Leonid Rostov biography

Comprehension in actions and verses. All the poems of Grigoryan are never felt in them - excited, even desperate thought about “self -love, envy, vanity”, as well as about cowardice, loneliness, horror and weakness of a single man in a totalitarian shock. There is nothing of yours in this prodigy crowd. In this text you are like a blossom-print. But for some reason, they will drag out into the noisy triumph of undivided mass, empty fiber-this is from the poem of the nineties that the poet was waiting for, but who to get out of a being dead end to him and his friends, merchants, namesakes, doubles, brothers, twins-this series of darkness did not bring.

As he will say in Invectiv “The End of the Century”: “The same decrepit dictatorship, it is only a sneak of its waste,” - drawing a historical parallel between our recent history and the fall of Rome. Again the "fall". Again "La Chute". But, I repeat, here we have a painful life of a different, piece cut. Although Grigoryan called his final book “down the river”, but this is not a fall-it is a tense return to his own spiritual sources.

Grigoryan, again, is not jokingly modest in self -esteem and is always inclined to self -notify. In the preface, he writes: “I did not consider myself a professional poet and do not think. My poems are more or less professional amateurism. I state it without a shadow of cunning. ” I will not allow myself to believe. The level of skill and poetic culture in Grigoryan’s poetry is such that about amateurism and even in verses, he loves to certify himself as a rhyme or a healing poem: fresh consonants, a dense rally of Latinisms and either frozen, then deep Dalerian words, rhythmic diversity - all this appears precisely by school high class.

I think that the term “amateurism” Grigoryan is fenced off from professionally official Soviet poetry as a feeding trough. Yes, he never worked in this artel - he kept a detached diary that was called one of the poet’s early books, he sent letters to the potential relatives in poetry, and worked all his life - a Latinist in the Rostov Medical Institute: “My profession turned out to be as remote from nauseating state ideology, so that in this sense I was clearly lucky.” But who in the end is the amateur - he is or full -time writers?

The question is rhetorical. Once upon a time, in the first poetic book, young Grigoryan exclaimed: “The usual world, enter my poems! And the world on the poets Clig - responded. He entered the poems. According to the Grigoryanov cycles, it will be possible to restore the life of the half-worshiping Russian intellectual-“bipod”, as in the late things of Yuri Trifonov, it is appropriate to recall the prose of Vitaly Semin, the beloved Grigoryan friend and the addressee of his poems-the prose of the city, sad, reduced, high.

The point is not even in the material and not in the cut, but in the ability to transform the “ATE glass of Narpita”, the eatery, communal apartment, the district committee, the GB, the hospital and all kinds of lines, as well as the murmur, the buckwheat coupons, the gruel in the kitchen for the tank of rags, samizdat - in the signs of fear and resistance. Fear as the main subconscious state of the Soviet man with ruthless sadness was analyzed by the poet since Mandelstam, this trembling in Russian poetry has not been so closely reproduced.

From this point of view, from this point of view, the poems are “obsessions”, the central stanza of which sounds like this: you are trembling like a criminal on a block, because without any preludes, the sturdy fears of loneliness and crowding are approaching - the last lines, codes, no way out: “You are afraid not to fall asleep in the evenings and are afraid not to wake up.” The pride-sustained self-derivation of precisely a large person helped to survive the poet!

It is a pity that not three, not four, five! The leading intonation thread of the book “down the river” ... is the uneven voice of the Samoyed and the debate, who does not humiliate the down, but difficult to absorb into himself - through passion, and enmity and curiosity - the surrounding world. So, he lives in Rostov and, although the mail is now addressed - both direct and metaphysical - it works poorly, but who needs to receive the news!

Perhaps it will seem to someone that we had enough lice, putting these names in one row: they say, where is the Rostov resident to the Moscow Parnassians? The poet does not comment on this message, but, based on it, creates a two -single image of Peter the Great and Great Poet of Russia. The poet, in other words, gave the forgotten fact of history meaning and depth. The vain and inattentive reader sees only the facade of the poem.

Then he, of course, will boast that he knows everything close in detail. He, they say, with this author is accurate. I will not even recommend to such a reader a book by Leonid Grigoryan. Able to see a subtext behind the text, plunge into it. The poet is closely in the framework of the text, and he seeks to push him out. His gaze is directed into the world, to people, in modernity. But he strives with his hand, with his tear, with his line to take someone else's trouble.

She is primarily attentive.This is important, the main, essential, decisive coincidence of personality and era. Singing friendship, Leonid Grigoryan says that he recognizes his friend by sign, "not apparently other." And the price is worthless to you, if you, having betrayed, will try to atone your guilt with repentance in the deed sin. And finally, turning to a friend, the poet claims that he "repeats my words - his words." What does it mean?

The poet wants and must write so that his contemporary read his words in his own words. And with thoughts, I will add. This is the inseparability and unity of the experiences and aspirations of the poet and his contemporary readers.