The image of Vyatka nature in the poems of Margarita Petrovna Chebysheva. Union of Writers of Russia - Chebysheva M
Shelemeteva Diana Denisovna
Shikhova Olga Alexandrovna
Scientific director
Kuzminykh Natalia
Ivanovna, teacher of Russian language, literature, art
1.Biographical information.
2. A brief overview of the material about the poetess’s work.
3. Main motives and images in the lyrics of nature by M.P. Chebysheva.
4.Use of artistic means, their frequency.
Margarita Petrovna Chebysheva is a Vyatka poetess. Her poems are known to most of our fellow countrymen. She has published eleven poetry collections and Lately became close to many readers as a wise creator, deeply feeling and understanding of the world and people, an expert human heart, subtle psychologist and philosopher.
Born on October 6, 1932 in the village of Lebyazhye Kirov region. Later, the family moved to the Urzhum district, living with their parents in the villages of Shurma, Russky Turek, Buyskoye. In Buysky she graduated from school and began writing poetry. In 1954 she graduated from the Faculty of Russian Language and Literature of the Kirov Pedagogical Institute. She worked as a literature teacher in the village of Loino, Verkhnekamsk region, at the Kirov boarding school, at the school for working youth, secondary schools № 14,2,54.
For eight years she worked on television as an editor for feature programs on Kirov Television and as the head of the Molodost literary club.
The first publication of her poems appeared in the regional newspaper “Komsomolskoe Plemya” (1964), then a selection of poems in poetry collection“Youth”, which consisted of works by members of the literary club of the same name.
The beginning creative biography can be considered 1967. Margarita Chebysheva released her first poetry collection exactly this year, it was called “Severyanka” and earned a flattering assessment from the famous literary critic Evgenia Osetrova. Then there were numerous publications in newspapers, magazines “Smena”, “Rabotnitsa”, “Volga”, and collective collections published in Kirov, Perm, Moscow, Gorky.
Margarita Chebysheva became the author of many poetry books. In the preface to her “Moscow” collection “Green Star” (1974), which was published by the Sovremennik publishing house in the “First Book in the Capital” series, V. Kochetkov wrote that “the harsh region left a peculiar imprint on her book, gave a working restraint of words, directness and conviction of poetic thought.” In 1974 she received her diploma
Kostroma Department of Culture for a cycle of poems about Kostroma
Later, Margarita Chebysheva was published in collective collections, in the magazines “Our Contemporary”, “Volga”, “Nizhny Novgorod”.
For eight years, Margarita Petrovna worked on television as an editor of feature programs. Journalistic meetings provided material for thinking about the fate of the Russian land, the village, the Russian woman and, of course, about love - these became the main themes of her poems.
Awarded the badge of the Ministry of Culture of the RSFSR “Excellence”
cultural patronage over the village" (1980). Winner of the N. Zabolotsky prize (All-Russian and Urzhum region), front-line poet O. Lyubovikov, Kirov Regional Press Committee.
A total of 11 books were published:
1. “Severyanka” - 1967, Kirov, Volgo-Vyatka book publishing house;
2. “Green Star” - 1974, Moscow, Sovremennik publishing house;
3. “Slavyana” - 1975, Kirov, Volgo-Vyatka book publishing house;
4. “Stretching out hands to September” - 1979, Kirov, Volgo-Vyatka book publishing house;
book publishing;
6. “Astafiev’s winds” - 1987, Kirov, Volgo-Vyatka book publishing house;
7. “Province” - 1993, Kirov, Kirov regional printing house;
8. “Russian plot” - 1998, Kirov, publishing house “Triad”;
9. “I live with an echo, I sing with an echo” - 2000, Kirov, Kirov regional printing house;
10. “My Village Vyatka” - 2003, Kirov, Triad Publishing House.
11. “Territory of Love” - 2007, Kirov, GIPP “Vyatka”.
Many people wrote about M. Chebysheva. Repeated reviews by Perestoronin N.V., Igoshina V., Ishutinova L., Sirneva S. about the work of the poetess can be found in the newspapers “Kirovskaya Pravda” and “Vyatka Krai” for the 60-80s of the 20th century. Literary scholars G.A. Okhotina, V. Chernykh, S.I. Beresneva tried to evaluate the lyrical “I” and highlight the main themes and motives. Quite recently, an article by Dr. philological sciences Pozdeeva V.A. “And just as the eternal female path is not simple...” However, there is not a single article devoted to the analysis of artistic means, despite the fact that Pozdeev V.A. notes in Chebysheva’s poems “a tendency towards an associative form of thinking with a predominance of expressive and retrospective imagery”, “her metaphor is not an ornament, but the basis for the figurative construction of a poem.”
