises before me.

The poet's lyrics are distinguished by the contrast of the depicted images. For example, in the poem "Somewhere in a field near Magadan ..." (1956), an unbearable feeling of sadness and depression is created from the terrible contrast of the frozen, blizzard, inhospitable land and the vast, endless bright sky. The stars in this poem symbolize not only freedom, but the very process of liberation. While the old people are not yet separated from reality, from their earthly affairs, the stars do not look at them. But in death they unite with nature, with the whole world, gaining freedom:

Their guards will not overtake them anymore,

The camp convoy will not overtake,

Only one constellation of Magadan

They sparkle, standing over their heads.

The camp theme, closely intertwined with the theme of human suffering, is reflected in this poem. The grief of two “unfortunate Russian” old men, whose soul “burned out”, is depicted against the background of “the wondrous mystery of the universe”.

The cycle "Last Love" as a "great work" consisting of separate parts, each of which complements and determines the next one, has an epic beginning. Here we can note the author's desire to reproduce the "fluid" process of reality. A consistent series of events of the story of "last love" and the presence of a common frame are drawn.

The poem "Juniper Bush" (1957) is distinguished by a special melody, formed by a certain sound set:

juniper bush, juniper bush,

The cooling babble of changeable lips,

Light babble, barely reeking of resin,

Pierced me with a deadly needle!

This stanza is also notable for the presence of epithets in it: “changeable lips”, “light babble”, “deadly needle”. They create a feeling of some kind of dynamics: anxious, uncertain and, at the same time, swift and decisive.

From the very beginning of the poem, the reader expects some kind of trouble, which is facilitated by a very original epithet - “metal crunch”, which creates the tone of internal discord and external omen:

I saw a juniper bush in a dream

I heard a metallic crunch in the distance,

I heard a ringing of amethyst berries,

And in a dream, in silence, I liked him.

The constant play of hissing and hard consonants with soft and sonorants creates a feeling of duality in the poem. The reader, along with the lyrical hero, is immersed in a strange phantasmagoria, bordering between dream and reality. And, as Zablotsky often uses in his work, the main idea is contained by the author in the last stanza. And here the dynamics are replaced by contemplation and, in the end, forgiveness and release:

In golden skies outside my window

The clouds float by one by one

My garden that has flown around is lifeless and empty ...

God forgive you, juniper bush!

Zabolotsky, as already mentioned above, is a master in the field of comparisons and allegory. In the last stanza, we see a "circled garden" that has lost any life in its bowels. The soul of the lyrical hero, just like this garden, was empty, and the juniper bush is to blame for everything - read ambiguously and brightest image of this poem.

The poem "Old Age" (1956) concludes the cycle "Last Love". This is a kind of story, a kind of epic narrative in verse. It is in him that the maturity and calmness to which the author came are so acutely felt. Contemplation and comprehension - that's what comes to the fore in comparison with his early lyrics:

Simple, quiet, gray-haired,

He is with a stick, she is with an umbrella, -

They are golden leaves

They look, walking until dark.

Their speech is already laconic,

Without words, every look is clear,

But their souls are light and even

They talk about a lot.

In the obscure haze of existence

Their fate was not noticeable,

And the life-giving light of suffering

Above them slowly burned.

Most of all, in these lines, the opposition of the “obscure darkness of existence” and “life-giving light” stands out. In this regard, we can also talk about the so-called "cosmic" parallelism, which, to one degree or another, permeates the author's late lyrics. In a small poem, Zabolotsky manages to combine an all-encompassing, panoramic vision of the world with a given, one might say, private situation.

