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(1) The main educator of any person is his life experience. (2) But in this concept we must include not only the “external” biography, but also the “internal” biography, inseparable from our assimilation of the experience of mankind through books.
(3) An event in Gorky's life was not only what happened in the Kashirins' dyehouse, but also every book he read.
Writing
One of the main components of our life is creativity - in it a person embodies everything that is on a level higher than ordinary reality. All the innermost thoughts and feelings, everything that is inside each of us, is framed by the form of paintings, melodies and poems. However, not everyone is capable of creating such an object of creativity, in his text E.A. Yevtushenko raises the problem of defining the qualities of a real poet.
Leading us to the discussion of the problem, the author emphasizes that the work of a writer, in principle, is the most important part of a person's life - books improve us from the inside, and we improve from the inside of the book, even without taking direct part in their creation. Thus, Evgeny Yevtushenko leads us to the idea that any real poet and writer, creating his work, should always be closely connected with society, with common people, for whom, thanks to which and for which he works. Proceeding from this, the qualities that distinguish a real poet from an amateur follow.
The thought conveyed to us by E.A. Evtushenko, it's clear to me: he believes that in order to become a poet, you need to have a close combination of several qualities at once. You need to have a conscience, have intelligence and courage, be able to understand and appreciate other people's poems, and, of course, be able to write "tasty" lines yourself. And with all this, each of the qualities must be imbued with love for the people for which the writer works.
It is difficult to disagree with the opinion of the author. Of course, a real poet must be conscientious about the thoughts that he wants to convey to people, but at the same time they must be interesting and must have meaning in order to be able to interest. The courage of a real poet, on the one hand, puts him at risk, but, on the other, shows his dedication for the sake of own creativity... And in order to understand how to write in order to reveal your style, you need to be able to appreciate and analyze the creativity of your colleagues and learn to write yourself, improving your skill. Also, the fact that he wants to be a real writer, one should not forget that his work should be directed not inward, but outward, for other people, because a person writes for a person, he is also appreciated and receives feedback and inspiration from him for further work.
For example, a real poet is main character B. Pasternak's novel "Doctor Zhivago". Yuri possesses all the qualities necessary for this: he is a talented doctor, and therefore deliberately directs all his, including creative, activities for people, and his analytical abilities help him in the process of writing poems. The hero has a conscience and fulfills his duty both to the wounded partisans and to the Kolchak volunteer, and boldly rushes to help the victims. In relatively calm times, being an ordinary citizen, Yuri reads books and writes his very beautiful poems, full of love for society and proclaiming the idea of the intrinsic value of a person's personality as an exceptional unit.
No one will argue with me that A.S. was a real, truly talented poet. Pushkin. His lyrics have always been imbued with a warm and tender love for women, for comrades, for the fatherland and for life in general. M.Yu. Lermontov in his poem "Death of a Poet" wrote: "... He rose up [A.S. Pushkin] against the opinions of the world alone, as before ... ", which shows the courage and dedication of the great poet in relation to his work. The talent of A.S. Pushkin and his contribution to Russian literature are undeniable, he knew from whom to take an example and what to convey with his work. It is thanks to this that the writer remained the property of our fatherland and an example for all subsequent generations.
Thus, we can conclude that a true poet is determined by his extraordinary mind and talent, courage and ability to understand and evaluate the work of his colleagues, as well as, of course, the talent from the very first line to fall into the human soul and remain a bright, warm spark in it. illuminating the road to the future.
Poetry is one of the most important ways of becoming a person. It is not for nothing that people who read by heart the verses of an author immediately become in the eyes of others more elevated, more intelligent and mature, more sincere. The problem of the connection between poetry and the maturity of the human soul is raised by E. Korevaya in this text.
She seemed to be comparing two perfectly different people, about the same age. The first person to whom the actress drew attention was a taxi driver, and either because the author describes it that way, or for another reason, the reader seems to the reader not to be wise, to a certain extent to a fool who did not know the charm of poetry, because he didn’t even became close to her. And the girl who fell at the feet of the monument great poet seems like a wise girl who already knows. what life is, that's why he knows the charm of literature. People who ignore literature have far less authority than those who explicitly read and enjoy it. The author's position is clear: love of poetry can become an indicator of a person's maturity and wisdom.
