Okudzhava's creativity is the main motives of the lyrics. Helping a student. I have never been, never been

Bulat Shalvovich Okudzhava (1924-1997) - one of the outstanding Russian poets of the 20th century, who stood at the origins of the author's song.

This study is devoted to the early period in the lyrics of B. Okudzhava - 1950-1960s. During this period, the author was already actively writing and singing songs, was a member of the Magistral literary association and wrote the first "Moscow" songs. The poet himself defined the named period of time as a kind of milestone, abandoning his earlier, “immature” poems.

The relevance of the chosen topic is connected with the need to study the origins of B. Okudzhava's poetic work, his worldview, figurative system, features of his poetics, which allow a better understanding of their further evolution, as well as to assess the originality of the era reflected in them and Russian society at the corresponding historical stage.

The degree of knowledge of the problem. In the domestic literary criticism of recent times, the work of authors most significant for the era of the “thaw” is increasingly being studied. B. Okudzhava was one of them.

A lot of critical articles have been written about B. Okudzhava, conferences dedicated to him are held. The responses of literary scholars and critics to his "poetic heritage are numerous and sometimes contradictory.

Recognition did not come to the poet immediately. Only many years after the debut, significant editions of his poems and prose, memoirs about him appeared (among the authors - 3. Kazbek-Kaziev, I. Pivoptseva, D. Bykov). Even during the life of B. Okudzhava, publications by S. Vladimirov, Z. Paperny, scientific works by V. Novikov, I. Nichiporov, R. Tchaikovsky and others, including dissertations (S. Boyko, V. Kofanova, for example); monographs by N. Leiderman, M. Lipovetsky and others were devoted to his work.

According to Z.P. Paperny, at first, criticism about B. Okudzhava did not write anything, openly ignored it, then the first cautious articles began to appear, and, finally, during the period of perestroika, admiring works followed, devoid, however, of specificity and a true understanding of this phenomenon. The silence of criticism was explained by the official non-recognition of the poet: in 1961, even works appeared with a sharply negative assessment of B. Okudzhava's work, although he never set himself the goal of writing satire on Soviet reality. But there was no serious analysis of Okudzhava's work in such reviews.

In the late 1960s and early 1970s, literary-critical and literary criticism articles about B. Okudzhava's poetry appeared, the authors of which sought to objectively analyze it and determine its place in the modern literary process. In particular, in his publication "Only Me, the Mystery Singer." M. Chudakova assesses the role of the poet in the literary process as follows: in her opinion, he "reached the trigger of literary evolution, stopped for almost seven years (from the end of 1946 to the beginning of 1953)" .

Okudzhava's poems are saturated with intertextual connections at different levels: thematic, figurative, intonational, rhythmic, etc., which is explained by the poet's reliance on literature and song folklore of several eras: Pushkin's, Silver Age, Soviet (the period of 1930-1950s) . The above-mentioned 3. Paperny wrote about the connections between Okudzhava’s work and the poetry of his predecessors and older contemporaries, who, comparing Okudzhava’s songs with the poems of M. Svetlov, Y. Smelyakov, D. Samoilov, named the main thing, from his point of view, Okudzhava’s difference is the gift of creation in everyone a work of magical, romantic world.

S.S. Boyko in his articles analyzes the links between the poetry of B. Okudzhava and the works of Russian poets: Derzhavin, Pushkin, Mandelstam, Brodsky; special attention is paid to the Pushkin tradition in the works of Okudzhava. I. Nichiporov writes subtly and accurately about Tyutchev's origins in the poet's works; A.K. Zholkovsky. The connections of Okudzhava’s works with the poems of contemporary poets (N. Zabolotsky, D.

Samoilova, B. Akhmadulina) are devoted to the studies of V. Zaitsev and V. Kulle (the latter traces and illustrates with convincing examples the parallels in the work of Okudzhava and Brodsky).

As for the specific features of Okudzhava's poetics, the researchers of his work most often touched on the topic of origins. Appeal to everyday romance, urban song B. Okudzhava, as well as other bards, caused a sharply negative attitude towards his work in the 1960s. Okudzhava himself diligently delimited his work from the works of songwriters, simply performing his own poems with a guitar, so that his early poems already reflected a connection with song and folklore creativity.