Therefore, we would like to dwell specifically on the topic “ artistic media expressiveness”, analyze which means of language are most loved by Margarita Petrovna, what is their unusualness and bewitching appeal. This will be one of the tasks of our work.
Analyzing the literature devoted to a review of the work of M. Chebysheva, we came to the conclusion that most researchers agree with each other in identifying several topics:
- the theme of thoughts about poetry, about the poet’s heart, about his fate;
- the theme of the poet’s unity with the Motherland;
- understanding the Russian national female character;
- the theme of mother, woman, her role on earth;
- theme of historical memory;
- theme of love, poetry of feelings;
- crown Vyatka nature, the region, its past and present;
Most of all we were attracted by the poems dedicated to the Vyatka region and the beauty of its nature. Therefore, the second task of our work was to try to find favorite motifs and images in poems dedicated to nature.
In a conversation with journalist N. Perestoronin (the interview was published in the newspaper “Vyatka Krai” in 1996), Margarita Petrovna reports that although she has lived in the city for a long time, she feels like a country person, so the poetess skillfully reveals the richness and beauty of the nature of her native land .
When we worked with literary texts, we found out that in almost every second or third poem, a discussion on any topic begins with a description of a simple Vyatka landscape. What is the Vyatka landscape like? The city of Kirov (and in the past Vyatka) is located in central Russia. Nature rarely spoils us with its attention. Summers are often rainy, and autumn begins sometime in August. Long winter and long cold spring. And how does Margarita Petrovna Chebysheva see our nature?
In the forest - like in a high cathedral
Silence sounds like a chorale.
Happiness and sorrow are sharper here,
A hundred times heavier than wine...
(“In the forest – like in a high cathedral...”)
...The gate in the old fence creaks.
A neighbor coughs sleepily behind the wall.
And the ray of the moon is like an arrow on a device,
Indicates time for conversation...
(Before dawn)
...Very simple: river and grass,
Yes, a drizzle of dew, and glare of light.
This will greet you wherever you are.
Why is the memory of the homeland alive?
(Nostalgia)
...Autumn drops leaves on the graves,
And the grasses of those graves whisper: live...
(“About the oldest and the ever-new…”)
...The desperate hut was grieving,
There is a bitter rowan tree near the fence...
The old pipe is lopsided,
And the nettle looks like a princess.
The bathhouse collapsed. Under the window
The burdock grew higher than the roof.
The path was covered with trampling.
Even mice don’t live in the barn...
...The curly willows closed in
Balloon over the river. Blue dragonflies.
The fry tickle my feet.
Air flows above the streams of water...
(“The curly willows have closed in…”)
We see different time year and day. The writer's eye catches the most the smallest details, who paint for us the inconspicuous, discreet, but very sweet beauty of our nature. Very often Margarita Petrovna turns to the image of the mountain ash.
...The rain puts out fires in the forests,
And the gloomy sky gets heavier...
And flashes of powerless beauty
Rowan trees are burning by the road...
...And lit up through oblivion
Drops of bitter rowan berries
Her cold palm...
Inconspicuous in summer, but what a bright mountain ash in winter!
...But only in the snow-covered thicket,
Where every branch is white,
There, flashing tassels screamingly,
Rowan called me.
And fell freely on the path,
Confusing that frosty day,
Among the blue and cold
Her pinkish shadow.
An alarming flame without smoke,
Burning even in a snowstorm, -
So fiercely, indestructibly
Rowan blazes in the snow.
...The rowan berry brushes are heavy,
The leaves are lightly yellowed.
I show off my rowan wrist
Before the one who looks out of the water...
(“The rowan brushes are heavy…”)
...Rowan sweet land!
I missed you while we were apart!
(Rowan sweet land...")
...I burn my lips with rowan berries
And I cool the pain with snow...
...How quickly the mountain ash turns red!
Let summer not pass yet.
The aspen trees whisper helplessly,
About the fact that the heat is leaving...
