ТЕМА ЛЕНИНГРАДА В СТИХОТВОРЕНИЯХ ЮРИЯ ВОРОНОВА

The world-famous philosopher F. Nietzsche wrote: «Everyone has a natural talent, but only a few are born or instilled with education that measure of perseverance, endurance, energy, by virtue of which he really becomes a talent, i.e. he becomes what he is, – this means: he reveals himself in works and actions»

The methods of literary hermeneutics and receptive aesthetics, as well as phenomenological and cultural-historical approaches were used and applied in the course of the work. It should also be noted that the translation of the poems (quotes) was done by me personally.

It is advisable to begin the study of the theme of Leningrad in the works of Yuri Voronov with the poem "There is no more Blockade". These two motives, two themes go in tandem in his work, in an inextricable connection, implicitly or explicitly stated. The poem "There is no more Blockade", starting from the mood of the title itself, is perceived as saturated with joy, even delight. The poet describes the festive fireworks over Leningrad, which sound "like May thunder in winter" (NB!)

Ракеты, рассыпаясь,

Ввысь летят.

Над Невским, над Невой, над Летним садом

Ликующие возгласы

Гремят.

Rockets are crumbling,

They're flying high.

Over the Nevsky, over the Neva, over the Summer Garden

There are cheers,

They're rattling

There is no limit to jubilation and this is clearly manifested in the poem, because a German shell will no longer explode on the "adamant Nevsky shore", and a glass will not break, and someone's blood will not spray after these explosions. "The enemy cannot reach Leningrad more!"

То город наш –

За снятие блокады

Шлет воинам

Восторженный привет.

That's our city –

For lifting the blockade

It sends to the warriors

Enthusiastic greetings 

The lines of this poem were written by the author in January 1944, when he was practically a teenage boy yet. We have already written about his difficult experience while growing up, about some poems and about the theme of memory in his works

"The doctor demands: You must be treated…"

Сложу чемодан наугад.

Соседи решат,

Что в больницу,

А я –

На вокзал,

В Ленинград!

I'll pack my suitcase at random.

The neighbors will decide –

I’m going to hospital,

But I’ll go

To the train station,

And from there – to Leningrad!

Right from the train the hero goes for a walk, "along the streets of white nights" and along the Neva River, admiring the eternally beautiful panorama, remembering his youth. At such moments, doctors and medicines become unnecessary for him, his diseases recede, and everything becomes "fresh and easy" – "like a poplar after rain." And it is not surprising, because the city is beautiful, moreover, it is the hometown of Yuri Voronov, a former boy who survived the Great Patriotic War and the Leningrad blockade. "War, – Archpriest Andrey Tkachev writes, – is a vivid manifestation of human sinfulness, and the most vivid visual image of war is ... a baby on the ashes, crying, looking for his mother"

The unique beauty of Leningrad is manifested by the poem "Tourist", where the main character says, going on a return flight:

– Этот город

Подобен музею,

Я бы брал с иностранцев

За вход.

– This city,

 It is like a museum,

 I would charge the foreigners

 For admission 

He would take money for visits, of course. In this way of thinking that foreigner is contrasted with the moral and axiological aspect of the perception of such visitors by Leningraders: "He wandered here / Alone and with people, / But the flower to Piskarevka / He didn’t bring at all…”

In another one – "To become filled with this city..." – the lyrical subject proclaims:

Ленинград

Начинается с первого взгляда,

Как любовь,

От которой уже не уйти.