R.Sh. Abelskaya in her dissertation research “Poetics of Bulat Okudzhava: the origins of creative individuality” traces the genealogy of song in Okudzhava’s work, namely: the connection with the Soviet song, the romance beginning in the lyrics of B. Okudzhava, the song of the Great Patriotic War as another of its genre prototypes, thieves’ song and traditional Russian folklore and their connection with B. Okudzhava's poetics. R.Sh. Abelskaya characterizes the Pushkin tradition in the works of the named author, as well as the correlation of his literary heritage with the poetry of the 19th century, the first half of the 20th century and the works of his contemporaries. This work is of particular value to us, since it analyzes the genre modifications of interest to us in the work of Okudzhava.

S. Vladimirov made an attempt to understand the nature of Okudzhavov's poetry through the analysis of the figurative system of verses. The author of the book “Verse and Image” outlined many issues that modern Okudzhav studies are solving. He pointed out the sources of individual song intonations of the poet - in particular, they named folk song, ballads, romance, thieves' song, song folklore of the time of the Great Patriotic War. S. Vladimirov noted, firstly, its property “to open in its “subtext” some kind of conditional, mythologized reality”, akin to a folk ritual song; secondly, "the desire to cleanse the verse from private, accompanying emotions, to get rid of any signs of pathos or expression" . The critic also describes Okudzhava's metaphor - "the most seemingly banal, smacking of traditional poetry - something that modern poetry is strenuously getting rid of, resolutely trying to banish as a kind of lie, falsehood, poetic convention." ; and the combination in one poem of usually "stylistic colors that exclude each other", for example, romantic elation and everyday decline, deliberate poetry - and familiar colloquialism. But all these “sharp corners. as if smoothed out, losing their stylistic sharpness, pretentiousness, ... are melted into a single song.

B. Okudzhava's work has traditionally been studied within the framework of the author's song, although he himself objected to such an interpretation of his work. Another direction in the study of Okudzhava's works is in line with the ideology of the "sixties".

These aspects are characteristic, in particular, of the works of S.S. Boyko (“On Some Theoretical and Literary Problems of Studying the Works of Bard Poets: [On the Examples of the Works of V. Vysotsky and B. Okudzhava]”), A.V. Kulagina (collection of articles "Vysotsky and others"), JI.A. Levin ("The Edges of the Sounding Word (Aesthetics and Poetics of the Author's Song)"), etc.

The study of the phenomenon of author's song in the work of B.Sh. A lot of research has been devoted to Okudzhava, including dissertations (K. Berndt, S. B. Biryukova, S. S. Boyko, M. V. Zhigacheva, M. V. Kamankina, D. N. Kurilov, S. P. Rasputina , I.A. Sokolova).

A typical example of the study of Okudzhava's creativity in the framework of the author's song is the dissertation of V.A. Kofanova "Linguistic features of the geopoetics of the author's song (based on the texts of the works of B.Sh. Okudzhava, A.A. Galich, A.M. Gorodnitsky, Yu.I. Vizbor)" .

V. Kofanova on the material of the works of the listed poets examines the theoretical foundations of a comprehensive study of the author's song. The significance of this work for this study lies in a versatile description, systematization of linguistic means of expressing such key topoi of an author's song as a house, a road, a city (in particular, Moscow and St. Petersburg).

Among this type of research, we highlight the work of I. Nichiporov "Author's Song in Russian Poetry of the 1950s-1970s", where the first chapter is devoted to the study of Okudzhava's creative heritage within the framework of the lyrical-romantic direction in the author's song. The author conducts a deep analysis of the genre aspect of Okudzhava's work, in particular, dwelling in detail on his songs-parables, and also considers the topos of the city as a poetic model of the world and the basis of the poet's autobiographical myth.

The problem of the genre specifics of Okudzhava's songs is connected with the phenomenon of the author's song, which researchers inevitably encounter in the course of analyzing his work. The poet became famous in the late 50s as a songwriter, and for a long time the lyrics of his songs were not regarded as high literature. V. Novikov notes: “Okudzhava does not divide his poetic works into “songs” and “poems”: it would be more accurate to say that he has “simply poems” and “poems-songs”, and both of them belong equally to professional poetry, written literature". The author of the above words is sure that Okudzhava's poetry is precisely high literature, which has already become a classic, and it requires an appropriate attitude and methods of study.

