The futurists who branded and rejected symbolism threw overboard, along with mysticism, an arsenal of symbolist themes, images, and techniques, including the motif of loneliness, which was mostly alien to them, and if it sometimes flashed, it was either for self-affirmation, or original associations, or shocking: "I'm going / alone to cry, / that policemen are crucified at the crossroads" and "And I am / on earth / alone /the herald of future truths" (Mayakovsky), " I am a white raven, I am alone..." (Khlebnikov), "How can I, a lone wolf, / not call out to distant cubs" (Aseev), "I am alone in my task, And because I am alone, I prepare the flabby world for surrender, Weaving a wreath on my coffin" (Severyanin), " Am I all alone in the world, - / Ready to cry on occasion... "(Pasternak - on behalf of the "floating garden"). B. Pasternak and in mature years he will define loneliness as "rococo", that is, a property of distant and refined antiquity, and only at a later age will the "fate of loners" become closer to him: "I am alone, everything is drowning in pharisaism "(Hamlet), and he will formulate an aphoristic judgment - "And everything is always full of loneliness in the heart and nature" (Autumn, 1949).

But perhaps the most ingenious formula of loneliness came out of the young Mayakovsky: "I am lonely, like the last eye of a man going to the blind" (1913). Is it because he suppressed this feeling in himself, tried to seem like a "block", later - "agitator, loudmouth, leader" and stepped "on the throat of his own song"? (It is interesting that Tsvetaeva perceived him as such, while Akhmatova saw him differently: "lonely and often dissatisfied" - "Mayakovsky in 1913".) This formula could not be surpassed by the "Chairman of zemshar" V. Khlebnikov, who compared himself to a lonely actor, then to a lonely doctor: "I'm a single doctor / In the madhouse / Sang his medicine songs "(1992) and more often than other residents of Budetly experienced the sadness of loneliness - with unexpected Lermontov allusions: "I went out as a young man alone / In the dead of night (...) And it was lonely, / Wanting friends, / Wanting this-

* End. See: Russian speech. 2001. N 4, N 5.

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bya", " You threaten to be lonely / The cliff has become...", "Thrown into the gloom and melancholy, ( ... ) / Rustling, a lonely shuttle sticks", "The pine tree is lonely / Getting dark".

It should be noted that the poets of the Silver Age in their romantic aspirations often felt a kinship with Lermontov, dedicated poems and entire books to him ("My Sister is Life" by Pasternak), quoted his lines as epigraphs, used Lermontov's reminiscences: "He cursed the world and is forever alone..." (Balmont), "To Delirium in the future". silent and lonely", " I walked alone... "(Bryusov), "You sit forgotten and alone..." (Annensky), "At midnight I go out alone from home", "You will wander alone, and sire, and naked" (Bunin), "I ran into the forest from the cities. Here I am alone with myself... "(Gumilev), " My melancholy-forever lonely... he won't give it back" (Voloshin), "I'm alone again in a troubled world" (Kuzmin), "I stand alone in the middle of a bare plain (...) But I do not regret anything in the past" (Yesenin), "And where before the sail was lonely / white in the silver fog of the sea..." (Akhmatova). And in the dedications they wrote about the poet's loneliness. For M. Kuzmin, Lermontov is a "runaway, sorrowful chernets": "Indifferent to the earth and people, / Attached to the chosen fate, / Obedient to one's longing, / You are a stranger to the world, and the world is yours" (Lermontov, 1916). And Balmont, speaking of Lermontov, confronts "a disgraced angel, separated from heaven" and "a callable demon who has fallen out of love with hell", and repeats three times: "He was alone when his soul was hungry...", "He was alone when, a half-child, / He was looking for his longing in Byron", " He there was one, like a vague comet... "(cycle "Lermontov", 1917).

G. Ivanov resorts to a paraphrase of the first line "I go out alone on the road": "And Lermontov goes out alone on the road, ringing with silver spurs" ("Melody becomes a flower"...). I must say that this Lermontov elegy caused countless variations and echoes in Russian poetry, down to individual phrases and poetic size - 5-stopnoto chorea (from Tyutchevsky's "Here I wander along the high road" to Yeseninsky's "I don't regret, I don't call, I don't cry" and Pasternakovsky's "The hum has subsided. I went to the stage". See: Taranovsky K. On the relationship between poetic rhythm and themes / / American Contributions to the Fifth International Congress of Slavists. The Hague, Mouton, 1963). And this elegiac series continues to this day: "I go out alone. To the grave / I can't get there. It is dark and there is no road" (Sosnora).

The motif that has become central in the work of many poets of the early XX century is also put forward in the names of poems - "Loneliness" (Bryusov, Blok, Bunin, Gumilev), "Shamrock of Loneliness" (Annensky), "Odin" (Bely), "Lonely Actor" (Khlebnikov), "Lonely" (Khodasevich), "Loneliness in love" (Merezhkovsky).

