Astrakhan regional writers' organization of the Writers' Union. Presentation on literary reading "Astrakhan poets"

The name of Nineli Alexandrovna Mordovina is known to many. She left a bright mark on the history of Astrakhan when she came to our city in 1975 at the invitation of the Astrakhan writers’ organization and “took under her wing” a whole generation of aspiring poets, heading the Moryana literary studio. The simple phrase “Mordovina’s student” now has the character of a title, and this is not surprising. They say that few people get the talent of a teacher, but Ninel Alexandrovna possessed it to the fullest. As well as a poetic gift. Her poems are a reflection of a difficult, but bright and rich life.
Ninel Alexandrovna was born on July 12, 1927 in Harbin. Trofim Tretyak's own father was a Komsomol worker at Far East. Repressed in 1934 as a “Japanese spy.” She was adopted by border guard officer A.I. Tayanovsky and lived with her parents in Kamchatka, Khabarovsk, Vladivostok, and just before the war, on the Belarusian border. With the beginning of the war, under bombing, the family left the Germans and during the war lived with the mother’s relatives in Samara (Kuibyshev). The father fought, died in 1944, was buried in Chisinau.
During the war, she worked as a telegraph operator, a turner at a military factory, and a signal operator at the communications center of the People's Commissariat of the Navy. In 1945 she married pilot V.Yu. Mordovina. Lived in the Baltics, Akhtubinsk, Volgograd and for the last 25 years in Astrakhan.
She began writing in the mid-1960s, published in the newspaper “Akhtubinskaya Pravda” and the magazine “Volga”. She worked as a journalist, director of the Akhtubinsk House of Culture, and led literary studios. Member of the Writers' Union since 1973.
Ninel Alexandrovna was not directly in the war, if only simply because she was a child during those years, but the subsequently written cycle of poems dedicated to this topic is the confession of a person who experienced the war as fate.
She also wrote about love - and more than one generation of Astrakhan residents read these lines.
She also wrote about the city - her poems were heard on city day from all the pop stages.
She wrote as she lived, as she breathed - the true gift of a creative person.
Ninel Alexandrovna passed away in 2001, but her poems remained and her students remained. And her name found new life- the youth literary prize named after Nineli Mordovina has been held for 10 years now, and school 33 bears her name - the school where she taught poetry lessons to students.

The first sprouts of the art of speech on Astrakhan land appeared in the 17th century. as a result of the activities of persons of clergy rank. Andrei Gorka (1671-1737) - Bishop of Astrakhan - by order of Peter I, composed a stichera in honor of the Holy Great Martyr Catherine. His teachings and sermons had a wide resonance, receiving an approving review from N. Novikov. Spiritual literature then develops thanks to the efforts of the archbishops of Astrakhan. Anastasy Bratanovsky (1761-1806) published “Four Books of Instructive Words” spoken in the Astrakhan Diocese, as well as his biography. Archimandrite and rector of the seminary in Astrakhan Sylvester Lebedinsky (d. 1808) wrote books on theological topics (“Evangelical Den” and others). Fr. described his impressions of traveling to holy places in the East. Meletius (d. 1805). Archbishop of Astrakhan Feogoky supplemented the book with his own materials and published it in 1798 in Moscow.

The emergence of secular literature in Astrakhan is associated with the activities of a number of prominent writers of the Enlightenment era.

This is, first of all, Vasily Kirillovich Trediakovsky (1703-1769) - poet and literary theorist, one of the founders of Russian classicism. He was born in Astrakhan, in the family of a priest, elementary education received at the school of Catholic monks of the Capuchin Order, where all training was conducted in Latin. At the age of twenty. the future poet fled to Moscow, where he continued his studies at the Slavic Greek-Latin Academy. Knowledge of foreign languages allowed him to then move to Holland, and then to Paris. At the Sorbonne V.K. Trediakovsky studied mathematics, philosophy and theology, and returned to Russia in 1730.

The literary work of V.K. Trediakovsky began studying while still a student at the Slavic-Greek-Latin Academy: he composed poems and dramas (“Jason”, “About Titus, the Son of Vespasian”), which have not reached us. From early works The poet is known for his “Elegy on the Death of Peter the Great” (1725), in which the features of the literature of the previous era are noticeable and at the same time the features of the emerging classicism are outlined. The clearly present lyrical beginning is “fuelled” by autobiographical moments. It is known that Peter I, during the Persian campaign, visited the school where V.K. studied. Trediakovsky praised him for his hard work. Therefore, one of the most important episodes of the elegy is the stay of Peter I on the Caspian Sea.

The seas under Neptune began to boil terribly,

Together with the winds, the waves roared loudly!

The Ocean groans, but there is no other

Amateur. Baltiysk - something close has become A misfortune on the shores. Kaspiysk is now

Most of all - that he once swam on it stronger. VC. Trediakovsky laid the foundation for the main varieties of Russian lyric poetry: patriotic (“Poems of praise to Russia”), love (“Song of Love,” “Poems about the Power of Love,” “The Cry of a Lover, Separated from His Sweetheart, Whom He Seen in a Dream,” etc. ), political (“Solemn Ode on the surrender of the city of Gdansk”), religious and philosophical (psalms), fable genre (“Fly and Ant”, “Self-praise”, “Wolf and Crane”, “Fox and Brush of Grapes”), poem ( “Theoptia, or Proof of God-sight”, “Tilemachida”).

A big place in the work of V.K. Trediakovsky is interested in translations. He introduced the Russian reader to P. Talman’s book “A Trip to the Island of Love”, Boileau’s “Poetics”, Horace’s “Epistle to the Piso”, D. Barclay’s “Argenida”, the thirty-volume “ Ancient history» C. Rollin.