Thus, we see that the late lyrics of N. Zabolotsky, on the one hand, are an incredibly deep phenomenon from a philosophical point of view, on the other hand, they are quite uncomplicated in terms of their artistic essence, or rather, in terms of a variety of artistic techniques and methods. The poet uses numerous epithets, the frequency of use of epithets-comparisons, comparisons is high, metaphors are slightly less common. It can be noted that Zabolotsky's poems often contain appeals and questions (often rhetorical), which bring the author's vision closer to reader's perception. In general, Zabolotsky's poetry eschews something complex and confusing, he practically does not exaggerate what is depicted, does not engage in the so-called "weaving of words". The poet's punctuation is quite expressive. Zabolotsky often brings the main idea of ​​the work to the very end, concluding it in the last stanza, thus summing up the above. It should be noted that Zabolotsky's poetics was and remains unique, continues to influence the work and thinking of many poets and people associated, one way or another, with the word.

An extraordinary influence on the work of Zablotsky was exerted by the Great scientific discoveries with which the world was filled during the period of his life and work. At the same time, his poems have not lost their poetry. I think that the poet really said a new word in Russian literature. An example of a combination of science, lyricism and philosophy is Zabolotsky's poem "Metamorphoses" (1937). The reality of immortality is the key vector of this work. If earlier, in solving this eternal problem of life and death, poets proceeded from philosophical teachings, the Christian worldview, then scientific discoveries in the era of the 20th century put it on a different level.

Nikolai Zabolotsky comprehends reality in the infinite diversity and unity of the transformations of "a ball of some complex yarn", the unity of "the world in all its architecture". Each transformation of world life includes death, dying. This is a fact that you have to put up with. Death occurs at any moment in life.

At first, the poem seems paradoxical, difficult to understand. The title itself is symbolic. The ancient Greek poet Ovid once wrote the poem "Metamorphoses", in which he reflected the magical transformations in the world, the flow of one matter into another. And although in many ways this poem is mythological, filled with legends about the gods, time has shown that the Greeks were surprisingly perspicacious. Transformations, amazing changes in nature and man occur every second. The world has changed, the boundaries of human consciousness have expanded. These new views were reflected by the author in his Metamorphoses.

From the very first lines one can feel the surprise, the admiration of the lyrical hero for the endless changes of the world:

How the world is changing! And how I change myself!

Already here the problem of man and the surrounding reality comes to the fore. The lyrical hero is trying to solve a very difficult question - how is it happening, life inside him is changing, who he is. Hence his paradoxical conclusions:

Only one name I am called, -

In fact, what they call me -

I'm not alone. There are a lot of us. I'm alive.

It can hardly be denied that life is constantly changing and developing, including in the human body. The gaze of the lyrical hero is turned to the essence of the internal processes of the personality. It concerns not only psychological and philosophical aspects but also physiological. Before us is a new vision of man. Man is perceived not statically, but in the unity of the infinitely diverse processes of life. Even the ancients wrote: “You cannot enter the same river twice” and “People are like rivers”.

Despite the fact that in his works N. Zabolotsky did not directly address ancient greece, but on the contrary, was fond of modern natural science, his poem confirms the judgments of the Greek sages. Hence the abundance of allegories in the poem. The lyrical hero looks at himself from the side - “shaken by sea ​​wave"," flying in the wind to the edge of the invisible. The poet emphasizes the regularity, the consistency of the universal metamorphoses of a single, immortal being. He expresses the laws of change of being by the formula: "link to link and form to form." The man of N. Zabolotsky is many-sided and, at the same time, one, his components are included in the processes of dying and rebirth:

So that my blood does not have time to cool,

I have died many times. Oh how many dead bodies

I separated from my own body.

The poem can be conditionally divided into three semantic parts. In the first, the lyrical hero talks about himself, his internal states. In the second, he expresses his attitude to nature. The living and the dead are interconnected in it, one flows into the other. Nature here is not only a "gathering of wondrous creatures", but also a "singing organ".

The poet's metaphors are solemn, majestic. They emphasize the regularity, harmony of all processes on Earth:

Link to link and form to form. Peace

In all its living architecture -

Singing organ, sea of ​​pipes, clavier,

Not dying either in joy or in a storm.