I agree with the author's point of view. This problem has been repeatedly revealed in their works by the great Russian writers and poets. So, in the novel by Ivan Turgenev "Fathers and Sons" the main character - nihilist Yevgeny Bazarov despises feelings and literature, says that all this is not necessary for the man of the future, he laughs at the elder Kirsanov, who knows and reads Pushkin by heart. However, after he fell in love, he realized that his judgment was wrong. Eugene matured and understood the importance of literature, which shows the importance of the latter. Literature is able to make life easier for a person, to remove his emptiness from the soul. So it was with Rodion Raskolnikov from the work of FM Dostoevsky "Crime and Punishment". He, full of bitterness, having read the Gospel began new life, which shows the importance of the book in human life.
Poetry is capable of changing a person, pushing for something new, developing him. However, in order to understand this, it is necessary to understand its significance, to love it. A person who succeeds in this will grow up and receive wisdom.
Updated: 2017-10-29
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(1) The concept of “bad” and “good” poetry belongs to the most personal, subjective and therefore most controversial categories. (2) It is no coincidence that the theorists of the 18th century introduced the concept of "taste" - a complex combination of knowledge, skill and intuition, innate talent.
(H) First of all, it is necessary to emphasize the historical limitations of these definitions: what appears to be “good” from one historical point of view, in another era from another point of view, may seem “bad”. (4) Young Turgenev, a man with a finely developed poetic feeling, admired Benediktov, Chernyshevsky considered Fet as one of the favorite poets of L.N. Tolstoy is a model of nonsense, believing that in terms of the degree of absurdity, only Lobachevsky's geometry can be compared with him. (5) The cases when poetry from one point of view appears “good” and from another point of view “bad” are so numerous that they should be considered not the exception, but the rule.
(6) What is the reason for this? (7) In order to understand this, it is necessary to keep in mind the following: we consider poetry as some kind of secondary language. (8) However, between artistic languages and primary, natural language there is a significant difference: to speak Russian well means to speak it correctly, that is, to speak in accordance with certain rules. (9) Speaking in Russian, we can learn an infinite amount of new information, but the Russian language is supposed to be already known to us so much that we stop noticing it. (Yu) There should not be any linguistic surprises in the normal act of speaking. (11) In poetry, the situation is different - its very structure is informative and all the time should be felt as non-automatic.
(12) Good poems, poems that carry poetic information are poems in which all the elements are expected and unexpected at the same time. (13) Violation of the first principle will make the text meaningless, the second - trivial. (14) Only texts that are highly informative for it can fulfill the function of “good poetry” in a particular system of culture. (15) And this implies a conflict with the reader's expectation, tension, struggle and, ultimately, the imposition of some kind of more significant than the usual artistic system on the reader. (16) But by conquering the reader, the writer commits himself to go further. (17) The winning innovation turns into a template and loses its information content. (18) Innovation is not always about inventing something new. (19) Innovation is a meaningful relationship to tradition, at the same time restoring memory of it and disagreeing with it.
(20) The goal of poetry, of course, is not "techniques", but knowledge of the world and communication between people, self-knowledge, self-construction human personality in the process of cognition ... (21) A poetic text is a powerful and deeply dialectical mechanism for the search for truth, interpretation of the surrounding world and orientation in it. (22) Ultimately, the goal of poetry coincides with the goal of culture as a whole. (23) But poetry realizes this goal specifically, and understanding this specificity is impossible if we ignore its mechanism, its internal structure.
(Yu Lotman)
Writing
There are people who understand simple, informative texts, without pretentiousness and confusing plot. But people with a rich imagination and developed imagination are not content with primitive art, they need high poetry, in which they themselves will find a place for co-creation. The views on art of these two categories are absolutely opposite, but it is from the subjective opinion that public opinion is formed.