As literary theorist V.K. Trediakovsky gave a widely developed theory of the genres of classicism, acted as a reformer of the old syllabic verse and propagator of the tonic-syllabic system. He considered folklore to be the source of a “new method” of versification (“A new and brief method for composing Russian poetry with definitions of hitherto appropriate knowledge”, “Speech to members of the Russian Assembly”).

Creativity V.K. Trediakovsky meant a lot to subsequent generations of Astrakhan writers.

A contemporary of V.K. Trediakovsky was Ivan Ivanovich Khemnitser (1745-1784). He was born in the Enotaevskaya fortress of the Astrakhan province into a family of immigrants from Germany. As a child, together with his father, a staff doctor, he traveled a lot around the south of Russia. Subsequent life of I.I. Khemnitsera is associated with military service. Meeting N.A. Lvov allowed him to enter the circle of metropolitan writers. During his lifetime he published a book of fables, “Fables and Fairy Tales, in Verse,” in two editions (1779, 2nd ed. 1782).

Creativity of I.I. Chemnitser developed in line with the then dominant classicism, but the poet strove for simplicity and naturalness of the language. In his fables, he condemned wars of conquest (“Two Lions Neighbors,” “People and Idols,” “House”), ridiculed the covetousness of officials, the arrogance of gentlemen, and other social vices (“Land of the Lame and Burry,” “Writer,” “Boyarin Afanasy " and etc.). “Into the history of Russian literature I.I. Chemnitzer entered as one of the founders of the Russian fable. He wrote more than a hundred fables. In them, from the position of representatives of the low class, I.I. Chemnitzer castigated the shortcomings of the autocratic-serf system. In the fables “The Lion's Decree”, “The Lion's Divide”, “The Staircase” and others, the poet sharply criticized Catherine’s “reforms” and the bureaucratic order in Russia. He tirelessly condemned noble officials and unrighteous royal judges for bribery and embezzlement. In the fable “The Spider and the Fly” by I.I. Chemnitzer says that big thieves, in whose hands are power, law and force, often go unpunished. In the fable “Wolf Reasoning,” the poet denounced the inhumane attitude of landowners towards their serfs, and in the fable “Land of the Lame and Burry,” he attacked the “Russian Parisians” who blindly worship everything foreign. I.I. Chemnitzer did not spare the merchant-farmers with his satire (the fable “Ghosts”).

If in the 18th century. Writers, in order to realize their talent, most often left Astrakhan, then in the 19th century. the situation is changing. Many writers live and work in Astrakhan, whose legacy has become the most interesting page of Russian literature. During this period, it was first dominated by romanticism, and then by realism, which was reflected in the works of writers of the Astrakhan region.

Literary history of Astrakhan in the 19th century. begins with the work of the fabulist Alexander Dmitrievich Agafi (c. 1792-1816), who lived a short but rich life. His biography has many blank spots; information about his family is very scarce. Modern biographical dictionary “Russian writers. 1800-1917” sparsely reports: “Father Agafi, a Greek by birth, was the director of Caucasian schools and traveled around the Middle East. Agafi received his education at Ryazan University (1809-1812), then served in the office of the Astrakhan governors, and was a member of the Kazan Society of Lovers of Russian Literature.” The only book by A.D. Agafi’s “Fables” (Astrakhan, 1814) included both original works and adaptations of plots by European authors. The metropolitan critics responded to the book, which brings A.D. Agafi fame.

Fables A.D. Agafis are distinguished by their naturalness and purity of language; this is the language of Pushkin’s era, largely purified from the excessive refinements of the classicists. Apparently, it is no coincidence that in the fable “The Mountain in Childbirth” the poet opposes this trend. In terms of style, they are close to the fables of I.A. Krylova. HELL. Agafi is original in developing the so-called universal themes: envy (“Quarrel”), vanity (“The Bull and the Frog”), etc. It is important that in some fables the poet not only castigates vices, but also praises beauty native land. The fable “The Crane” is noteworthy in this regard:

...crystal of the river with clear skies,

Showed many miracles.

There a carp plays with a pike among the reeds,

Here a line floats up from under the moss from the bottom of the river,

Here perch, bersh, pike perch ~ separately from others

Like pure-fruited fish, -

Without disturbing the water currents,

They walk smoothly in them.

The clarity, simplicity and wit of A.D.’s fables Agafi provided him with a prominent place in the history of Russian literature.

Romantic and pre-romantic traditions in literature were developed by Ivan Sergeevich Georgievsky (1791-1817), who was in the service in the city of Uralsk, Astrakhan province. His only novel, “Eugenia, or Letters to a Friend,” varied the ideas of F. Schiller and J-J. Rousseau was perceived by his contemporaries as a sensitive work about happy love and ideal upbringing. After the death of the writer, a sentimentalist-romantic cult began to develop around him, to which A.S. reacted very critically. Pushkin.

In the first half of the 19th century. A prominent place in the literary history of Astrakhan belongs to Nikolai Ilyich Zryakhov (1782-late 1840s) - a native of Astrakhan. He became famous as the author of sentimental adventure novels addressed to readers of the lower social classes (“Amalia, or the Hut among the Mountains,” “Mikhail Novgorodsky, or the Broken Oath,” “The Virgin of Trans-Kuban, or Love to the Grave,” “The Battle of the Russians with the Kabardians, or A beautiful Mohammedan woman dying on the coffin of her husband”, “Dagestan, or the Elusive Avenger”, etc.). Particularly popular among Astrakhan residents was the novel “The Beautiful Astrakhan Woman, or the Hut on the Bank of the Oka,” which is based on a melodramatic love story of two young people, in which the leader of the popular uprising Stepan Razin plays a sinister role. “The combination of traditional (characters close to the heroes of the popular knightly novel) and new elements for this type of literary works (sensitive style), transferring the action to an exotic environment, and relying on popular ideas about the superiority of the Orthodox “tsar and fatherland” over “foreign” ones ensured the novels N.I. Zryakhov is a huge success. In the 1990s, a republication of the novel “The Beautiful Astrakhan Woman, or the Hut on the Bank of the Oka” was undertaken in Astrakhan.