It is also problematic to determine the chronology of Okudzhava's poetry. The poet did not always indicate the year of writing under his works, or he placed dated poems in subsections that did not correspond to the indicated years. All this naturally brought confusion into the systematization of his works.

In terms of the chronological criterion, the dissertation work of O.M. Rosenblum "Early work of Bulat Okudzhava (experience in the reconstruction of a biography)". It analyzes the images of Okudzhava's childhood, the geography of his young and mature years, the myths and reality of the Arbat courtyard, the literary environment of the poet, the problems of his first publications, the first book "Lyrics", as well as his first Moscow songs.

A similar attempt to recreate the biography of the poet is made by D. Bykov in his book "Bulat Okudzhava". The author is deliberately subjective in his descriptions; at the same time, his analysis of some of Okudzhava's poems (his study of the image of the author and the lyrical hero, romantic and realistic trends, some key images and motives) captivates with the depth of penetration into their artistic canvas. It should be noted that such depth became possible due to the partiality declared by D. Bykov, the “non-scientific” presentation.

The definition of the main artistic method of B. Okudzhava also caused controversy among critics (which, by the way, was reflected in the above-mentioned work). So, 3. Paperny considers the romantic orientation of the work of this author: “Not a realistic recreation of life in its concreteness, but a romantic re-creation determines the work of this poet”; “an ordinary, real, reliable thing, often found in life and everyday life, suddenly switches to another plane - sublime, extraordinary.” .

Some critics, trying to substantiate the presence of romanticism in the artistic method of Okudzhava, even wrote about the continuity of the poet in relation to such authors as N. Tikhonov, M. Svetlov, E. Bagritsky and others. , romanticization of everyday life, the ability to give a pathetic sound to everyday life. Among other signs of romanticism, Okudzhava notes: “the existence in each work of a conditional poetic world that connects dream and reality, their constant interaction; frequent use of the romantic motif of an open door; finally, the hero of Okudzhava’s works himself is an earthly man, but aspiring to the sphere of the ideal, capable of transforming reality thanks to his imagination and active mental work.

The opposite opinion was expressed by L.I. Lazarev, who illuminated in his works the work of Okudzhava as a poet of the front generation. He argued, for example, that "in Okudzhava's songs, the romance is transformed and "ennobled", cleared of vulgarity." Lazarev quotes the poet’s statement: “She (the war) completely wiped out of me those fragments of romance that were still in me, as in any youth of my age.”

The most objective in this dispute is the work of I.I. Mezhakov-Koryakin "Features of Romanticism in the Poetry of Bulat Okudzhava" - . As manifestations of romanticism, the researcher identifies the following features: "active transformation of perceptions of the real world", "revolutionary pathos", "nebulous aspiration to the future", "striving for the ideals of justice and beauty, generosity and nobility", irony. At the same time, he notes that "Okudzhava realistically depicts pictures of the war, showing it without a romantic halo"; Okudzhava the realist writes about what is,<.>so the great theme of our contemporary enters into his work”; "In an ordinary person, not in an exceptional personality, as was the case with traditional romantics, Okudzhava sees a high romantic essence." The researcher comes to the conclusion that in the work of Okudzhava, romantic and realistic voices complement each other. This statement seems especially convincing to us: Okudzhava's creative method is too rich and ambiguous to be limited to one or even two directions.

To date, certain traditions of studying Okudzhava's works have been outlined, themes, motives, and images that receive the most attention have been formed: these are the themes of war, music, the poet, as well as Moscow and the Arbat, Georgia.

The term "oxymoronicity", which accurately characterizes the essence of Okudzhava's poetics, was introduced by V.I. Novikov. He also expressed the idea of ​​"harmonized shift", which, from his point of view, determines the essence of the poet's artistic method.