This is what the well-known literary critic Yu. Lotman speaks about in this text. The author raises the problem of true poetry, which should not be too simple or too pretentious. Yu. Lotman believes that ideal poetry is one that maintains a balance between the “expected” and “unexpected”.
The position of the author is clear and close to me, I share the opinion of a well-known literary critic. Indeed, in pursuit of the simplicity and clarity of verse, magic is sometimes lost, the magic of the poetic word. And vice versa, if the poet is attracted by the form, and not the content, it is difficult to call such verses "good" poetry.
In the text of Yu. Lotman, the surname of A.A. Feta. Together with F.I. Tyutchev, A.N. Maikov, Ya.P. Polonsky, A.K. Tolstoy ranked him among the ideologically conservative movement, which was called "pure art" by Russian critics of the 1950s. It was perceived negatively by the revolutionary-minded society, and this was facilitated by the opinion of N.A. Nekrasov and V.G. Belinsky. But the poets of this group were convinced that poetry should be above transient ideas, it should talk about eternal values - about love, about nature, about man, his soul, about God. And they were right. Revolutions, wars, social and natural disasters, and the poetry of F.I. Tyutcheva, A.A. Feta has not lost its relevance. Take, for example, the famous Tyutchev's:
Not what you think, nature ... Not a cast, not a soulless face - It has a soul, it has freedom, It has love, it has a language ...
Incidentally, Alexei Tolstoy, who was laughed at because he ignored the ideas of the Social Democrats, was part of a group of writers who called themselves Kozma Prutkov. And how the satirical pen of officials and embezzlers touched him, every reading citizen of Russia knows!
At the beginning of the 20th century, the "Budelyans" threw Pushkin and Dostoevsky "off the ship of modernity" and began to write poetry in a new way. In the pursuit of form, not only the magic of poetry was lost, but all content in general. Everyone remembers the verses of the experimenter in the field of word-creation and "zaumi" V. Khlebnikov:
Oh, laugh, laughing people! Oh, laugh, laughing people! That they laugh with laughter, That they laugh with laughter, Oh, laugh with a laugh!
I don’t want to say about them that these are “bad” poems, but there is nothing for the soul in them. This is probably why very soon they became just a sign of the historical era, and Pushkin and Dostoevsky returned to the reader. D. Kharms, ironically, wrote to V. Khlebnikov the following dedication:
Crossing his legs, Velimir sits. He's alive. Everything.
It seems to me that this is the brightest assessment of futuristic poetry. But V.V. Mayakovsky stays with us without a stretch, because in his lyrics he managed to find a balance between unusual shape, dictated by the new time, and the old, like the world, truths.
To be a real poet means to have, as M. Voloshin said, God's spark and a special talent to feel, experience, see like all other people, but a little more than they. Then poetry will be "good."
The main educator of any person is his life experience. But in this concept we must include not only the "external" biography, but also the "internal" biography, inseparable from our assimilation of the experience of mankind through books.
Events in Gorky's life were not only what happened in the Kashirins' dyehouse, but also every book he read. A person who does not like a book is unhappy, although he does not always think about it. His life may be filled with the most interesting events, but he will be deprived of an equally important event - empathy and comprehension of what he read.
The poet Selvinsky once rightly said: "The reader of a verse is an artist." Of course, the reader of prose must also possess the artistry of perception. But the charm of poetry, more than prose, is hidden not only in thought and in the construction of the plot, but also in the music of the word itself, in intonation overflows, in metaphors, in the subtleties of epithets. Pushkin's line "looking at the pale snow with diligent eyes" will be felt in all its freshness only by a highly qualified reader. Genuine reading artistic word(in poetry and prose) does not mean fluently gleaned information, but the enjoyment of the word, absorption of it by all nerve cells, the ability to feel this word with your skin ...
Once I was lucky enough to read a poem to the composer Stravinsky, Stravinsky seemed to be listening in half, and suddenly, on the line "with his fingers in confusion," he exclaimed, even closing his eyes with pleasure: "What a delicious line!" I was amazed, because not every professional poet could mark such a discreet line. I am not sure that there is an innate poetic ear, but I am convinced that such a hearing can be brought up.