Two Astrakhan writers, the Zavalishin brothers, were associated with the Decembrist movement.

Dmitry Irinarkhovich Zavalishin (1804-1882) - son of a major general, chief of the Astrakhan garrison regiment. He was a naval officer, became interested in the ideas of the Decembrists, and wrote poetry in the spirit of Decembrist romanticism. After the defeat of the Decembrist uprising, he was sentenced to hard labor in Siberia. He left his mark in the history of literature as a memoirist and publicist. His memoirs contain valuable information about the Decembrists, the history of their societies, and information about the life of the Decembrists in Siberia. His memoirs are interesting because in them the author gave a different concept of this movement from that accepted in the Decembrist environment, for example, K. Ryleev, de-heroized the wives of the Decembrists, emphasized the shadow sides of their relationships, etc. (“The stay of the Decembrists in imprisonment in Chita and at the Petrovsky Plant”, “Decembrists”, “Notes of the Decembrist”, etc.).

Ippolit Irinarkhovich Zavalishin (1808-1883) - writer-ethnographer, poet. In his youth he translated D. Byron, A. Lamartine, as a poet formed under the influence of romantic poetics. His early poem "The Blind Man" was not passed by the censors. He was fascinated by the personality and poetry of K. Ryleev, but during the investigation into the Decembrist case he behaved inappropriately (he wrote a denunciation against his brother). Nevertheless, he was demoted to private and exiled to Orenburg. He turned to literature in the 1860s, writing mainly stories based on Siberian material (“The Zatumanskaya Beauty”, “The Chain Wall Maker”, “The Gorkin Brothers”, “Olkhovnyana”, “The Yaluturov Child”, “Duel in the Taiga”, etc.) . The main attention in the stories is paid to recreating the life of the inhabitants of Siberia; the melodramatic element in them is very strong. Its publication in 1862-1867 had scientific significance. "Description of Western Siberia"). His curious “Epic of the Millennium” also remains in the history of literature. Pilgrimage Ip. Zavalishina."

In the second half of the 19th century. A notable figure in Russian literature was Elizaveta Nikolaevna Akhmatova (1820-1904). She was born into a noble family in the village. Nachalova, Astrakhan province, from childhood she showed an ability for foreign languages, which largely predetermined her fate E.N. Akhmatova translated a lot from J. Sand, V. Hugo, Collins, Thackeray, J. Eliot, J. Verna, was the editor of the monthly “Collection of Foreign Novels, Novels and Stories”, and published a magazine for children. Original works by E.N. Akhmatova was criticized by her contemporaries for sentimentalism and idealization of reality, although some of her stories were met with approval and became widely known (“Zamoskovskaya chronicle of our women’s affairs and others”, “Stepmother”, “Candidates for the title of old maids”, “The Adventures of My Friend” and etc.). E.N. Akhmatova was in friendly relations with O. Senkovsky, N. Leskov, V. Stasov, who appreciated her talent. Her memories of literary St. Petersburg contain many unexpected details about the life of writers of the 1860-1870s and paint a broad picture of the development of Russian literature in these decades.

In the 1860-1870s. such writers as N.G. Vuchetich (1845-1912), who wrote mainly for children (stories “The Red Lantern”, “Mitina Niva”, etc.), I.G. Voronin (1840-1883) also lived and worked in Astrakhan. , who worked in the traditions of peasant poetry and often acted as a publicist (essay “From Astrakhan”).

The revitalization of the literary life of Astrakhan was facilitated by major Russian writers who were in the city on business. By creating works about Astrakhan, they thereby introduced it into great literature (the poem “The Tramp” by I.S. Aksakov, the story “The Enchanted Wanderer” by N.S. Leskov, the essay “Trifles of Travel Impressions” by G. Uspensky, the essay “Cholera Quarantine on nine-foot roadstead" by V.G. Korolenko, book of essays "By the Blue Sea (People and Nature in the Lower Volga)" by V.I. Nemirvich-Danchenko.).

An interesting page in the literary history of Astrakhan in the 19th century. -poetry and prose of political exile. Poems of political exiles - V.V. Bervi-Flerovsky, F.E. Dannenberg, B.F. Kalinovsky - were mainly satirical in nature, they were for them a means of combating the arbitrariness of the local and central administration. V.V. Bervi-Flerovsky reports in his memoirs: “During navigation and fishing in Astrakhan, many working people accumulate, and since the administration does not take any measures to provide for the starving, the people dying from want resort to robbery. When the panic reached its maximum, the administration resorted to a technique that it used in other Russian cities in moments of public disaster: fires, poisoning, falsifications, robberies, etc. She began to blame political exiles for this. Rumors spread about us by the administration could put us in a terrible position; I had to defend myself. The police and administration blamed us, and we blamed them. We distributed a lot of funny leaflets around the city in verse and prose, which depicted the activities of the police and administration during the national disaster; Among the Astrakhan officials there were no humorists capable of responding in kind.” The poetry of F.R. Dannenberg is especially harsh in tone (“Unhappy servility”, “In the shadow of the coffin casemates...”, etc.). Among prose writers, S.S. stood out. Rymarenko, whose stories about fishermen and the nature of the Lower Volga were published in the Vostok newspaper.

From 1883 to 1889 N.G. Chernyshevsky served his exile in Astrakhan, despite the persecution he remained faithful to his revolutionary democratic ideals. In Astrakhan, he writes the story “Evenings with Princess Starobelskaya” and the book “Materials for the biography of N.A. Dobrolyubova."