And as in the 19th century, "two lonely voices" were heard from opposite sides-but not in the socio-cultural aspect (Lermontov and Koltsov), but in the aesthetic one. Two poets-a classic and a modernist, traditional-

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onalist and innovator-Ivan Bunin and Marina Tsvetaeva, in whose lyrics the theme of loneliness has become a cross-cutting one.

I. Bunin "tried on" this theme from his youth, sometimes declaring that he loves people, but loves them alone ("lonely everywhere and always", 1891), then repenting that he does not know and does not love them, and later, looking back, he will say: "I was young, unknown, and lonely / In a strange world, complex and huge" (1916). In his poems there is both "the joy of lonely days" and the longing of a "lonely heart", and at every step there are lonely objects and phenomena (unlike Blokov's, mostly real and concrete). - farmstead and village, house and bench, path and traveler, bush, cross, trail, canoe, voice, wanderings and "I am alone" - in a dark house, in the forest, in the fields, silent at night, in a desolate world, and "quiet grave solitude fateful days".

Against this traditional background (it is not for nothing that Bunin is called a "classic of the turn of two epochs"), something more peculiar and unusual rarely flashes: "Isn't it because it's lonely / I looked into the face of heaven? " or " While in a house as silent as the grave, / solitude roamed inaudibly...". It is also unusual that the poet created two poems "Solitude", separated by almost a decade (1903 and 1915). One is lyrical, the other is epic. The first one conveys the experiences of a lyrical character-an artist who is abandoned by his beloved and lives in an autumn dacha: "I am alone in the dacha. It's dark for me / Behind the easel, and the wind blows through the window", " Well, goodbye! Somehow until spring / I will live alone - without a wife..", "And it hurts me to look alone / In the late-afternoon gray darkness". The second tells the story of a "foreign companion" who bathed in the sea "on a cold evening" with the hope that someone will see her, and of a writer, a random passerby, who complacently, after a hearty dinner, watches the bather and thinks with a grin: "Striped leotard / It made her look like a zebra." It was as if two lonelies had met and parted without recognizing each other. And only on the cliff "there was a lonely bench".

The second poem, for all its irony, seems more hopeless than the first, in which a certain catharsis occurs: "It would be nice to buy a dog." I. Severyanin must have felt it, noting in one of his" medallions "addressed to Bunin," the good joy of solitude " (Bunin, 1925). I will also refer to the remark of M. N. Epstein: "the poet experiences most deeply the loneliness of man in the midst of nature and the loneliness of nature without man" (Epstein M. N. " Nature, the world, the secret of the universe...". The system of landscape images in Russian poetry. Moscow, 1990. p. 235), but with one clarification - and in the presence of a person, since Bunin nature usually shines in Pushkin's "eternal beauty", not paying attention to the people present, as in the late"Solitude".

If I. Bunin aspires to the objective world in all its aspects-

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but in the variety and variety of sounds, multi-colored scale and fragrant freshness, M. Tsvetaeva is attracted to the "land of Dreams and Loneliness", and creativity for her "loneliness is the supreme hour". But she prefers to describe herself not as "lonely", but as "alone". Already in her first collection, The Evening Album (1910), the young high school student claims that she is "bored with being alone - and with people" and that the poet should be "free and alone, away from the narrow confines!". In "Youth Poems" (1913-1915), she interprets her "I": "I am alone with my love / To my own soul" and suffers: "Choking with melancholy, / I go alone, without any thought." This word odin / odna becomes a key word in Tsvetaeva's lyrics, denoting not only loneliness, but also singleness, uniqueness, exclusivity: ("I met the New Year alone (...) And the one was-one! As the moon is one, in the eye of the window" - 1917) and embracing everything and everyone: one nation, light, gift, son, rite, hour, sigh, bell, cloak, shoe; one moon, fate, country, spring, mother, alarm, rumor, merit, fear, string, splinter, half; one sun, mountain, face, wing; "God is one for all", "with one universe", "the earth is one with you", "there is one grass like this", "the law is one: one thing to another", " one in the whole universe "(but not anchar, as in Pushkin, but a friend) - to the last maxim: "There is only one answer to your crazy world - refusal" ("Oh, tears in your eyes!" - 1939).

It happens that Tsvetaeva's poems are based on repetitions of this definition with different definitions. Such are, for example, "To a Genius" (1918) and "In a World where Everyone..." (1924):

1. They baptized us-in one vat,

They crowned us with one crown,

They tormented us - in one captivity,

They branded us - with one brand.

Put us-a single house,

They'll cover us - with one hill.

2. In a world where everyone

Hunched and sweaty,

I know - one

Equal to me.