And I would like, albeit belatedly and not comprehensively, to express my deep gratitude to all the people in my life who raised me in love of poetry. If I had not become a professional poet, I would still remain a devoted poetry reader until the end of my days.
My father, a geologist, wrote poetry, it seems to me that they are talented:
Shooting back from melancholy
I wanted to run away somewhere
But the stars are too high
And the pay for the stars is high ...
He loved poetry and conveyed his love for it to me. He read perfectly by heart and, if I did not understand something, explained, but not rationally, namely by the beauty of the reading, emphasizing the rhythmic, figurative power of the lines, and not only Pushkin and Lermontov, but also modern poets, reveling in the verse that he especially liked :
The stallion below him sparkles with white sugar.
(E. Bagritsky)
Spins the wedding with a silver hem,
And in her ears are not earrings - horseshoes.
(P. Vasiliev)
From Makhachkala to Baku
The moons float on their sides.
(B.Kornilov)
Eyebrows from under the shako threaten palaces.
(N. Aseev)
I would make nails out of these people,
There would be no stronger nails in the world.
(N. Tikhonov)
Teguantepec, Teguantepec, a foreign country,
Three thousand rivers, three thousand rivers surround you.
(S.Kirsanov)
Of the foreign poets, my father most often read to me Burns and Kipling.
During the war years at the Zima station, I was given the care of my grandmother, who did not know poetry as well as my father, but loved Shevchenko and often recalled his poems, reading them in Ukrainian. Visiting taiga villages, I listened and even recorded ditties, folk songs, and sometimes composed something. Probably, education in poetry is generally inseparable from education in folklore, and can a person who does not feel the beauty of folk songs be able to feel the beauty of poetry?
My stepfather, an accordionist, turned out to be a person who loves both folk songs and the verses of modern poets. From his lips I first heard Mayakovsky's "Sergei Yesenin". I was especially struck: "You are shaking your own bones in a bag." I remember I asked: "Who is Yesenin?" - and for the first time I heard Yesenin's poems, which then were almost impossible to get. Yesenin's poems were for me both a folk song and modern poetry.
Back in Moscow, I eagerly pounced on poetry. The pages of poetry collections that were published at that time were, it seemed, strewn with ashes from the conflagrations of the Great Patriotic War. "Son" Antokolsky, "Zoya" Aliger, "Do you remember, Alyosha, the roads of Smolensk ..." Simonova, "Woe to you, mothers of Oder, Elba and Rhine ..." meter of bloody earth when they take him in battles ... "Gudzenko," Hospital. Everything is in white. The walls smell of damp chalk ... "Lukonina," The boy lived on the outskirts of the city of Kolpino ... "Mezhirova," To become a man, it's not enough for them to be born ... "Lvova," Guys, tell Pole - we have nightingales singing today ... "Dudin; all this entered into me, filled me with the joy of empathy, although I was still a boy. But during the war, the boys also felt like a part of the great fighting people.
I liked Shefner's book "Suburb" with its distant images: "And, slowly rotating the emeralds of green eyes, thoughtless, as always, frogs, like little buddhas, sat on logs by the pond." Tvardovsky seemed to me then too simple, Pasternak was too fat. I almost never read such poets as Tyutchev and Baratynsky - they looked boring in my eyes, far from the life that we all lived during the war.
Once I read my poems to my father about a Soviet parliamentarian killed by the Nazis in Budapest:
The huge city darkened
The enemy is lurking there.
An accidental flower turned white
Flag of truce.
Auteuil suddenly said: "In this word" unintentional "is poetry."
In 1947 I studied at the poetry studio of the House of Pioneers of the Dzerzhinsky District. Our leader L. Popova was a peculiar person - she not only did not condemn the enthusiasm of some students for formal experimentation, but even supported this in every possible way, believing that at a certain age a poet must be ill with formalism. The line of my comrade "and now autumn runs away, flickering yellow spots leaves "was given as an example. I wrote then:
The hosts are Kipling's heroes -
Welcome the day with a bottle of whiskey.