In the 20th century The development of literature in Astrakhan is characterized by special dynamism and intensity. Poetry and prose directly experience the influence of all-Russian literary trends, which is manifested in the intensification of satire at the beginning of the century, and during the period of revolution and civil war - propaganda poetry. V. Khlebnikov, with his work, introduces the poetics of avant-gardeism into the literature of Astrakhan; later, socialist realism enjoyed a very strong influence among writers in the region, which, being transformed, would become the main method of Astrakhan writers. A branch of the Russian Writers' Union is being created in Astrakhan, a number of almanacs are being published, and opportunities for writers to publish what they have written are being expanded to the maximum.

Beginning of the 20th century for the literary history of Astrakhan - a period of activation of all the cultural forces of the region. There is a literary and dramatic society in the city; numerous local publications (“Astrakhan Journal”, “Astrakhanskaya Gazeta”, “Caspian Territory”, “Astrakhansky Vestnik”, “Povolzhye”) publish works of poets and prose writers and promote literature. The satirical magazine “Chilim” (1906) is published in the city, and revolutionary propaganda literature (“Long Live Freedom.” Collection of political poems. Astrakhan, 1906) is widely distributed. A number of leading Russian writers collaborate in the Astrakhan press, including E.N. Chirikov, who created a number of bright feuilletons based on local life.

During the civil war in Astrakhan, for obvious reasons, revolutionary literature dominated. There is a circle of worker-poets in the city (M.G. Nepryakhin, V.I. Efremov, M.M. Guryanov, etc.), which published two books - “Literary and Artistic Collection” (1919) and “Calls” (1920) . Members of the circle also published in the newspapers “Izvestia”, “Kommunist”, “Red Warrior”, and in the magazine “Khudozhestvennye Izvestia”. The artistically imperfect poems of the circle participants were imbued with the pathos of affirming the ideals of the revolution and faith in the triumph of Soviet power.

The magazine “Voenmor” played a significant role in activating the literary life of the city, on whose pages poets S. Gorodetsky, V. Topolev, V. Salov, S. Zarevoy, B. Serebryakov and others were published. The magazine paid significant attention to the development of literary criticism and journalism. The brightest pages of the magazine are associated with the publication of artistic essays about civil war in the Astrakhan region L.M. Reisner (“And the Winged Scold of the Sailors”, “The Day of War Comes”, “Astrakhan”, “Summer of 1919”, etc.). The essays were distinguished by their poeticization of the exploits of the Red Army soldiers, a feeling of hatred towards the enemies of the revolution, a depiction of the “enthusiasm” of the Astrakhan people, and romantic elation. Due to the one-sidedness of the position, the objective image of time is neither L.M. Reisner and other authors of Voenmor could not have created it.

The development of realistic traditions in the literature of Astrakhan in these years is associated with the work of Vera Vladimirovna Khlebnikova (1891-1941), the sister of the poet Velimir Khlebnikov. She lived at that time in Astrakhan and witnessed the cruelty of the new government, the death of hundreds of people from starvation. The desire to tell the truth about the contradictions of time permeates her laconic, but very deep in meaning, stories “In Prison”, “Tsar Typhus”, etc. Her literary heritage also includes lyrics and plays (“The Poet and the Forest Devil”, “The Doctor Got Sick”) , memoir “About My Brother.”

A milestone in the literary history of Astrakhan was the work of Velimir Khlebnikov (1885-1922). He was born in the Maloderbetovsky ulus of the Astrakhan province and always considered himself an Astrakhan citizen. The significance of his work for the literature of the region is that, firstly, he deduced.! literature of Astrakhan into the wide expanses of all-Russian artistic quests, overcoming provincial isolation, introduced it to the quests of modernism and avant-gardeism and, secondly, introduced the theme of Astrakhan into world literature. V. Khlebnikov had a huge impact on many Russian and foreign writers.

What is important for the literature of the region is, first of all, the works of the poet, in which he refers to nature, the history of the region, and the life of its people. These are the poems “Hadji Tarkhan”, “Ustrug Razin”, and the stories “Esir”. Nikolay”, “Hunter Usa-Tali”, essays and sketches of “Swan of the Future”, “Opening of the People’s University”, “Astrakhan Mona Lisa”, “Union of Inventors”, etc.

One of the researchers noted that the main theme of V. Khlebnikov’s work is the theme of Asia, his worldview and attitude were predetermined genetic connection with Asia. The poet called himself “the son of Asia,” and called the lotus growing in the lower reaches of the Volga “the guarantee of the union of three: India + Russia + Nippon.” Indeed, the theme of interethnic contacts is the leading one for the poet, and he solved it primarily on Astrakhan material. The mythology “humanity is a family of nations” becomes central to his artistic picture of the world. At various stages of creative evolution, V. Khlebnikov invariably turned to its development, clarified something in it, changed it, brought it closer to the needs of our time. He believed that overcoming interethnic strife was a necessary condition for a harmonious community of the peoples of the earth. In V. Khlebnikov’s lyrical poems, poems, songs, stories, and theoretical declarations there is no opposition of people based on nationality; the conflict nature of his works is of a different nature. It is based on the contrast between blooming natural nature and deadening urban civilization, the clash of spirituality and lack of spirituality, humanism and cruelty. It shows that in Astrakhan, once conquered by Russia, there are neither vanquished nor victors. There is a single family of peoples. When solving an extremely delicate problem, the poet avoids the extremes characteristic of his time. He does not accept, on the one hand, the famous triad “Orthodoxy. Autocracy. Nationality,” on the other hand, ignores the concept of left-wing radical parties “Russia is a prison of nations.” By mythologizing history, he demonstrates his understanding of the problem, based on the highest interests of the peoples of the Volga-Caspian Sea.

In the 1930s-1980s. The literature of Astrakhan, despite the difficulties generated by the era of Stalinism and times of “stagnation,” is experiencing a period of forward movement. This is manifested in the formation of thematically diverse prose and stylistically rich poetry. Local patriotism is gradually becoming the ideological basis, which to a certain extent limits the themes and ideological horizons of writers, but at the same time equips them with criteria that make it possible to fairly harshly evaluate many phenomena of the social reality of all of Russia.