In the dissertation work "Poetry of Bulat Okudzhava as an integral artistic system" S.S. Boyko offers his solution to the "mystery" of Okudzhava's poetry, identifying and comparing two dominants: "motivation" (in the Tynyan sense) of Okudzhava's poetics and "poetic harmonization of the world." S. Boyko also describes the integrity of Okudzhava's artistic system, the path of ideological and aesthetic and moral and philosophical searches in his poetry, the means of artistic expression in Okudzhava's poetry, and also traces its links with the Russian poetic tradition.

Many discussions were connected with the lexical dictionary of B. Okudzhava .; ^

So, V. Ognev noted in relation to the early work of B. Okudzhava: “In the vocabulary - a conscious bet on the folklore of the street, everyday conversation, but passed through the song syntax (unanimity, repetitions, economy, simplicity of “figures”). But these are still not songs - too serious plot twists.

In the late 1960s, an article by S. Kunyaev was published, where the author examines the romance vocabulary of Okudzhava poems. On the one hand, S. Kunyaev very correctly felt the romance nature of B. Okudzhava's poetry and was one of the first in Soviet literary criticism who tried to formulate the essence of romance, song in lyrical poetry. He defined this essence as an inclination towards stereotypes - figurative and lexical. The author gave examples of “medium lyrical” Okudzhava “words” and phrases, emphasizing that “words are not yet a character, and sentimentality is not yet a feeling.”

The system of standards, giving life to songs, kills poetry. In verse, it leads, ultimately, to acting and cold mannerisms.

It can be stated that only a few researchers of B. Okudzhava's work have offered a holistic, systematic description of his early poetry; in most cases, his name appears in the general list of songwriters. There are also few works devoted to the specific features of B. Okudzhava's poetics, as well as to the analysis of his individual works. This determined the relevance of this study, although we limited ourselves to studying only some aspects of B. Okudzhava's early work, which determine the originality of his artistic methods and worldview.

Object and subject of research. The object of our study is the early lyrics of Bulat Okudzhava - poems of the 1950s-1960s.

The subject of the research is the artistic originality of Okudzhava's poems in this period. Three aspects should be singled out here: the focus of the work is on the diversity of poetic genres and means of artistic expression in the lyrics of B. Okudzhava, its images and motives, as well as its main chronotopes.

Goals and objectives. The purpose of this study* is to describe the artistic originality of B. Okudzhava's early lyrics, to determine its distinctive features, which could help clarify the role of this artist in the domestic literary process of the 20th century. To achieve this goal, the following tasks were put forward:

To reveal the place occupied by various genres in the early lyrics of Okudzhava;

To trace the interaction of song-folklore and literary elements in the poetics of the author, as well as the connection with the "city" song, romance, Soviet song, etc.;

Describe the means of artistic expression that determined the originality of B. Okudzhava's poetic works; analyze the ideological and philosophical content of his poetry, its main themes and motives; consider the main topoi in the verses of B. Okudzhava; to create a comprehensive picture of the early lyrics of B. Okudzhava as the source of most future motives, images, poetic means in his work.

The scientific novelty of the research is as follows:

1. A systematic examination of the artistic originality of B. Okudzhava's lyrics in the 1950s-60s, which was of decisive importance for his artistic evolution, was carried out, and the role of poetry of this period for all further work of the poet was determined.

2. The author's song presented in the poet's early lyrics, classical, innovatively processed and other genres are described; connections with the urban romance, folklore, reflected in the poetics of the first works of B. Okudzhava, are revealed.

3. Various stylistic layers in B. Okudzhava's verses are characterized, as well as the features of the embodiment of the image of the author, the lyrical hero and other characters.

4. The key images and motifs of B. Okudzhava's poetic world are studied as the personification of internal logic and integrity; key images - creativity, love, hope, war, death, fate, song, music, poetry, etc. - are presented in a peculiar interpretation of their creator. The main topoi in the poetic world of Okudzhava (house, road, separation, war, Arbat, Moscow, etc.) are also considered in their interconnection and development.

Methodological basis and research methods. The methodological basis of this study is a combination of cultural, philosophical, comparative methods of studying literary texts. The main method of studying B. Okudzhava's poems is analytical, descriptive. The work also uses component analysis, as well as a combination of theoretical and historical-literary approaches.