And it seems that the blood has laid down among the bales
I will print on tea bags.
Once we were visited by poets - students of the Leningrad Institute Vinokurov, Vanshenkin, Soloukhin, Ganabin, Kafanov, still very young, but already past the front school. Needless to say, how proud I was to perform my poems together with real poets.
The second military generation, which they represented, brought a lot of new things into our poetry and defended lyricism, from which the older poets began to move towards rhetoric. The quiet lyric poems "The Boy" by Vanshenkin and "Hamlet" by Vinokurov, written later, impressed me as a bomb.
"Do you love Bagritsky?" - asked me after the speech at the House of Pioneers Vinokurov. I immediately began to read to him: "We are rusty leaves on rusty oaks ...". The young master's left eyebrow went up in surprise. We became friends, despite the then noticeable difference in age and experience.
For all my life I am grateful to the poet Andrey Dostal. For more than three years he worked with me almost daily in the literary consultation of the Molodaya Gvardiya publishing house. Andrey Dostal discovered Leonid Martynov for me, in whose unique intonation - "Have you spent the night in flower beds?" - I immediately fell in love.
In 1949 I was lucky again when in the newspaper "Soviet Sport" I met with the journalist and poet Nikolai Tarasov. He not only printed my first poems, but also sat with me for long hours, patiently explaining which line is good, which is bad, and why. His friends, then a geophysicist and now a literary critic V. Barlas and a journalist L. Filatov, now an editor of the weekly Football-Hockey, also taught me a lot in poetry, giving me rare collections to read from their biblical libraries. Now Twardoasky did not seem simple to me, and Pasternak was overly complicated.
I managed to get acquainted with the work of Akhmatova, Tsvetaeva, Mandelstam. However, my expanding "poetry education" did not affect the poems that I was publishing at that time. As a reader, I got ahead of myself, the poet. I basically imitated Kirsanov, and when I met him, I expected his praise, but Kirsanov justly condemned my imitation.
My friendship with Vladimir Sokolov, who, by the way, helped me to enter the Literary Institute, despite the lack of a certificate of maturity, had an invaluable influence on me. Sokolov was undoubtedly the first poet of the post-war generation to find the lyrical expression of his talent. It was clear to me that Sokolov had a brilliant knowledge of poetry and his taste did not suffer from group limitations - he never divides poets into "traditionalists" and "innovators", but only into good and bad. This he taught me forever.
At the Literary Institute, my student life also gave me a lot to understand poetry. In seminars and in corridors, judgments about each other's poems were sometimes ruthless, but always sincere. It was this ruthless sincerity of my comrades that helped me jump off the stilt. I wrote poetry, and, obviously, this was the beginning of my serious work.
I met a wonderful, unfortunately still underestimated poet Nikolai Glazkov, who then wrote:
I twist my own life
I'm playing the fool.
From a sea of lies to a field of rye
the road is far away.
I learned from Glazkov the liberation of intonation. The opening of Slutsky's poems made a stunning impression on me. They were, it seemed, antipoetic, and at the same time the poetry of a mercilessly naked life sounded in them. If earlier I tried to fight in my poems with "prosaisms", then after Slutsky's poems I tried to avoid overly sublime "poetisms".
While studying at the Literary Institute, we, young poets, were not free from mutual influences. Some poems by Robert Rozhdestvensky and mine, written in 1953-55, were like two drops of water. Now, I hope you will not confuse them: we have chosen different paths, and this is natural, like life itself.