Nature is a "living architecture" consisting of smallest particles. Each of them has its own place. Nature is a singing organ - musical instrument with many voices, which together make up a harmonious harmony, a single harmony. Each of us has our own voice in this universal melody. To realize this, we need to expand the horizons of our view of the world, to understand its complexity and diversity. There are different laws in the life of nature, but perhaps the main one is the law of expediency. Nothing in the world comes from nowhere and disappears without a trace. Everything has a cause and effect relationship. Hence these amazing "metamorphoses" described by N. Zabolotsky. I think that today the time has come when nature again powerfully declared itself to mankind. That is why it is so important to understand its laws.

The third semantic part is a kind of summary of the entire poem. Here, for the first time, the theme of immortality arises. The poet claims that only our superstitions prevent us from seeing "real immortality." It, according to N. Zabolotsky, is not outside of us, but as our personal property in this world. The special depth and novelty of this poetic thought gives an idea of ​​their own collectiveness.

In terms of its genre, Metamorphoses are closely related to the traditions of the classical philosophical lyrics Goethe, Baratynsky, Tyutchev. Here we see a lyrical description of the process of thought itself. Mandelstam called such reflections "the poetry of proof." The literary tradition is emphasized by archaic book vocabulary (“eye”, “dust”, “cereal”). The poem ends with philosophical metaphors, which are presented in the form of aphorisms: “thought was once simple flower"," the poem walked like a slow bull. the main idea the final part is that immortality is a "ball of yarn":

Like a ball of some complex yarn,

Suddenly you will see what should be called

Immortality. Oh, our superstitions!

In the analyzed work, the author reaches an extraordinary capacity of poetic thought. Only thirty-two lines! And meanwhile, this is a whole philosophical poem. N. Zabolotsky expressed the most progressive thoughts of his time. He surprisingly combined scientific discoveries and deeply emotional experiences. It is obvious that N. Zabolotsky gave Russian literature a new direction.

This poem was written in 1957, now far away for us. It was the time of Khrushchev's "thaw", when poetry blossomed rapidly. Without exception, poets wrote about women and for women.

Analysis of the poem September Zabolotsky

This is a poem of the "late" Zabolotsky, it is more descriptive, a little philosophical. In his youth, Nikolai Alekseevich liked to shock readers with his stories and comparisons.

Analysis of Zabolotsky's poem Lonely Oak

Nikolai Zabolotsky wrote a poem called "The Lonely Oak" in 1957. This poem was written not just like that, but under the influence of external, and especially internal circumstances.

Analysis of the poem by Zabolotsky Thunderstorm is underway

At the end of 1957, N. A. Zabolotsky wrote a poem called "The storm is coming." He was very fond of the beauty of Russian forests and fields and often praised it in his works. This verse refers to the philosophical style of writing.

Analysis of Zabolotsky's poem Juniper Bush

The poem "Juniper Bush" was written in 1957 and is part of Zabolotsky's collection entitled "Last Love". The reason for the poet's appeal to love lyrics became an event

Analysis of Zabolotsky's poem On the beauty of human faces

The author in his poem lists the types of human faces with the help of comparisons, personifications and metaphors. The poem consists of 16 lines, it contains 7 sentences. It speaks of the author's ability to think philosophically.

Analysis of the poem by Zabolotsky Thunderstorm

The poem tells about the habitual in our latitudes natural phenomenon- a thunderstorm, she can be considered the main character of this work.

Analysis of Zabolotsky's poem Don't let your soul be lazy

Nikolai Zabolotsky is known to us as a philosopher and humanist, who often argued about what is good and evil, what is the strength of a person and what is real beauty. Many of his lyrics sound like unobtrusive friendly admonition or poetic reflection.

Analysis of the poem Testament Zabolotsky

In the mid-fifties, the poet returns from the prison, where he was for six years. Life in not freedom greatly worsens the condition of Nikolai Zabolotsky, and he understands that his life will soon be over.

Analysis of the poem Cranes Zabolotsky Grade 8

Zabolotsky wrote a work called "The Cranes" in 1948 at a stage in his life. The poem itself is very sad, and even tragic, since the plot of the work itself is very unusual.