The theoretical basis of the study was the works on the author's song and on the work of B. Okudzhava of the following authors: L. Anninsky, R.Sh. Abelskaya, K. Berndt, S.B. Biryukova, S.S. Boyko , S. Vladimirova , I.V. Pictorial, M.V. Zhigacheva, M.V. Kamankina, V.A. Kofanova, D.N. Kurilova, L.I. Lazareva, N.L. Leiderman and M.N. Lipovetsky, V.I. Novikova, S.P. Rasputina, I.A. Sokolova, 3. Paperny, O.M. Rosenblum , D. Bykova , I. Nichiporova .

Theoretical and practical significance of the dissertation. The dissertation contributes to the deepening of ideas about the genre, artistic, problematic and thematic features of B. Okudzhava's early lyrics and about the features of his work in general.

The results of the work can also have practical application: in the practice of teaching in secondary schools and universities (in courses on the history of Russian literature of the second half of the 20th century, when reading a special course on the work of the poet), as well as in compiling textbooks and teaching aids, in writing term papers and diploma works on the work of B. Okudzhava.

The following main provisions of the dissertation are submitted for defense:

1. In the early poetry of B. Okudzhava, a key place belongs to the author's song, while elements of folklore genres, urban romance, Soviet marches and hymns are refracted at the figurative and formal poetic level; on the basis of old genre forms, the poet creates innovative invariants, oxymoron genres.

2. The poetry of B. Okudzhava of the 1950s and 60s is characterized by: frequent synonyms and antonyms, the use of syntactic parallelisms and repetitions, as well as the techniques of folk poetry (rhythmic-syntactic parallelisms, constant epithets); there are frequent personifications of heroes, personifications approaching allegories (the image of hope, fate, trumpets, etc.), as well as the dosed use of stylistically colored “accent” words against the background of prevailing neutral vocabulary. In general, the poetics of Okudzhava's early poems demonstrates close proximity to song techniques.

3. B. Okudzhava's idiostyle is characterized by irony and self-irony, a veiled type of emotional structure; his lyrical hero is embodied in the image of an artist (musician, poet, painter), whose invariants are the images of birds and a grasshopper, a drummer, an eternal wanderer. The key concepts of Okudzhava's early poetry, which migrated into his later work without fundamental changes, are Fate, Hope, Nature, Love, Woman, Trumpet, Arbat, song, music, poetry, etc.

4. In the poetics of B. Okudzhava there is an image of two interconnected worlds - "one's own" (the topos of the house, the world of the Arbat courtyard) and "alien" (the space of the road, separation, war, fate). In the author's early lyrics, the "Moscow" text dominates, while the "Petersburg" one is just outlined; a portrait of the capital is an artistic, genre complex, with its own unique philosophical, socio-historical content, style. The image-center of Moscow and B. Okudzhava's early poetic work is the Arbat as a home, the center of the bard's spiritual geography, as well as a symbol of historical memory, lost moral values ​​- and a source of inspiration; the theme of the constant return to the Arbat becomes permanent for the poet.

5. The early lyrics of B. Okudzhava are an artistic world characterized by diversity, ambivalence (reflected at all levels of poetics) and at the same time internal logic, integrity and through imagery; this is an example of following the classical tradition, but also of its creative processing, as well as the search for one's own place in the literary process; this is an example of the dialogue of the songwriter with the authors of the past and present, with the listener and reader, with the whole world, but also an example of an individualized, original worldview, which has found equally unique forms of artistic embodiment.

Approbation of work. The main provisions of the dissertation were presented at the annual scientific conferences at the Faculty of Philology of Daggos University (2008, 2009, 2010), and were also published in the form of 6 articles in collections of works and in journals.

The structure and scope of the dissertation. They are defined by the main problems of the study and its purpose. The work consists of an introduction, three chapters, a conclusion and a list of references. The dissertation is a manuscript on 158 printed pages.

1). In the works of B. Okudzhava there are motifs of animating nature, the flow of man into nature and nature into man, as well as personifications and metaphors symbolizing the dialogue of nature with the soul. In Okudzhava, the inanimate is often compared with the living, the city - with the natural, the land - with the water. Landscape elements at Okudzhava are endowed with anthropomorphic features and zoomorphic characteristics.