A whole galaxy of women poets appeared, among whom, perhaps, the most interesting were Akhmadulina, Moritz, Matveeva. Returning from the North, Smelyakov brought a poem full of chaste romanticism "Strict Love". With the return of Smelyakov, poetry became somehow stronger, more reliable. Samoilov began to publish. His poems about Tsar Ivan, "The Tea Room" immediately created a stable reputation for him as a highly cultured master. There were published "Cologne Pit", "Horses in the Ocean", "Let's wave our fists after a fight ..." by Boris Slutsky, the poems are innovative in form and content. The songs of Okudzhava, exhaled by time, were sung all over the country. Coming out of a long crisis, Lugovsky wrote: "After all, the one I knew does not exist ...", Svetlov again made his way through his charming pure intonation. There was such a large-scale work as Tvardovsky's Beyond the Distance. Everyone was reading Martynov's new book, Zabolotsky's Ugly Girl. Voznesensky appeared like fireworks. The circulation of poetry books began to grow, poetry appeared on the square. It was a period of heyday of interest in poetry, unprecedented hitherto neither in our country nor anywhere in the world. I am proud that I had to witness the time when poetry became a popular event. It was rightly said: "An amazingly powerful echo - obviously such an era!"
The powerful echo, however, not only gives the poet great rights, but also imposes great responsibilities on him. The upbringing of a poet begins with the upbringing of poetry. But later, if the poet does not rise to self-education by his own responsibilities, duties, he rolls down, even in spite of professional sophistication. There is such a seemingly beautiful phrase: "Nobody owes anything to anyone." Everyone owes everyone, but especially the poet.
Becoming a poet is the courage to declare yourself a debtor.
The poet is indebted to those who taught him to love poetry, for they gave him a sense of the meaning of life.
The poet is indebted to those poets who came before him, for they gave him the power of words.
The poet is indebted to today's poets, to his comrades in the shop, for their breath is the air he breathes, and his breath is a particle of the air they breathe.
The poet is indebted to his readers, contemporaries, for they hope to speak in his voice about time and about themselves.
The poet is indebted to his descendants, for with his eyes they will someday see us.
The feeling of this heavy and at the same time happy debt has never left me and, I hope, will not.
After Pushkin, a poet without civic consciousness is impossible. But in the 19th century, the so-called "common people" were far from poetry, if only because of their illiteracy. Now, when poetry is read not only by intellectuals, but also by workers and peasants, the concept of civic consciousness has expanded - it implies, as never before, the poet's spiritual ties with the people. When I write lyric poems, I always want, I want them to be close to many people, as if they wrote them themselves. When I work on things of an epic nature, I try to find myself in the people I write about. Flaubert once said: "Madame Bovary is me." Could he say this about an employee of some French factory? Of course not. And I hope I can say the same, for example, about my own and about many of the heroes of my poems and poems: "Nyushka is me." Nineteenth-century citizenship could not be as internationalistic as it is now, when the destinies of all countries are so closely intertwined. Therefore, I tried to find people close to me in spirit not only among the builders of Bratsk or fishermen of the North, but also everywhere where the struggle for the future of mankind is taking place - in the USA, in Latin America and in many other countries. There is no poet without love for the homeland. But today there is no poet even without participation in the struggle taking place all over the world.
Be the first poet in the world socialist country, on its own historical experience, testing the reliability of the ideals suffered by humanity - this imposes a special responsibility. The historical experience of our country is being studied and will be studied in our literature, in our poetry, for no document by itself has a psychological penetration into the essence of a fact. Thus, the best in Soviet literature gains high value a moral document that captures not only the external, but also the internal features of the formation of a new, socialist society. Our poetry, if it does not stray in the direction of invigorating embellishment or in the direction of skeptical distortion, but has a harmony of realistic reflection of reality in its development, can be a living, breathing, sounding history textbook. And if this textbook is true, it will rightfully become a worthy tribute to our respect for the people who nurtured us.
The turning point in the life of a poet comes when, having been brought up on the poetry of others, he already begins to educate his readers with his poetry. "Powerful echo", having returned, can knock the poet down with the force of the return wave if he is not strong enough, or shock him so much that he will lose his hearing for poetry and for time. But such an echo can also educate. Thus, the poet will be brought up by a recurring wave of his own poetry.