(“How quickly the mountain ash turns red…”)
This image of a thin mountain ash, ready for all trials, is familiar to us all. Its berries may be bitter in summer, but very sweet in winter, after frost. This is probably what the Vyatka man is like – unprepossessing, but enduring, generous in times of trouble, and hardworking.
Turning to the poetess’s poems dedicated to the lyricism of nature, other recurring images are revealed: autumn, night, rain, wind. As a rule, they do not exist on their own, but are included in miniatures in which images of the outside world serve as an expression state of mind lyrical heroine. Lyrical hero, as is known, is not identical to the image of the author, although in most cases it reflects his personal experiences. The lyrical heroine does not remain constant throughout the poet’s work, she changes, just as “the attitude towards the world changes, and the world towards you”, and appears in endless variety women's destinies. Here flashed before us not just a woman-autumn, but a heroine who suffered, who lost everything, who received only ashes:
Autumn walks barefoot through the stubble
And by the cold fires
Warms cold feet...
(“Autumn is coming...”)
...Some kind of mystery in the autumn season,
Thoughtful, quiet, crystal...
And all that remains is to watch and watch
Light, grateful, sad...
(Astafiev's winds)
... Autumn rains are wandering across the earth.
They lick the glass pleadingly and pitifully
And they whisper in the dark that everything is already wet, -
Autumn rains are asking for warmth...
(Autumn rains)
Throughout his work in different collections we see autumn paintings nature. Autumn is one of the annual cycles, “favorite time of year.” This is the time when it is cold outside, when in human relationships there is a cold between people, when you are sad for some reason, sad and say goodbye to something close and dear to yourself. “The leaves are falling, falling, falling, yellow rain between you and me...” Perhaps this is where the word “autumn” has become a poetic synonym for separation, parting. These are the feelings that M. Chebysheva’s poem “Draw for me leaf fall in September…” awakens in us.
Draw leaf fall for me in September
And rain in the forest.
I’ll collect a heap of colored leaves at dawn
And I’ll bring it into the house.
Fading subtle charm and sadness
Let them shine for me.
Let the rain curtain sway
September in the window.
Draw me a cold heavy wave
Pearl light.
Draw me autumn forest silence
Ringing trail.
Draw... To make your chest feel cold
I understood and believed: everything is behind me,
Winter is coming.
Yes, there are days in autumn when it seems that everything is over. Day after day passes, and nothing changes in life. Peaceful, calm, quiet. And suddenly you want change, you want something more, your soul reaches for something higher. And again you begin to feel the greatness of the world around you.
Autumn soft chill,
And the very first yellow leaf...
And suddenly the house becomes hateful,
And the whistle will disturb the soul
The strengthened wings of bird flocks.
I walk barefoot through the stubble.
Anxious moment, don't fly away
Stay with me forever.
And the distance is wide open to the stars,
And in the copses the silence grows cold,
And the wind tangled a strand of hair
And mixed up all the paths.
And the heart breaks after the birds,
Cursing wingless fate...
I don't want to believe that no
I have elastic wings!
(Autumn)
Autumn is thrifty, rich, and it gives all its wealth with purely Russian generosity, when they give everything to the last thread, without demanding anything in return: no attention, no participation, no praise...
...Homeless on frozen roads
Autumn wanders in a wet cloak,
She probably needs a little -
She is used to leaving with nothing.
If only you could dry your wet dress
And warm your chilled hands,
So as not to cry anymore with rain
And don’t burn fires in the forests...
Autumn appears in different images, but most often it is the image of a woman. Here she is a beautiful villager, and here she is fleeting phenomenon a young city dweller in a raincoat and a light chiffon scarf, easily stepping between the glass display cases:
Autumn is celebrated generously and flashily.
So that I can admire myself,
Flashed at all intersections
Mirrors, mirrors, mirrors.
Still carefree, unruly,
In the colorful silk of sunset stripes,
And decorated with a brush of rowan
Strands of copper flying hair.
But the fogs will fall heavy,
Will shine through oblivion
Drops of bitter rowan berries
On her cold palm...
(“The stars have become larger and closer...”)
Even if there are no signs disturbing the soul, like “the chimney was wheezing from autumn colds...”, “the trees are dozing, having thrown off all worries, shrouded in gentle silence...” , “...the cries of the cranes are freezing in the sky...”, “and the gloomy sky is getting heavier...” and a sunny, perky image appears, then it’s still autumn:
... Like a fox among the red pines
Autumn flashed and disappeared...
(“Behind the ghostly haze of the forest...”)