Analysis of the poem Ugly Girl Zabolotsky

Having studied the poem “Ugly Girl”, it seems to me that the lyrical hero in it is a sloppy, funny person. She's like a joke. From the very first lines of the work, it is clear that this is a very special girl, as if there are no such girls anymore.

The name of Nikolai Zabolotsky is associated with the realistic tradition in literature, which was developed by poets who are members of the Real Art Associations group. Years of work were devoted to Detgiz, a publishing house that produces works for children, and Zabolotsky, in addition, had a pedagogical education. That is why many of his poems can be addressed and perfectly understood by children and adolescents, while they do not contain boring didacticism and answer the first philosophical questions that concern young readers.

The poem "On the beauty of human faces" appeared at the end of the writing activity of Nikolai Zabolotsky - in 1955. There was a period of "thaw", Zabolotsky experienced a creative upsurge. Many of the lines that are on everyone's lips were born precisely at this time - "Ugly girl", "Do not let your soul be lazy", many are united by a common problem.

The main theme of the poem

The main theme of the poem is the idea that life path, character traits, habits and inclinations - all this is literally written on a person's face. The face does not deceive, and tells everything to a person who is able to think and analyze logically, making up not only an external, but also an internal portrait. The ability to make such portraits, reading the fate of the interlocutor, like a book, is called physiognomy. So, for an observant physiognomist, one person will appear pretentiously beautiful, but empty inside, another may turn out to be modest, but contain the whole world. People are also like buildings, because each person “builds” his life, and each one turns out differently - either a luxurious castle or a dilapidated shack. The windows in the buildings we have built are our eyes to read inner life- our thoughts, intentions, dreams, our intellect.

Zabolotsky and draws these several images-buildings, resorting to detailed metaphors:

It is quite clear that the author himself likes such discoveries - when a real treasure of positive human qualities and talents is found in a "little hut". Such a "hut" can be opened again and again, and it will delight with its versatility. Such a "hut" is outwardly inconspicuous, but an experienced person who can read faces may be lucky enough to meet such a person.

The author resorts to the methods of extended metaphor and antithesis (“portals” are opposed to “miserable shacks”, arrogant “towers” ​​to small but cozy “huts”). Greatness and earthiness, talent and emptiness, warm light and cold darkness are opposed.

Structural analysis of the poem

Among stylistic means artistic depiction, chosen by the author, one can also note the anaphora (the single line of the lines “There is ..” and “Where ...”). With the help of anaphora, the disclosure of images is organized according to a single scheme.

Compositionally, the poem contains growing emotionality, turning into triumph (“Truly, the world is both great and wonderful!”). The author's position in the finale is expressed by the enthusiastic realization that there are many great and wonderful people in the world. You just need to find them.

The poem is written in the size of a four-foot amphibrach, contains 4 quatrains. The rhyme is parallel, feminine, mostly exact.

Olga Eremina

Nikolay Zabolotsky. The cycle "Last love": experience of perception

“Enchanted, bewitched, / Once wedded with the wind in the field ...” We often hear these verses on the radio, turned by the performers into a chanson reeking of vulgarity. But the text of Nikolai Zabolotsky’s poem “Confession”, distorted, having lost one stanza, even in this case does not lose its noble-restrained sound, carries the bright energy of male admiration for secret femininity, the desire to solve the riddle female soul. The poem begins like this:

Kissed, bewitched
Once married to the wind in the field ...

From the cycle of Nikolai Zabolotsky "Last Love" (1956-1957) in school programs and textbooks on literature there are two poems: "Confession" and "Juniper Bush". But to talk about these works outside the cycle means to consider individual details of the weaving mill, when only all the details in their interaction will make it possible to see the pattern woven by the author.