2). The oxymoronism characteristic of poetics - B. Okudzhava at the level of artistic topics was manifested in the presence and interconnection of two worlds - "one's own" (this is the topos of the house, the world of the Arbat courtyard) and "foreign" (the space of the road, separation, war, fate). The topos of a house in the poetic world of Okudzhava has the features of a very real dwelling, and symbolizes the "house of the poet's spirit"; B. Okudzhava's embodiment of external space is the road, and this motif is in many cases synonymous with war, fate and separation. The language means of expressing topos include lexemes with spatial semantics and movement semantics. The road near Okudzhava, especially the crossroads, is a manifestation of the chronotopic essence of the image of fate, a metaphor for love-separation, as well as the road of war and death. The topos of the road is associated with the beginning of the path and its end, which actualizes the loci of the threshold, the end of the path, the beginning of the path. The lyrical hero of Okudzhava is constantly on the road, which is for him a way and means of knowing himself and the world around him; this is an eternal traveler, a passerby, a tourist, a wanderer. The subjects of movement are also inanimate substances - a train (car), a car, a vessel (ship), a bus, a tram, a trolley bus, etc.

3). Portraits of cities are the most important layer of the artistic world of B. Okudzhava, these are artistic, semantic and genre communities. In the early lyrics of Okudzhava, the “Moscow” text dominates, while the “Petersburg” one is only outlined. The topos of Moscow is represented in B. Okudzhava's poems by a variety of plots and characters; the city acts as an organic unity of man-made and natural, solemn and ordinary. The capital has its own, unique character, generalizing the features of Muscovites, including the author himself; the space of Moscow, as a rule, has a water nature.

4). Arbat is the image-center of B. Okudzhava's poetic work. For the poet, he is a symbol of peace, goodness, nobility, culture, historical memory, lost moral values, and a source of inspiration. Arbat in the image of Okudzhava is a dream, a storehouse of memories and a symbol of bygone youth; finally, it is the native home, the center of the bard's spiritual geography. The topos of the Arbat in Okudzhava's poetic system forms the basis of an autobiographical myth; the theme of an unchanging, cyclical return to the Arbat becomes a cross-cutting one for the poet.

CONCLUSION

So, in the course of the study, it became obvious that the lyrics of Bulat Okudzhava in the 1950s-1960s are a complex, ambiguous artistic world, which is due to the personality of the author himself.

Having studied the early poetry of B. Okudzhava, we came to the following conclusions: 1) in the early poetry of B. Okudzhava, the key place belongs to the author's song, while elements of folklore genres, urban romance, Soviet marches and hymns are refracted at the figurative and formal poetic level; on the basis of old genre forms, the poet creates innovative invariants, oxymoron genres; 2) the poetry of B. Okudzhava of the 1950s and 60s is characterized by: frequent synonyms and antonyms, the use of syntactic parallelisms and repetitions, as well as the techniques of folk poetry (rhythmic-syntactic parallelisms, constant epithets); frequent personifications of heroes, personifications approaching allegories (the image of hope, fate, trumpets, etc.), as well as the dosed use of stylistically colored “accent” words against the background of prevailing neutral vocabulary; in general, the poetics of Okudzhava's early poems demonstrates close affinity with song techniques; 3) B. Okudzhava's idiostyle is characterized by irony and self-irony, a veiled type of emotional structure; his lyrical hero is embodied in the image of an artist (musician, poet, painter), whose invariants are the images of birds and a grasshopper, a drummer, an eternal wanderer. The key concepts of Okudzhava's early poetry, which migrated into his later work without fundamental changes, are Fate, Hope, Nature, Love, Woman, Trumpet, Arbat, song, music, poetry, etc .; 4) in the poetics of B. Okudzhava there is an image of two interconnected worlds - “one’s own” (the topos of the house, the world of the Arbat courtyard) and “alien” (the space of the road, separation, war, fate); in the author's early lyrics, the "Moscow" text dominates, while the "Petersburg" text is only outlined; a portrait of the capital is an artistic, genre complex, with its own unique philosophical, socio-historical content, style; the center of Moscow and the early poetic work of B. Okudzhava is the Arbat as a home, the center of the spiritual geography of the bard, as well as a symbol of historical memory, lost moral values ​​and a source of inspiration; the theme of the constant return to the Arbat becomes permanent for the poet; 5) the early lyrics of B. Okudzhava are an artistic world characterized by diversity, ambivalence (reflected at all levels of poetics) and at the same time internal logic, integrity and through imagery; this is an example of following the classical tradition, but also of its creative processing, as well as the search for one's own place in the literary process; this is an example of the dialogue of the songwriter with the authors of the past and the present, with the listener and the reader; with the whole; world, but also an example of an individualized, original worldview, which has found equally unique forms of artistic embodiment.