I sharply separate readers from admirers. The reader, with all his love for the poet, is kind, but exacting. I found such readers both in my professional environment and among people of various professions in different parts of the country. It was they who were always the secret co-authors of my poems. I still try to educate myself with poetry and now I often repeat the lines of Tyutchev, whom I fell in love with in recent years:
It is not given to us to predict
How our word will respond -
And sympathy is given to us,
How grace is given to us ...
I feel happy because I was not deprived of this sympathy, but sometimes I feel sad because I don't know if I can fully thank him.
Novice poets often write letters to me and ask: "What qualities do you need to possess in order to become a real poet?" I have never answered this, as I thought, a naive question, but now I will try, although it may be also naive.
There are, perhaps, five such qualities.
First: you need to have a conscience, but this is not enough to become a poet.
Second: you need to have a mind, but this is not enough to become a poet.
Third: you need to have courage, but this is not enough to become a poet.
Fourth: you have to love not only your own poems, but also those of others, but this is not enough to become a poet.
Fifth: you need to write poetry well, but if you do not have all the previous qualities, this is also not enough to become a poet, for
There is no poet outside the people,
There is no son without a shadow of a father.
Poetry, in the well-known expression, is the self-consciousness of the people. "To understand themselves, the people create their poets."
The problem of fostering love for poetry. Composition of the exam
Evgeny Alexandrovich Evtushenko is a Soviet and Russian poet. One of the most amazing masters of the artistic word. In his works, the poet touches on a variety of topics, including political ones. “A poet in Russia is more than a poet” - perhaps everyone knows this famous line from his manifesto.
In this text, the author focuses on the problem of human spiritual development. E.A. Yevtushenko invites his readers to think about the problem of poetry, its value and significance in the life of every person. Poetry is more than poetry. This term refers to everything that is beautiful that inspires and gives us wisdom and life experience.
With the opinion of E.A. Yevtushenko is hard to disagree. Thanks to poetry, we can express, understand and accept many things that haunt us in life. But not everyone who can write poetry is a poet. I agree with the author that it is not enough to have a conscience, intelligence, courage, to love not only your own poems, but also those of others. "There is no poet outside the people, as there is no son without a shadow of the father."
Reflecting on this topic, I would like to recall a quote from Frederico García Lorca, a Spanish poet and playwright: "The poet has one mission: to animate in the literal sense - to give a soul." Joseph Brodsky dedicated a poem to the memory of the poet, which begins with the words about the legend, when, before the execution, Lorca saw the sun rise and said: "But the sun still rises ...", which may have been the beginning of the poem.
The theme of the poet and his work was firmly entrenched in the space of the Russian classical literature... It is multifaceted and presented in various aspects. This is both the problem of the purpose of creativity, and the problem of the relationship between the poet and the crowd, the poet and power, the problem of immortality and the greatness of the Word.
One way or another, many poets at least once, but touched on this topic in their work. For example, the theme of the poet and poetry was reflected in the work of A.S. Pushkin. The poem "The Prophet" is so named for a reason, because in it Pushkin writes about the poet as a prophet, led by the Lord himself, he fulfills the will of the Creator, this is his destiny. A poet from above has been given the power to “burn the hearts of people with a verb,” in other words, to boldly tell people the bitter truth. In the work "The Poet" Alexander Sergeevich affirms the idea of the insignificance of the poet's life in the absence of inspiration ("Among the children of the insignificant of the world, perhaps he is the most insignificant of all ..."), but as soon as "the divine verb touches the hearing of the sensitive", the poet rises above the crowd , over the black.
In conclusion, I would like to say that no matter how a person is enriched with an “external” biography, as E.A. Yevtushenko in this text, only books can help you better understand the world, your country, other people and yourself, thereby enriching your “inner” biography.
According to the text by E. A. Evtushenko
(1) The main educator of any person is his life experience. (2) But in this concept we must include not only the “external” biography, but also the “internal” biography, inseparable from our assimilation of the experience of mankind through books.