Leningrad,

It starts at the first glance,

Like does love,

From which there is no escape 

Yes, this city is beautiful and capable of dazzling a guest with its splendor, but the hero (probably, he is the author – in one person) urges not to forget about the people who managed to save all this beauty during the difficult years of trials. The theme of the Great Patriotic War is implicitly present in many of the Voronov’s poems, even if he does not mention the war. This is the poet's way of expressing himself. "We write and speak, of course, for ourselves," as one of the modern philosophers says. "If we are surrounded by culture – as an environment in which thoughts can dwell – then our words can be passed on to others, and sometimes they are understood"

"My city, / Even in winter it is unique," – the lyrical subject of another poem proclaims. However, the winter beauty of Leningrad is not able to please him, because – "Winter in the war / Was my enemy"

"White Nights" and spring could be seen as a separate theme (or motive). Lilacs are blooming on the Champ de Mars at this time – " with lilac and white" colors. The poet uses a technique of comparison: white nights are "Like bright dreams. / As an alloy of purity and dawn"

Оставь себе

Облако белых ночей –

Дыши им

До новой сирени!

Keep it for yourself –

A cloud of white nights,

Breathe it in

Until the blossom of the new lilac!

This is the lyrical hero's passionate call, because spring does not last long, and the "sedate summer" always comes after it. Sometimes the summer can be very hot. Yuri Voronov has written a poem dedicated to this topic – "The Heat in Leningrad". The poet paints a picture of scorching heat in the city in a concise but poetically expressive way:

Жарищею

Ветра – и те спалило,

Над головой застыли облака.

И невозможно

Разобраться было,

Течет

В какую сторону

Река.

От зноя мост

Крутую спину выгнул.

И вздыбленные кони на мосту

Готовы от жары

В Фонтанку прыгнуть…

The heat –

Even the winds were burned down with it,

Clouds remain motionless overhead.

 And it was impossible –

 Very difficult to figure it out,

Which way is the River

Flowing?

From the heat – the bridge,

It arched his curved back.

And the rearing horses on the bridge

Are ready – for the heat –

To jump into the Fountain...

The techniques of impersonation and comparison enhance the effect of perception, and the reader begins to feel almost physically the terrible heat that a person can hardly bear.

От зданий жаром пышет,

Как от печек,

Деревья бредят ветром и дождем…

The buildings are emitting such intensive heat,

As if from ovens,

The trees are passionately dreaming of wind and rain...

The technique of personification, and also metaphors used by the poet in the last stanza help to recreate his own vivid poetic image – the image of the creator, forced to work in the very difficult conditions of living, when "the words with faded eyes flow down from a dry pen" into a notebook. The final chord – the last quatrain, reinforcing the main motif of the "heat in Leningrad", sounds as almost paradoxical – taking into account the northern location of the city:

…А Африка, наверно,

В эту пору

На небо смотрит с тягостным укором:

– Когда же

Долгожданная жара?...

 ... And Africa, probably,

At this time

 Looks at the sky with painful reproach:

– When is

The long-awaited heat coming? …

In general, the poet depicts his favorite city at different times of the year. For example, Yuri Voronov wrote a poem "Leningrad in October". There are notes of sadness in it, due to the same memory of the Great Patriotic War. The houses in autumn are barely visible, as if "blurred by fog", the traces of crevices and holes, although painted over after repairs, continue to hurt the heart of the lyrical hero. A cold wind lifts piles of leaves "almost to the roofs." And there is a rhetorical question at the end of the poem: "My city, what are you thinking about?..." The question, probably addressed to the author himself.

“Do not scold the visiting poets”, if they do not praise or not perceive your city the way you feel it yourself. Do not scold them for "keeping their own cities in their hearts"

The presence of a local aspect is characteristic for the classics of the world literature. Most often, this is a real place to which literary works become "attached". Thus, a local text appears. V. Shchukin defines a local text of the highest level as a special kind of meta-text, collectively formed by actually written "works that contain essential information about the legendary, mythological properties of a given place, about its reputation"

It is significant, Toporov argued, that – "through the category of space, through spatiality, the text goes beyond itself, involving the reader in a difficult complex too"

There are different types of “supertexts in Literature that philologists work with”, N.E. Mednis wrote

In conclusion, it should be emphasized that this article does not close the topic completely. The studies in this area can be continued.