Among the prose writers, S. B. Kalashnikov (1925-1987), K.I. Erymovsky (1909-1967), F.E. Subbotin (1913-1987), B.I. Zhilin (1921-1994), V.V. Karpenko (born in 1916), Yu.V. Selensky (1922-1983). Thematically they are connected with the Astrakhan region, the action of their works develops either in regional center, or in towns and villages in the region. The heroes of the essays are usually people of modest status, often eccentric and unlucky, who come into conflict with bureaucrats, bearers of conservative habits. The production aspect of the conflict is usually in the foreground, important role moral issues play a role. Some writers rose to the point of affirming universal human moral values (“The Cracker”, “People without Bells” by B.I. Zhilin, “One Troubled Night”, “Chumchara” by Yu.V. Selensky, etc.), to expressing a feeling of grief for their city , for their fellow countrymen. However, the principles of socialist realism, which the writers were guided by, prevented them from creating a truly realistic picture of the life of the region and its people.

1930-1980s gave rise to a number of truly original poets, including V.T. Filippov (1911-1962), B. M. Shakhovsky (1922-1967), N. P Polivin (born in 1925), V. Filin (1929-1982). The leading role was played by the poets of the front generation, among whom the most significant was B.M. Shakhovsky. Time is increasingly highlighting the enduring value of his poetic heritage, including the lyrics of the poem and journalism. Today from full confidence we can say that his work has not only regional, but also all-Russian significance. The poet’s place in “great literature” was authoritatively defined back in 1985 by S. Narovchatov: “Boris Shakhovsky is the flesh and blood of our front-line generation. In the general song of the generation, he has his own words, which, repeating the proverb, cannot be erased from this song.”

Another significant poet, V. Filin, had a different fate. He was born in Astrakhan and studied at the Leningrad Law Institute. He was arrested for participation in the illegal anti-Stalin organization “Free Thought” and spent many years in camps. In 1959 he graduated from the Astrakhan Pedagogical Institute, then taught foreign language at the pedagogical school. I wrote poetry all my life. Only posthumously his collection “Hard Years” (1982) was published, the poems of which reflected disappointment in the ideals of communism. The era of its construction is interpreted as another historical illusion that must inevitably be said goodbye to. The hero of the poem “Death of a Communist” comes to the understanding that the past has no future, that all his life he has served the devil of violence. V. Filin is one of the heroes of A. Zhigulin’s documentary story “Black Stones”.

In 1985-1999 in the literature of Astrakhan, as in all modern Russian literature, great changes are taking place: the worldview of writers is changing, they are being differentiated according to ideological criteria, several associations are emerging, new genres are appearing (for example, fantasy), poetry and prose of postmodern orientation are beginning to make themselves felt etc. However, in general, Astrakhan writers are characterized by aesthetic conservatism, an orientation in poetry towards traditional forms of verse, and ignorance of the innovative research of V. Khlebnikov and the modern avant-garde.

In prose, the dominant position is occupied by writers of a realistic style, and there is often a tendency towards everyday life. The most significant prose writers are A.I. Shadrin (born in 1929), B.P. Yarochkin (born in 1922), Yu.N. Shcherbakov (born in 1956), Yu.A. Nikitin (born in 1946), A.S. Markov (born in 1931). Various modifications of the novel are practiced: social and everyday ("Unjust Court" by A.I. Shadrin) with its study of the tragic relationship between man and nature; socio-political (the trilogy “Vyazemskaya Slaughter”, “Hard Years”, “Lagpunkt” by B.P. Yarochkin) about the crimes of Stalinism; psychological (“Angel’s Cottage” by Yu. Nikitin) about the ways of self-awareness modern man; historical (“Let there be a firmament” by Yu.N. Shcherbakov) about the struggle of the Russian people with foreigners; documentary (“Peter the First in Astrakhan” by A.S. Markov) about the glorious pages of the history of Astrakhan. Small epic genres, short stories and stories, are now being developed very actively. Journalism intensified (essays and articles by I. Bodrov, Yu. Shcherbakov, Yu. Nikitin, etc.).

Several streams have emerged in poetry. Poets of the older generation work in the mainstream of journalistic poetry - N.A. Mordovina, N. Vaganov, N. Polivin. Their traditions are continued by Yu. Shcherbakov and E. Tatarintseva. Intimate and meditative lyrics are created by L. Kachinskaya, D. Nemirovskaya, L. Serotyuk, D. Kazarin and others. Young poets T. Ivanchenko, L. Degtyareva made an interesting statement about themselves. Poets of the war generation stand out (Ya. Shur, authors of the collection “Memory Notches”). Poetry festivals regularly held in Astrakhan, including the Golden Key children's creativity festival, contribute to the activation of poetry.

So, by the end of the 20th century. literature of Astrakhan is thousands works of art in a wide variety of genres. Its problematic and thematic specificity is revealed - a realistic understanding of the history and life of the peoples of the Lower Volga region, nature conservation, the work of fisherman and peasants, etc. The writers' commitment to the social structure and ancient traditions of the Astrakhan region allows us to talk about the formation in the second half of the 20th century. "regional" literature. “Regionalism” is the starting point of the worldview of many modern Astrakhan writers, which does not prevent them from raising all-Russian problems in their work.

History of the Astrakhan region: Monograph. - Astrakhan: Publishing House of the Astrakhan State. ped. Univ., 2000. 1122 p.

Description of the presentation by individual slides:

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MBOU "Secondary school in the village of Khosheutovo named after M. Bekmukhambetov" teacher primary classes Kayvalieva Ainagul Edegemovna My small homeland - Akhtubinka Vladimir Erofeev

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Form of work: individual Goal of the project: get acquainted with the Astrakhan poet - Vladimir Erofeev, his small homeland, biography, work called “Akhtubinka” Tasks: find the biography of the poet - get acquainted with the life and work, photography, his work, write a conclusion.