(3) An event in Gorky's life was not only what happened in the Kashirins' dyehouse, but also every book he read. (4) A person who does not like a book is unhappy, although he does not always think about it. (5) His life may be filled with the most interesting events, but he will be deprived of the equally important thing - empathy for what he read and comprehending it.
(6) There are people who say: "I like to read ... just not poetry." (7) There is a lie: a person who does not love poetry cannot truly love prose, education in poetry is the education of a taste for literature in general. (8) The charm of poetry, more than prose, is hidden not only in thought and in the construction of the plot, but also in the music of the word itself, in intonation overflows, in metaphors, in the subtlety of epithets. (9) An authentic reading of a literary word (in poetry and in prose) does not imply a cursory gleaned information, but the enjoyment of the word, its absorption by all nerve cells, the ability to feel this word with the skin.
(10) Once I was lucky to read the poem "Citizens, listen to me ..." to the composer Stravinsky. (11) Stravinsky listened, it seemed, in half-hearing, and suddenly on the line "with the fingers of a bewildered wise man" he exclaimed, even closing his eyes with pleasure: "What a delicious line!" (12) I was amazed, because not every professional poet could mark such a discreet line. (13) I am not sure that there is an innate poetic ear, but I am convinced that such a hearing can be brought up.
(14) And I would like, albeit belatedly and not comprehensively, to express my deep gratitude to all the people in my life who raised me in love of poetry. (15) If I had not become a professional poet, I would still remain a devoted poetry reader until the end of my days. (16) My father, a geologist, wrote poetry, it seems to me talented. (17) He loved poetry and conveyed his love for it to me. (18) I read beautifully from memory and, if I did not understand something, explained, but not rationally, namely by the beauty of the reading, emphasizing the rhythmic, figurative power of the lines, and not only Pushkin and Lermontov, but also modern poets, reveling in verse, especially liked by him.
(19) In 1949, I was lucky when I met with the journalist and poet Nikolai Tarasov at the editorial office of the Sovetsky Sport newspaper. (20) He not only printed my first poems, but also sat with me for long hours, patiently explaining which line is good, which is bad, and why.
(21) I managed to get acquainted with the work of Akhmatova, Tsvetaeva, Mandelstam. (22) However, my expanding "poetry education" did not affect the poems that I was creating at that time. (23) As a reader, I got ahead of myself, the poet.
(24) The turning point in the life of a poet comes when, brought up on the poetry of others, he already begins to educate his readers with his poetry. (25) "Powerful echo", having returned, can knock the poet down with the force of the return wave if he is not strong enough, or so concussion that he will lose his hearing for poetry and for time. (26) But such an echo can also educate. (27) Thus, the poet will be brought up by the recurrent wave of his own poetry.
(28) I sharply separate readers from admirers. (29) The reader, with all his love for the poet, is kind, but exacting. (ZO) I found such readers both in my professional environment and among people of various professions in different parts of the country. (31) It was they who were always the secret co-authors of my poems.
(32) I still try to educate myself with poetry and now I often repeat the lines of Tyutchev, whom I fell in love with in recent years:
It is not given to us to predict
How will our word respond, -
And sympathy is given to us
How grace is given to us ...
(33) I feel happy because I have not been deprived of this sympathy, but sometimes I feel sad because I don’t know if I can fully thank for it.
(34) Aspiring poets often write letters to me and ask: "What qualities do you need to possess in order to become a real poet?" (35) I never answered this one as I believed naive question, but now I will try, although it may be also naive.
36) There are perhaps five such qualities.
37 First, you need to have a conscience, but this is not enough to become a poet.
38 Second: you need to have a mind, but this is not enough to become a poet.
39 Third: you need to have the courage, but this is not enough to become a poet.
40 Fourth: you have to love not only your own poetry, but also those of others, but this is not enough to become a poet.
41 Fifth: you need to write poetry well, but if you do not have all the previous qualities, this is also not enough to become a poet, for
There is no poet outside the people,
There is no son without a shadow of a father.
42 Poetry, in the well-known expression, is the self-consciousness of the people. (43) "To understand themselves, the people create their poets."
(According to E. A. Evtushenko *)