...For us, autumn probably saves
Skies shining with light.
Only here and there the aspen trees are set on fire
Still very green forests...
(“We are going to Kokshaga in Indian summer...”)
...A bouquet of nasturtiums on the window is burning...
The stars became bigger and closer,
The flowers smell like autumn.
August again, cheerful and red,
Behind the bridge he sets fire to bridges...
(“The stars have become larger and closer...”)
Flocks of birds and flocks of leaves
Flying, ahead of each other.
The yellow birch trees are melting away,
Approaching incorporeality...
Indicated by lightness of lines
Their transparent silhouettes.
And through them - snowfalls and showers,
A scattering of stars and streams of light...
(“Flocks of birds and flocks of leaves…”)
The poetess’s heart is responsive to everything she sees, the nature of her creativity is generous. All this is because poetry is nourished by life itself. You read it and the poems, and immediately Levitan’s landscapes appear before your eyes:
...The sun turned red
In the palm of my hand
Goldfish leaves
Floating in the window.
...Weaves groves and fields with a web.
Levitanov's painting
Outside the windows there is earth...
(Autumn sketch)
The face of the earth is scarred by rains,
She doesn't see the sun for many days.
And the groves are torn after the cranes,
And the clouds are getting denser and darker...
(“The face of the earth is carved by rains...”)
The lyrical heroine of M. Chebysheva is endowed with great experience and wisdom of life, acutely aware of the contradictory complexity of existence. Her philosophy regarding the world around us can be called “everything in everything” or “I am in everything.” “A remarkable feature of Margarita Chebysheva’s lyrical self is to absorb the pain and joy of the world, to experience a sense of belonging to it,” notes researcher of the poet’s work G.A. Okhotina. Therefore, you find the next autumn lines and believe the poetess, think about each line, learn how to reconcile your rebellious self:
It's getting colder. Autumn is coming to an end.
The water shines like gray pearls again.
Brings in the remains of dry leaves
Tired paths and years...
The trees are dozing, having thrown off all worries,
Shrouded in gentle silence.
And autumn breathes peace on me,
To reconcile me with you again...
(“It’s getting colder. Autumn is coming to an end...”)
No less interesting is the image of the night, which is repeated throughout many collections. Most often, Margarita Petrovna uses metaphor to create an image. In the 112 cards we collected and analyzed, this trope occurs 58 times.
The stars are pecked from the sky
Cloud- black bird…
And one fell into the dark forest -
Better to crash! ...
Today the night is sad and tender,
She walks sadly, weightlessly...
(“The stars are pecked from the sky...”)
In this miniature we see the approaching night, dark clouds, and heavenly lights gradually disappearing into the haze. But the picture seems more fantastic to Margarita Petrovna, it looks like a fairy tale: “a cloud is a black bird.” And here is a gradual transition to internal state the hero and the story of what is in his soul. So most often the world human feelings conveyed through pictures of nature.
… The rain crossed out the lanterns
Drops are thrown into the glass until dawn...
(“Autumn rain hung over the city...”)
… All past the glass into the window frames
The dawn pokes like a blind kitten...
…The chimney wheezed from autumn colds,
And the leaves fell, fell,
As if an artist, having finished a sketch,
He slowly shook them off his brush...
(Astafiev's winds)
We see a completely different image of the night sky in the poem “Lilac Night”.
…Silver night.
On every branch
By blue needle-shaped star...
The epithet “silver” immediately gives us before our eyes a picture of a night completely flooded with moonlight: glitter lies on the roofs of houses, on the grass, on the tips of tree branches. The branches are so silvered that each branch seems to be decorated with a brilliant light. This image is created for us by the epithet “blue needle star”. The epithet appears in the description of nature more than 44 times. This suggests that the poetess carefully works on the word, choosing the most necessary for a given poem.
Above ashy haze of dawn
Moon cold glass...
(“Above the ashen haze of dawn…”)
All night long shouting corncrakes,
AND pulls dampness at dawn...
(“The corncrakes are screaming all night…”)
…As if nothing had happened
The moon was descending into the garden.
Light shadow from the branches
There is a pattern on the wallpaper.
Soft clanged in the wind
The gate is locked.
Became silver-blue
Binding on the window.
Wet the smell of jasmine
It makes my head spin...
(“Didn’t let me sleep for a long time...”)
And the fog will float...