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Relevance of the project Johann-Wolfgang Goethe said: “Whoever wants to know a poet must visit the poet’s country.” Let’s follow his advice and plunge into... Small Motherland is the place where we were born and raised. We call it “Fatherland” because our fathers and grandfathers lived here, and “Mother” because it gave us drink and nourished us with its waters. A person has one mother, and he has one Motherland.

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The poet Vladimir Alekseevich Erofeev was born in the village of Akhtubinka, Kharabalinsky district, Astrakhan region. Graduated from the State Pedagogical Institute (Faculty of Philology) in the capital of Kalmykia - Elista. A teacher by training, poet, journalist, publicist and translator by vocation. He began working in regional newspapers as a literary employee, then held the position of editor of a regional newspaper, while at the same time managing the publishing team. IN last years was an assistant to the head of the political department of the military commissariat of the region, assistant to the chief of staff of the Civil Defense for propaganda, chief specialist, acting head of the department for national policy Regional administration. Awarded a medal “For Valiant Labor.” Since 1998 he has been on a well-deserved rest.

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On October 25 this year, admirers of the poet’s talent will celebrate a glorious anniversary - the 75th anniversary of his birth. Like all residents of the multinational-confessional region, we also, with all our hearts, wish Vladimir Alekseevich Erofeev, the internationalist poet, singer of our blessed Volga Lower Region, good health, inspiration, tireless creative searches and successful discoveries.

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He is the author of fifteen poetry collections: “Wish me happiness, Volga!”, “Chilim and Lotus”, “Kettle with a whistle”, “Volga peals”, “Bow to you, front-line soldiers”, “We live in Russia, near the Volga” , “Rainbow over the Volga”, “Where the Caspian welcomes the Volga”, “Creators of Victory”, “I’ll be back, mom!”, “Glory to the heroes!”, “With love and bow” and others. Among his works is the song “Akhtubinka”, in which the poet talks about the life of the village and the people. In 2003, the 1st volume of his poems was published, and the 2nd and 3rd volumes were prepared for publication. n

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Akhtubinka Between the steppe and free Akhtuba, Radiating kindness and warmth, You live better than a song with dignity, A dear village forever. Astrakhan outback, Blue talk rivers. Akhtubinka, Akhtubinka, a sweet corner to the heart. Oh you, oh you Akhtubinka, Old house and willow tree, From you my path led to a great life. Here, Kazakhs and Russian brothers have gone through difficult years together. Countrymen, I want to hug you all, Bow down to the very ground.

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Despite the fact that V. Erofeev himself has not lived in our village for a long time, all residents know that he was born and raised in our village, that he is a poet, and that Vladimir Erofeev wrote a song about his native village. Every resident knows and sings his song, it is like a village anthem for us, everyone sings it with great pleasure. This song unites the desire to comprehend the soul of our village, our region, our multinational people. The poems of Astrakhan poets, collected together, form grandiose and immortal chapters of our Astrakhan history. And I want to end my project with the words of our beloved poetess Maria Mukhina, who expressed the main motive of the poems of Astrakhan poets: I love my free homeland And I bow low to its beauty. Read poems by Astrakhan poets, learn from them love for your homeland. Conclusion.

The emergence of secular literature in Astrakhan is associated with the activities of a number of prominent writers of the Enlightenment era.

This is, first of all, Vasily Kirillovich Trediakovsky (1703-1769) - poet and literary theorist, one of the founders of Russian classicism. He was born in Astrakhan, in the family of a priest, and received his primary education at the school of Catholic monks of the Capuchin Order, where all instruction was conducted in Latin. At the age of twenty. the future poet fled to Moscow, where he continued his studies at the Slavic Greek-Latin Academy. Knowledge of foreign languages allowed him to then move to Holland, and then to Paris. At the Sorbonne V.K. Trediakovsky studied mathematics, philosophy and theology, and returned to Russia in 1730.

The literary work of V.K. Trediakovsky began studying while still a student at the Slavic-Greek-Latin Academy: he composed poems and dramas (“Jason”, “About Titus, the Son of Vespasian”), which have not reached us. Among the poet’s early works, his “Elegy on the Death of Peter the Great” (1725) is known, in which the features of the literature of the previous era are noticeable and at the same time the features of the emerging classicism are outlined. The clearly present lyrical beginning is “fuelled” by autobiographical moments. It is known that Peter I, during the Persian campaign, visited the school where V.K. studied. Trediakovsky praised him for his hard work. Therefore, one of the most important episodes of the elegy is the stay of Peter I on the Caspian Sea.

The seas under Neptune began to boil terribly,
Together with the winds, the waves roared loudly!
The Ocean groans, but there is no other
Amateur. Baltiysk - it’s getting close
Misfortune on the shores. Kaspiysk is now

A big place in the work of V.K. Trediakovsky is interested in translations. He introduced the Russian reader to P. Thalmann’s book “A Trip to the Island of Love”, Boileau’s “Poetics”, Horace’s “Epistle to the Piso”, D. Barkley’s “Argenida”, and the thirty-volume “Ancient History” by C. Rollin.

Creativity V.K. Trediakovsky meant a lot to subsequent generations of Astrakhan writers.

Literary history of Astrakhan in the 19th century. begins with the work of the fabulist Alexander Dmitrievich Agafi (c. 1792-1816), who lived a short but eventful life. His biography has many blank spots; information about his family is very scarce. Modern biographical dictionary “Russian writers. 1800-1917” sparsely reports: “Father Agafi, a Greek by birth, was the director of Caucasian schools and traveled around the Middle East. Agafi received his education at Ryazan University (1809-1812), then served in the office of the Astrakhan governors, and was a member of the Kazan Society of Lovers of Russian Literature.” The only book included both original works and adaptations of plots by European authors. The metropolitan critics responded to the book, which brings A.D. Agafi fame.