This cycle can be compared with N.A. Nekrasov and with the “Denisiev cycle” by F.I. Tyutchev. According to the poems of Nekrasov and Tyutchev, one can trace the love story, penetrate into the essence of its key moments, know its triumph and drama. Of course, these cycles are of interest to us not only as evidence of the love of their authors for Avdotya Panaeva and Elena Denisyeva, but are important as artistic creations, as documents of the development of the human personality, and even - in socio-psychological terms - as a reflection of the dynamically developing relationship between men and women in general. .

However, there is a significant difference between the works of Nekrasov and Tyutchev, on the one hand, and the Zabolotsky cycle, on the other. The poems of the first two authors are combined into cycles by researchers of their work - literary critics. Zabolotsky himself combines ten poems into a single whole, creates a cycle - a circle, a ring of intertwined, intersecting images. Talking about his late feeling, the poet himself puts a capital letter - and an end to the history of love relationships.

Zabolotsky realizes " Last love just like a cycle. He places the poems not exactly in the chronology of the development of events: the poem "Meeting" is placed in the ninth number. In essence, the poet creates a novel in verse. If the love poems of Akhmatova's first books could be compared with scattered pages from various novels, then Zabolotsky's cycle is a complete and compositionally built work of art with its own idea, with the development of action and the culmination of enlightenment.

The interpretation of a lyrical work is a deeply individual process. This approach to interpretation allows the author of the article to talk about his personal associations, let the stream of consciousness into the text. V this case this is not indiscretion, but a pattern associated with the peculiarities of the perception of lyrics.

Let's open the volume of Zabolotsky and read the cycle "Last Love" together.

The novel created by the poet begins with the poem "Thistle" - not from the picture of the first date, but from the image of an unexpectedly erupted spiritual drama.

They brought a bouquet of thistles
And they put it on the table, and behold
Before me is a fire, and turmoil,
And fires crimson round dance.

The very first line causes a strange dissonance in the mind: it is not customary to create bouquets of thistles! In popular perception, this prickly weed plant, called a Tatar (Tatar), Mordvin, Murat (V.I. Dal), is connected with the idea of ​​\u200b\u200ba harmful, unclean, evil.

Obviously, it was the word “murat” that prompted Leo Tolstoy to create a poetic image of an inflexible roadside Tatar with an amazing will to live in the story “Hadji Murat”. Since then, in a mind filled with literary associations, the image of this plant has received an aura of passion and romanticism.

What is the sudden outbreak of love for the lyrical hero Zabolotsky? Thistle - devil, evil spirits, passion, a line that separates life; blaze, flashes, fire, purifying flame, which is not impure. A fatal combination of dark and high. Spiritual fire, confusion of feelings, crimson (not crimson) round dance of lights.

These stars with sharp ends
These splashes of the northern dawn
And they rattle and moan with bells,
Lanterns flashing from within.

Stars - star to star speaks- high light to which you aspire; but the stars have sharp ends that can hurt body and soul. Northern Dawn - Aurora - be the star of the north- the ribbon of dawn is spattered with stars; spray - this is when something spilled or burst - or the spray of a fountain - burst like little devils into the sanctuary, where sleep and incense ...

Thistle flowers - rattle and groan bells- the image of the Russian road - the bell is ringing- we call this moan a song ... Lanterns - night, street, lamp, pharmacy- flaring up from the inside - and only a small lamplighter ... Pushkin's melody and the endless Russian road, duty and unquenchable passion are fused together.

The very first word is a verb: brought. Who brought? No, not me. But who brought this bouquet into my room? Why don't I have the strength to remove it? Throw out? Those who brought it have special power, giving the inevitability and the right to the tortured soul, incinerated by suffering, to experience this suddenly revealed feeling.

Listening to himself, peering into a strange bouquet, the lyrical hero sees in the flashes of opened buds the blaze of the emerging universes, clearly feels a person - a microcosm, soul and body - the embodiment of the cosmic struggle of matter and spirit.

This is also an image of the universe,
An organism woven from rays,
Battles of unfinished flaming
The blaze of raised swords.
It's a tower of rage and glory
Where a spear is attached to a spear,
Where are the bunches of flowers, blood-headed,
Cut right into my heart.