It can be stated that the early* poetry of B. Okudzhava is very diverse in terms of genre: it contains “songs” and “songs”, elegies, lyrical scenes, mini-novelas, portrait songs, urban elegiac and “plot” sketches, songs-parables , as well as: fables transformed by allegories into paradoxical and; a capacious lyrical parody or a philosophical parable; a special place belongs to the author's song, there are connections with urban romance, folklore and other genres. The connection of Okudzhava's lyrics with the urban romance is manifested at the figurative and formal poetic levels: first of all, at the level of the plot, often played up with the help of parody and carnival elements. The poet uses the old genre forms as the basis for the birth of innovative invariants: this is how he creates a genre oxymoron, where even on the basis of an ode, a hymn, a march, his lyrics dominate.

The lexical dictionary of B. Okudzhava's poetry is outwardly simple and due to its belonging to the above-mentioned genres. It includes samples of various functional styles, everyday prose introductory words and phrases, as well as examples of Newspeak as a means of speech characterization. In the poetics of B. Okudzhava, there is a paradoxical combination of elements of a “high” syllable with speech colloquiality, as well as a dosed, functional approach to stylistically colored vocabulary: the poet uses words with one or another stylistic coloring to place semantic accents, while his texts are generally neutral. Numerous phraseological units of B. Okudzhava are, as a rule, a new interpretation of well-known expressions or his own author's aphorisms.

As for artistic means, the following features are characteristic of B. Okudzhava's poetry.

This is the use of similes more often in the form of an ordinary comparative turnover or in the form of certain epithets; the bard is also characterized by frequent synonyms and antonyms, including situational ones. It can be concluded that the poet consciously opposes his artistic arsenal to the standards of modernity, as well as officialdom and cliches, stamps of various kinds. B. Okudzhava also uses in his work various elements of the poetics of urban romances, folklore, etc.

The next feature of the analyzed poetics is the use of various syntactic and melodic parallelisms and repetitions: anaphora, repetitions of entire lines, couplets, stanzas, repetitions of phrases to enhance any emotion, as well as repetitions of lines (most often - introductory and final). Some formal poetic devices of folk poetry, for example, constant epithets, organically entered the works of Okudzhava. Homogeneous rows create an additional opportunity to create versatility, complex psychological characteristics, vivid images. Okudzhava's work is characterized by paths that stand out on the basis of a common sign of animation, as well as personifications that have stable characteristics and have the properties of allegories (for example, the image of hope, fate, etc.). An example of a widely understood personification by B. Okudzhava is the humanization of living beings, similar to the personification of the heroes of fables: this is a grasshopper-poet, a raven-prophet, etc.

B. Okudzhava combines in his person a poet, composer, musician, singer, performer, artist; his idiostyle is characterized by irony and self-irony, a veiled type of emotional structure, so that the image of the author is rather blurred. The position of the lyrical hero Okudzhava is the position of an intellectual, a stoic; in Okudzhava's poetry, he is embodied in the image of the Artist (musician, poet, painter), who transforms the world around him, according to the laws of beauty and humanity. The images of birds and a grasshopper, a drummer, an eternal wanderer and a traveler are also associated with the invariants of the lyrical hero.

The figurative-motive structure of the poetic world of B. Okudzhava is distinguished by its internal logic and integrity. Among the key leit images and leit motifs are creativity, love, hope, war, death, fate, as well as metapoetic images: song, music, poetry. In the poetic world of Okudzhava there are constant keywords: Fortune, Hope, Nature, Woman, Violin, Trumpet, Arbat.