Fables A.D. Agafis are distinguished by their naturalness and purity of language; this is the language of Pushkin’s era, largely purified from the excessive refinements of the classicists. Apparently, it is no coincidence that in the fable “The Mountain in Childbirth” the poet opposes this trend. In terms of style, they are close to the fables of I.A. Krylova. HELL. Agafi is original in the development of so-called universal themes: envy (“Quarrel”), vanity (“Bull and Frog”), etc. It is important that in some fables the poet not only castigates vices, but also glorifies the beauty of his native land. The fable “The Crane” is noteworthy in this regard:

...crystal of the river with clear skies,
Showed many miracles.
There a carp plays with a pike among the reeds,
Here a line floats up from under the moss from the bottom of the river,
Here perch, bersh, pike perch ~ separately from others
Like pure-fruited fish,
Without disturbing the water currents,
They walk smoothly in them.

The clarity, simplicity and wit of A.D.’s fables Agafi provided him with a prominent place in the history of Russian literature.

In the first half of the 19th century. A prominent place in the literary history of Astrakhan belongs to Nikolai Ilyich Zryakhov (1782-late 1840s) - a native of Astrakhan. He became famous as the author of sentimental adventure novels addressed to readers of the lower social classes (“Amalia, or the Hut among the Mountains,” “Mikhail Novgorodsky, or the Broken Oath,” “The Virgin of Trans-Kuban, or Love to the Grave,” “The Battle of the Russians with the Kabardians, or A beautiful Mohammedan woman dying on the coffin of her husband”, “Dagestan, or the Elusive Avenger”, etc.). Particularly popular among Astrakhan residents was the novel, which is based on a melodramatic love story of two young people, in which the leader plays a sinister role popular uprising Stepan Razin. “The combination of traditional (characters close to the heroes of the popular knightly novel) and new elements for this type of literary works (sensitive style), transferring the action to an exotic environment, and relying on popular ideas about the superiority of the Orthodox “tsar and fatherland” over “foreign” ones ensured the novels N.I. Zryakhov is a huge success. In the 1990s, a republication of the novel “The Beautiful Astrakhan Woman, or the Hut on the Bank of the Oka” was undertaken in Astrakhan.

Two Astrakhan writers were associated with the Decembrist movement - the Zavalishin brothers.

Dmitry Irinarkhovich Zavalishin (1804-1882) - son of a major general, chief of the Astrakhan garrison regiment. He was a naval officer, became interested in the ideas of the Decembrists, and wrote poetry in the spirit of Decembrist romanticism. After the defeat of the Decembrist uprising, he was sentenced to hard labor in Siberia. He left his mark in the history of literature as a memoirist and publicist. His memoirs contain valuable information about the Decembrists, the history of their societies, and information about the life of the Decembrists in Siberia. His memoirs are interesting because in them the author gave a different concept of this movement from that accepted in the Decembrist environment, for example, K. Ryleev, de-heroized the wives of the Decembrists, emphasized the shadow sides of their relationships, etc. (“Stay of the Decembrists in prison in Chita and at the Petrovsky Plant”, “Decembrists”, “Notes of the Decembrist”, etc.).

In the second half of the 19th century. A notable figure in Russian literature was Elizaveta Nikolaevna Akhmatova (1820-1904). She was born into a noble family in the village. Nachalova, Astrakhan province, from childhood she showed an ability for foreign languages, which largely predetermined her fate E.N. Akhmatova translated a lot from J. Sand, V. Hugo, Collins, Thackeray, J. Eliot, J. Verna, was the editor of the monthly “Collection of Foreign Novels, Novels and Stories”, and published a magazine for children. Original works by E.N. Akhmatova was criticized by her contemporaries for sentimentalism and idealization of reality, although some of her stories were met with approval and became widely known (“Zamoskovskaya chronicle of our women’s affairs and others”, “Stepmother”, “Candidates for the title of old maids”, “The Adventures of My Friend” and etc.). E.N. Akhmatova was on friendly terms with O. Senkovsky, N. Leskov, V. Stasov, who appreciated her talent. Her memories of literary St. Petersburg contain many unexpected details about the life of writers of the 1860-1870s and paint a broad picture of the development of Russian literature in these decades.

The revitalization of the literary life of Astrakhan was facilitated by major Russian writers who were in the city on business. By creating works about Astrakhan, they thereby introduced it into great literature (the poem “The Tramp” by I.S. Aksakov, the story “The Enchanted Wanderer” by N.S. Leskov, the essay “Trifles of Travel Impressions” by G.I. Uspensky, the essay “Cholera quarantine on a nine-foot roadstead" by V.G. Korolenko, book of essays "By the Blue Sea (People and Nature in the Lower Volga)" by V.I. Nemirvich-Danchenko.).

In the 20th century The development of literature in Astrakhan is characterized by special dynamism and intensity. Poetry and prose directly experience the influence of all-Russian literary trends, which is manifested in the intensification of satire at the beginning of the century, and agitation poetry during the revolution and civil war. V. Khlebnikov, with his work, introduces the poetics of avant-gardeism into the literature of Astrakhan; later, socialist realism enjoyed a very strong influence among writers in the region, which, being transformed, would become the main method of Astrakhan writers. A branch of the Russian Writers' Union is being created in Astrakhan, a number of almanacs are being published, and opportunities for writers to publish what they have written are being expanded to the maximum.

The magazine “Voenmor” played a significant role in activating the literary life of the city, on whose pages poets S. Gorodetsky, V. Topolev, V. Salov, S. Zarevoy, B. Serebryakov and others were published. The magazine paid significant attention to the development of literary criticism and journalism. The brightest pages of the magazine are associated with the publication of artistic essays about the civil war in the Astrakhan region by L.M. Reisner (“And the Winged Scold of the Sailors”, “The Day of War Comes”, “Astrakhan”, “Summer of 1919”, etc.). The essays were distinguished by their poeticization of the exploits of the Red Army soldiers, a feeling of hatred towards the enemies of the revolution, a depiction of the “enthusiasm” of the Astrakhan people, and romantic elation. Due to the one-sidedness of the position, the objective image of time is neither L.M. Reisner and other authors of Voenmor could not have created it.