A strange bouquet evokes a dream - a true story? Nav and reality - how to distinguish them? The image of a woman - a "fairy bird" - the archetype of Russian consciousness - is associated with the image of a "high dungeon" - a tower, a tower, where the royal daughters-brides live. Black as night, the lattice blocks the path of the hero. But the hero is not a fabulous hero, Sivka-Burka will not jump to his aid.

But I also live, apparently, badly,
Because I can't help her.
And the thistle wall rises
Between me and my joy.

This bitter awareness, as an image of a sharp, wounding, piercing through (“a wedge-shaped thorn stretched out” in “The Thistle” - “pierced me with a deadly needle” in “The Juniper Bush”), runs through the entire cycle of “Last Love”.

And the last line - “the gaze of her inextinguishable eyes” - an unquenchable lamp - the eternal lamp is lit - an aura of holiness, a feeling of great mystery.

The five-foot song trochee is replaced by the three-foot anapaest of "Sea Walk" waltzing on the waves.

On a sparkling white glider
We drove into a stone grotto,
And a rock with an overturned body
Blocked the sky from us.

If you draw the storyline of the novel, then you need to write: the hero and his beloved are traveling from a city where it is difficult to meet, to the sea, to the Crimea. Banal pseudo-romantic trip? Away from your wife, to the caressing sea? For the lyrical hero of the cycle, this is not so. Every day, every glance he perceives as a bitter gift, he sees in events a reflection of eternity.

In the first poem - a look at the sky, the correlation of one's attitude with the laws of the universe, the highest laws. In the second - an appeal to water as a symbol of the subconscious, immersion in the world of reflections, an attempt to comprehend the laws of the transformation of the body and the movements of the soul.

“In the underground flickering hall”, under the overhanging inanimate mass, which suddenly became animated - the body - rocks, passions lose their heat, the human body loses weight and significance.

We ourselves have become transparent,
Like figurines made of thin mica.

The reflected world has always attracted the attention of poets and artists. Glittering, multiplying, crushing reflections in Zabolotsky acquire a metaphysical meaning. People are trying to realize themselves in reflections, and those, like finished poems, have already separated from their prototype creators, imitate, but do not copy them.

Under the great garment of the sea,
Imitating the movements of people
A whole world of glee and grief
He lived his strange life.

Human life is reflected twice - in space and in water, and the vertical of the spirit connects the two elements.

Something there was torn and boiled,
And weaved, and torn again,
And rocks overturned body
It pierced right through us.

The mystery of reflections is fascinating, but remains unsolved: the driver takes the tourists away from the grotto, and the “high and light wave” takes the lyrical hero from real life, the life of imagination and spirit - into the dream of everyday life.

And at the end of the second poem, an image appears that will also become transparent for the entire cycle - the image of a face (your face in its simple frame) as the embodiment of the life of the soul.

... And Taurida rose from the sea,
Getting closer to your face.

It is not the beloved who approaches the shores of the Crimea, but Taurida, the ancient, memory-rich land, as if alive, rises to meet the woman, as if peering into her face, trying to recognize how the streams of her consciousness are synchronized with the deep currents of the birthing earth.

The culmination of the plot part of the cycle is the poem "Confession". This is not a simple declaration of love. The woman whom the lyrical hero loves is an unusual creature. Fun and sadness are earthly feelings that a simple woman can experience. The heroine of the cycle is “not cheerful, not sad”, she is married to the wind in the field, she descends to her lover from heaven; connecting with it, he seems to be connected with the world soul. But its magical beginning is not just concealed, hidden - it is shackled - “a high dungeon / And a lattice, black as night”. Chained by whom? fate? Rock? This remains unknown, as well as who brought the bouquet of thistles.

The desire to fully reveal the true - magical, transcendental - essence (eternal femininity?) Causes passionate attempts to break the shackles. The kisses of the fairy-tale prince break the spell of a magical dream - the hero breaks the shackles with “tears and poems” that burn through not the body, but the soul.