Love in the interpretation of B. Okudzhava acts as a connotation of creativity, yet the tragic invariants of motives (powerlessness before Fate, guilt and sacrifice, death and rebirth) are presented in the image of a mother, whose main features are holiness, martyrdom, forgiveness; The motif of creative inspiration is also connected with the image of the mother in B. Okudzhava's poetry. This image, like the image of Love, turns out to be ambivalent; belongs to two worlds: the world of death and the world of creativity. The connotation of creativity in the poetic world of B. Okudzhava becomes Hope - one of the most important cross-cutting motives; in its interpretation, the author often resorts to depersonalization.

Another invariant of the Higher Power in the work of B. Okudzhava is Fate (fatum, fortune, share, destiny, fate) - the antonym of Hope. The fate of the researched author corresponds to the idea of ​​the indeterminacy of the Higher Power and is inextricably linked with the theme of war as a hostile and tragic space. The poet focuses on outwardly non-heroic personalities in an extreme situation and the “microcosm” of war. In the early song lyrics of Okudzhava, the themes of the songs of the civil war (heroic death in battle, hope for a beautiful future), their main images, marching rhythms and intonations were revived in a new form.

We also note that already in the early works of B. Okudzhava there are motives for the animation of nature, the flow of man into nature and nature into man, as well as the corresponding personifications and metaphors. In Okudzhava, the inanimate is often compared with the living, the city - with the natural, the land - with the water. Landscape elements at Okudzhava are endowed with anthropomorphic features and zoomorphic characteristics.

The oxymoronism inherent in B. Okudzhava’s poetics at the level of artistic topic manifested itself in the presence and interconnection of two worlds - “one’s own” (this is the topos of the house, the world of the Arbat courtyard) and “alien” (the space of the road, separation, war, fate). The topos of a house in the poetic world of Okudzhava has the features of a very real dwelling, and symbolizes the "house of the poet's spirit"; the poet's embodiment of external space is the road, and this motif is in many cases synonymous with war, fate and separation. The language means of expressing topos include lexemes with spatial semantics and movement semantics. The road at Okudzhava, especially the crossroads, is a manifestation of the chronotopic essence of the image of fate, a metaphor for love-separation; the topos of the road is associated with the beginning of the path and its end, which actualizes the loci of the threshold, the end of the path, the beginning of the path. The lyrical hero of Okudzhava is constantly on the road, which is for him a way and means of knowing himself and the world around him; this is an eternal traveler, a passerby, a tourist, a wanderer. The subjects of movement are also inanimate substances - a train (car), a car, a vessel (ship), a bus, a tram, a trolleybus, etc.

Portraits of cities are the most important layer of the artistic world of B. Okudzhava, these are artistic, semantic and genre communities. In the early lyrics of Okudzhava, the “Moscow” text dominates, while the “Petersburg” one is only outlined. The topos of Moscow is represented in Okudzhava's poems by a variety of plots and characters; the city acts as an organic unity of man-made and natural, solemn and ordinary. The capital has its own, unique character, generalizing the features of Muscovites, including the author himself; the space of Moscow, as a rule, is depicted with the help of water metaphors.

The image-center of Moscow and B. Okudzhava's early poetic work is the Arbat. For the poet, he is a symbol of peace, goodness, culture, historical memory, lost moral values, as well as a source of inspiration. Arbat in the image of Okudzhava is a dream, a storehouse of memories and a symbol of bygone youth; finally, it is the native home, the center of the bard's spiritual geography. The topos of the Arbat in Okudzhava's poetic system forms the basis of an autobiographical myth; the theme of an unchanging, cyclical return to the Arbat becomes a cross-cutting one for the poet.

So, the lyrics of B. Okudzhava in the 50-60s are a rich artistic world, distinguished by endless diversity, but also by internal logic, integrity and through imagery; this is an example of following the classical tradition, but also of its creative processing, as well as the search for one's own place in the literary process; this is an example of the constant dialogue of the songwriter with the authors of the past and present, with the listener and reader, with the outside world, and at the same time - an example of a unique, original life philosophy that has found adequate forms of artistic embodiment.

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