One of the researchers noted that the main theme of V. Khlebnikov’s work is the theme of Asia; his worldview and attitude were predetermined by a genetic connection with Asia. The poet called himself “the son of Asia,” and called the lotus growing in the lower reaches of the Volga “the guarantee of the union of three: India + Russia + Nippon.” Indeed, the theme of interethnic contacts is the leading one for the poet, and he solved it primarily on Astrakhan material. The mythology “humanity is a family of nations” becomes central to his artistic picture of the world. At various stages of creative evolution, V. Khlebnikov invariably turned to its development, clarified something in it, changed it, brought it closer to the needs of our time. He believed that overcoming interethnic strife was a necessary condition for a harmonious community of the peoples of the earth. In V. Khlebnikov’s lyrical poems, poems, songs, stories, and theoretical declarations there is no opposition of people based on nationality; the conflict nature of his works is of a different nature. It is based on the contrast between flourishing natural nature and deadening urban civilization, the clash of spirituality and lack of spirituality, humanism and cruelty. It shows that in Astrakhan, once conquered by Russia, there are neither vanquished nor victors. There is a single family of peoples. When solving an extremely delicate problem, the poet avoids the extremes characteristic of his time. He does not accept, on the one hand, the famous triad “Orthodoxy. Autocracy. Narodnost,” on the other hand, ignores the concept of left-wing radical parties “Russia is a prison of nations.” By mythologizing history, he demonstrates his understanding of the problem, based on the highest interests of the peoples of the Volga-Caspian Sea.

Among the prose writers, S. B. Kalashnikov (1925-1987), K.I. Erymovsky (1909-1967), F.E. Subbotin (1913-1987), B.I. Zhilin (1921-1994), V.V. Karpenko (born in 1916), Yu.V. Selensky (1922-1983). Thematically, they are connected with the Astrakhan region; the action of their works develops either in the regional center or in towns and villages of the region. The heroes of the essays are usually people of modest status, often eccentric and unlucky, who come into conflict with bureaucrats, bearers of conservative habits. The production aspect of the conflict is usually in the foreground; moral issues play an important role. Some writers rose to the point of affirming universal human moral values (“The Cracker”, “People without Bells” by B.I. Zhilin, “One Troubled Night”, “Chumchara” by Yu.V. Selensky, etc.), to expressing a feeling of grief for their city , for their fellow countrymen. However, the principles of socialist realism, which the writers were guided by, prevented them from creating a truly realistic picture of the life of the region and its people.

1930-1980s gave rise to a number of truly original poets, including V.T. Filippov (1911-1962), B. M. Shakhovsky (1922-1967), N. P Polivin (born in 1925), V. Filin (1929-1982). The leading role was played by the poets of the front generation, among whom the most significant was B.M. Shakhovsky. Time is increasingly highlighting the enduring value of his poetic heritage, including the lyrics of the poem and journalism. Today we can say with complete confidence that his work has not only regional, but also all-Russian significance. The poet’s place in “great literature” was authoritatively defined back in 1985 by S. Narovchatov: “Boris Shakhovsky is the flesh and blood of our front-line generation. In the general song of the generation, he has his own words, which, repeating the proverb, cannot be erased from this song.”

Another significant poet, V. Filin, had a different fate. He was born in Astrakhan and studied at the Leningrad Law Institute. He was arrested for participation in the illegal anti-Stalin organization “Free Thought” and spent many years in camps. In 1959 he graduated from the Astrakhan Pedagogical Institute, then taught a foreign language at a pedagogical school. I wrote poetry all my life. Only posthumously his collection “Hard Years” (1982) was published, the poems of which reflected disappointment in the ideals of communism. The era of its construction is interpreted as another historical illusion that must inevitably be said goodbye to. The hero of the poem “Death of a Communist” comes to the understanding that the past has no future, that all his life he has served the devil of violence. V. Filin is one of the heroes of A. Zhigulin’s documentary story “Black Stones”.

In prose, the dominant position is occupied by writers of a realistic style, and there is often a tendency towards everyday life. The most significant prose writers are A.I. Shadrin (born in 1929), B.P. Yarochkin (born in 1922), Yu.N. Shcherbakov (born in 1956), Yu.A. Nikitin (born in 1946), . Various modifications of the novel are practiced: social and everyday ("Unjust Court" by A.I. Shadrin) with its study of the tragic relationship between man and nature; socio-political (the trilogy “Vyazemskaya Slaughter”, “Hard Years”, “Lagpunkt” by B.P. Yarochkin) about the crimes of Stalinism; psychological (“Angel’s Hiding” by Yu. Nikitin) about the ways of self-awareness of modern man; historical (“Let there be a firmament” by Yu.N. Shcherbakov) about the struggle of the Russian people with foreigners; documentary (“Peter the First in Astrakhan” by A.S. Markov) about the glorious pages of the history of Astrakhan. Small epic genres, short stories and stories, are now being developed very actively. Journalism intensified (essays and articles by I. Bodrov, Yu. Shcherbakov, Yu. Nikitin, etc.).

So, by the end of the 20th century. Astrakhan literature includes thousands of works of art in a wide variety of genres. Its problematic and thematic specificity is revealed - a realistic understanding of the history and life of the peoples of the Lower Volga region, nature conservation, the work of fisherman and peasants, etc. The writers' commitment to the social structure and ancient traditions of the Astrakhan region allows us to talk about the formation in the second half of the 20th century. "regional" literature. “Regionalism” is the starting point of the worldview of many modern Astrakhan writers, which does not prevent them from raising all-Russian problems in their work.