Man is a world, a castle, a tower (open the dungeon for me, give me the radiance of the day, black-browed maiden), into which one must burst.

Open my midnight face
Let me enter these heavy eyes,
In these black eastern eyebrows,
In these hands are your half-naked.

The world of the midnight mystery does not become flat: even tears are not tears, they only seem to be, maybe they are only an echo of their own tears, and further, behind them, is another lattice, black as night ...

And again, as in the “Sea Walk”, the four-foot anapaest is circling us - this is “Last Love”. In the first three poems, we see only the lyrical hero and his beloved, but here a third person appears - an observer, a driver. And the narration is not in the first person, as before, but on behalf of the author, which makes it possible to look at the situation from the outside.

Evening. The taxi driver brings passengers to the flower garden and waits for them while they walk.

... An elderly passenger at the curtain
Stayed with my girlfriend.
And the driver through sleepy eyelids
Suddenly I noticed two strange faces,
Turned to each other forever
And completely forgotten.

I noticed not figures, not poses - faces! Faces not in love, not enthusiastic, not admired - strange. Love for heroes is not an easy flirtation, not a physiological attraction, but much more: forgetting oneself, finding the meaning of life, when a person suddenly understands: this is what the soul is given for! Such love is sanctified from above.

Two foggy light lights
They came from...

The description of a magnificent flowering flower bed - “the beauty of the passing summer” - is reminiscent of early Zabolotsky's poems with his bold and eloquent comparisons. But then it was an end in itself - here it becomes a means of creating a contrast between the triumph of life, the celebration of nature and the inevitability of human grief.

The circle of flowers through which our heroes silently walk seems endless, but the driver - the observer - knows that summer is ending, "that their song has long been sung." But the heroes don't know that yet. Don't know? Why do they walk in silence?

Southern happiness is really over. Again, as in the first poem, a five-foot trochee, first-person narration, Moscow and the impossibility of meeting: "Voice on the phone." The face lives separately - and the voice also separates from the body, as if taking on its own flesh. At first it is “vociferous, like a bird”, pure, shining like a spring. Then - "distant sobbing", "farewell to the joy of the soul." The voice is filled with repentance and disappears: “He perished in some wild field ...” And where else should the voice of the beauty, married - in the field - with the wind, disappear? But this is not a summer feather grass field - this is a field along which a blizzard walks. The black lattice of the dungeon turns into a black phone, the voice is a prisoner of the black phone, the soul - a reflection of the spirit in the body - screams in pain ...

The sixth and seventh poems lose their names, they are replaced by faceless stars. The lines are getting shorter, the poems too. The sixth is a two-foot amphibrach, the seventh is a two-foot anapaest.

“You swore to the grave // ​​To be my sweetheart” - it didn’t work out to the grave. “We have become smarter”? Happiness to the grave ... Does it happen? The motifs of water, reflections reappear, the swan - the bird of a fairy tale, dreams - floats to the ground - the love boat crashed against everyday life; the water shines lonely - let me enter into these heavy eyes - no one is reflected in it anymore - only a night star.

The triumphant flowers of the curtain fell off - only in the middle of the panel lies a half-dead flower. It lies not in the light of lights, but in the white twilight - in the white shroud - of the day - "Like your reflection // In my soul."

Thistle bouquet with wedge-shaped thorns seems to be making a comeback in Juniper Bush. Together with the lyrical hero, we again enter the bizarre interweaving of dream images, linking the beginning and end of the love story with cross-cutting motives.

I saw a juniper bush in a dream
I heard a metallic crunch in the distance,
I heard a ringing of amethyst berries,
And in a dream, in silence, I liked him.