(...) I know - one

It is equally powerful to me.

(...) I know - one

You are equal to Me.

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In the first poem, "odin" appears in the sense of the adjective "identical"," the same", accompanying the heroine and her "genius" all her life - from baptism to the grave and contrasting "us "with an unnamed" them " - the rest of the world. In the second - this word in the role of a pronoun means "only", "exclusively", combining equal "I" and"you". Tsvetaeva's" poetics of the ultimate " is defined by her predilection for hyperbole and antonyms, for the gradation of single-root words and synonyms, for the opposition of singular and plural forms, which reflects the poet's philosophical concept: a person caught up in passion and creativity opposes earthly everyday life, human vulgarity (See: Zubova L. V. Poetry of Marina Tsvetaeva. Linguistic aspect, L., 1989, pp. 28-29, 104-105.)

The conviction of her poetic choice did not exclude, but, on the contrary, strengthened in Marina Tsvetaeva the feeling of rejection:

"Among all the outcasts There is no such orphanhood in the world!", " The Garden is as lonely as itself...", " I don't care Where I am completely alone." The tragedy of absolute loneliness-orphanhood resulted in a coined formula: "By the circular guarantee of orphanhood - Loneliness - my round one! "(cycle "Poems to an orphan", 1936). S. Marshak compared Marina Tsvetaeva to a homeless bird: "Let your path be reckless / A homeless lone bird..." ("Marina Tsvetaeva"), and B. Pasternak saw her abandoned grave in Yelabuga ("In Memory of Marina Tsvetaeva").

The Silver Age was forcibly ended in the 1920s, and the" children of the terrible years of Russia " (Blok) were destined for tragic fates - death, emigration, suicide. In the coming "post-silver" Soviet period, under the totalitarian regime, the theme of loneliness as a manifestation of" bourgeois individualism " was not just closed, but banned, to which the poets reacted in different ways. So, Mayakovsky enthusiastically repudiated it, declaring: "It is bad for a person / when he is alone / Woe to one / one is not a warrior..." and calling for rallying in a collective, in a party, because " one is nonsense, / one is zero...".:

We were stopped halfway there

A cruel age. But we don't complain, -

So be it! But still, and in general

Beautiful is this terrible age!

And let him not be up to poetry,

And even if it's not up to first names and patronymics,

Not up to individual loneliness, -

He's churning the mess of ages!

This ambivalent opinion was expressed by Sofya Parnok che-

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a year after Mayakovsky's death, the poetess foresaw that the new century was not up to "individual loneliness". Their last echoes are still heard in the 30s: "But the main thing is that I could say that I am unfairly lonely in this absurd mud!" (Klychkov), "the lonely mind is sick" (Zabolotsky), "Oh, how lonely the heart is / in a strange alley!" (Bergholz). But these "individualists" will pay for their dissatisfaction with freedom and life.

"In the everyday life of great construction projects," loneliness was driven underground, into the recesses of consciousness and memory, into locked drawers of desks ("There are many of us, lonely. All Russia " - Selvinsky, 1937). The only thing that was publicly allowed was to wander around the lonely harmony at night and denounce capitalism, where a person is alone, and be happy alone with nature.

And only since the end of the 50s, during the thaw, poems with the names "Loneliness" (M. Svetlov, E. Vinokurov, V. Sokolov, R. Rozhdestvensky), "Lonely Oak" by N. Zabolotsky, "Lonely Bird" by L. Martynov, "Love for Loneliness" by Evg. Yevtushenko, "Lonely" by K. Vanshenkin, "Retraining loneliness" by B. Slutsky. And poetic maxims, aphorisms, and paradoxes began to pour down like a cornucopia: "How I really want to know the name and patronymic of loneliness!" (Svetlov); " Solitude is a miracle. It means "you are alive" and "Loneliness is loved the more / the more they hate it" (Yevtushenko).; "By the agreement of endless loneliness / the way of friendship is made up" and "Oh, loneliness, how cool your character is!" (Akhmadulina); compare I. Ehrenburg: "How, loneliness, your voice is clear!"; "One and night-an analysis of loneliness..." (Suleimenov), " Loneliness is not death, / this is courage, / damn it... "(Gorbovsky); "To be with you is the goal of life, / But loneliness is more beautiful" (Dolsky); "Loneliness is a man in a square" (Brodsky), "And I am one in many, / I alone have a hundred thousand wines" (Chichibabin).

Let us conclude this essay with the lines of David Samoilov, expressing the worldview of people of the 20th century and echoing the poetry of the "golden" and "silver" centuries:

We cannot know our own age!

We are in it, like the inhabitants of a prison,

Abandoned and alone,

Sadly serving time.

A sad result, but there is no other one yet.

Safed,

Israel

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