The juniper of our Central Russian forests is a bush, the branches of which cover the road for those leaving on their last journey - the berries do not ripen. Juniper bushes of the Crimea - almost trees - sacred trees for local peoples - sultry sun, fragrant cloud of resinous smells - ringing of cicadas - red-purple berries. A man walks on the grass, steps on a dry branch - the branch crunches under his foot - how does the metal crunch? The sunny blaze of raised swords, the ringing of battle - turns into destruction, into a metallic crunch ... The paired rhyme seems to shorten the verse, breathing becomes quieter and less frequent.

The thistle wall returns as a darkness of tree branches, through which “a slightly living likeness of your smile” shines through. The face is no longer visible - only a smile remains - the Cheshire cat - which lives in the mind of the lyrical hero - the value - I was satisfied that the trace of the nail was visible yesterday - it melts, as the aroma of resin dissipates.

Gotta grow your garden!

But the clouds have dispersed, the obsession is gone:

In golden skies outside my window
The clouds float by one by one
My garden that has flown around is lifeless and empty ...
God forgive you, juniper bush!

Passions subsided, forgiveness sent, love story completed. It would seem that the cycle is over. But the lyrical hero peers into his soul, into his “circled garden”, persistently asking: why? Why was this test love sent to me? If it's gone, then what's left?

The answer to this question is brought by the spiritual climax - the ninth poem "Meeting". Its epigraph is a tuning fork, according to which the most important images of the cycle are tuned: “And the face with attentive eyes, with difficulty, with effort, like a rusty door opens, smiled ...” (L. Tolstoy. “War and Peace”).

The lyrical hero - the “eternal misanthrope”, who has lost faith in life, alienated from people by a series of severe trials - recalls the first meeting with a woman, thanks to which the shell of distrust cracked, and then completely dissolved in the life-giving rays of joy.

As the rusted door opens,
With difficulty, with effort, - forgetting what happened,
She, my unexpected, now
She opened her face towards me.
And light gushed out - not light, but a whole sheaf
Living rays - not a sheaf, but a whole heap
Springs and joys, and the eternal misanthrope,
I laughed...

The unquenchable light of life, sanctified by love, lit up again for the hero, took possession of his thoughts and forced him to open the window to the garden - to open his soul towards the manifestation of the world. Moths from the garden rushed towards the lampshade - I'm like a butterfly to the fire - life itself, love itself - one of them trustingly sat on the hero's shoulder: "... It was transparent, tremulous and pink."

The joy of existence is the highest unity, and analysis by an attempt to classify feelings and sensations sometimes destroys this joy.

I haven't had any questions yet.
Yes, and there was no need for them - questions.

Human actions have several levels: the level of events, plot, the essence of which is understood by ordinary consciousness, and the level that leads to the existence of the World Soul. The love story of the hero at the first level ended in parting, but it raised his soul above the ordinary, helped him to recognize in himself a true person, previously hidden by a scab of distrust and grief, gave light - “a whole heap of spring and joy”. And it helps to live on - under the golden skies, where clouds float by, above the golden leaves of the alleys.

Simple, quiet, gray-haired,
He is with a stick, she is with an umbrella, -
They are golden leaves
They look, walking until dark.

This is the epilogue - the poem "Old Age". Third person narration. Autumn. Spouses who have lived together life understand each other's every look. Forgiveness and peace came to them, their souls burn "brightly and evenly." The cross of suffering they carried turned out to be life-giving.

Weak as cripples
Under the yoke of their weaknesses,
Into one forever
Their living souls merged.

Since then, these spruce and pine have been growing together. Their roots intertwined, their trunks stretched up close to the light ... A beautiful palm tree remained on a combustible cliff.

And the realization came that happiness is “only lightning, / Only a distant weak light.” Reflection of another - higher - joy. But this is not the main thing: in addition to fatalism, the poem contains a positive statement that happiness is a blue bird, a bright horse - “requires work”! Our labor, human, which alone is able to create a counterbalance to the fatal brought.

Ring composition: the light of leaves, the image of human souls - burning candles - at the end of the poem.

The thistle's fiery confusion melted into the gold of understanding. The cycle is a circle, the novel is completed.

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