A silver shimmer trace –
An easy night deception...
(August Tale)
I hold the evening in the palm of my hand,
Light, cool, linen.
My young happiness
How do you feel next to me?
(“I hold the evening in the palm of my hand...”)
IN silver radiance framed
Evening poplars near the house...
(River of Youth)
Soft darkness of August nights,
The darkest of the year...
The stream hides in the low bushes,
To catch a star.
Will shine dimly water between the branches,
Like the palm of the moon
And the star will sway quietly
On the crest of a wave.
And the stream will fill with jubilation
Tight shores.
Rings of gentle, murmuring speeches
It will cover the meadows.
The night will quietly fall from your shoulder
Scarlet scarf of dawn...
And the dawn will flow along the wave,
And the fog will float...
(“Soft darkness of August nights...”)
Along with metaphor, Margarita Petrovna actively uses personification. In terms of frequency in our card index, it is in 3rd place. 24 examples were found. It is often difficult to draw the line between these two paths. As, for example, in this passage:
…And the leaves, coldly yearning for the earth,
They fly to her last warmth.
And the rain strokes with a sad pencil
Landscape stuck to wet glass...
(“The face of the earth is carved by rains...)
The author does not just paint a picture outside the window, but, as it were, brings it closer to the viewer, trying to fix our attention on every detail. It is not we who observe the landscape in the rain, but the rain on the glass that paints a sad picture for us. Personifications help the poetess with this.
...The chilled wind hides in the leaves,
It rustles, trying to hide from the rain.
The drooping maple, trembling, knocks on the window,
Losing wet leaves in the grass.
(“Autumn rain hung over the city...”)
Swans fly away in a snow-white flock,
They fly away to warmer climes.
And my native land is melting in a yellow haze,
Sweet, desirable, one of our own...
...And the groves are torn after the cranes...
But the lines again remind one of something completely fairytale picture or a frame from a cartoon. All this helps us to see personification again.
...The wind settled between the pipes resentfully,
The poplar stood sadly by the road...
(Autumn rains)
Working with Margarita Petrovna’s texts is easy and interesting. Every time new landscape It makes you think carefully and, at the same time, delights you with its skill.
So, we analyzed the poems about the Vyatka region. Most often, M.P. Chebysheva paints a simple Vyatka landscape, where we see grey sky, spruce paws. Of all the trees, the poetess singles out the mountain ash most; this is the next poetic image, with which the writer does not part throughout almost her entire career. Favorite time year - autumn, it is presented to us in different colors. We can also see all the shades of night, rain, wind in her poems.
In terms of the frequency of use of figurative and expressive means of the Russian language, the first place in the lyrics of nature is occupied by metaphor (58 examples); Chebysheva’s speech, one might say, is “saturated with metaphors.” Second place in our study was taken by epithet (44 examples), third place by personification (24 examples). Next, in descending order, are the following means: comparisons (12 examples), evaluative vocabulary (8 examples), expressive colloquial vocabulary (5 examples).
List of used literature
1. Beresneva S.I. “I’m just a person” (Lyrical heroine of M. Chebysheva) // Vyatka land in the past and present. Materials of the Republican 4th scientific and practical conference.-Kirov, 1999.- P.160-163
4. Ishutinova L. “Confession is a measure of craft.” - // Komsomol tribe. - 1979, - No. 116. - September 29. – p.3
5.Calendar significant dates, 2009 .- Kirov publishing house;
6. Kolchanova E. To meet a kindred spirit.- //Kirovskaya Pravda.-1998.-December 24 (No. 2).-P.3
7. “We had a very good time...” - //Kirov Spark. Urzhumsky district.-1973 - No. 92. – p. 4
9. Okhotina G.A. “It's time for maturity. Collection of poems by M. Chebysheva “I extend my hands to September.” - // Kirovskaya Pravda, 1979 . - No. 202. - September 1. –p.3
10. Okhotina G.A. Literary portraits. Lyrics by M. Chebysheva // Meetings. Works of Kirov writers / Comp. V. Zabolotsky - Kirov, 1978.- P.234-240
12. Perestoronin N. Two women singing love.-//Vyatka region.-2003.-August 20.-(No. 154).-P.7
13. Perestoronin N. Both tenderness and pain: [About the new poetic book by M. Chebysheva - “Russian plot”] // Vyatka region.-1992. - February 12.-(No. 29) P. 6
14. Perestoronin N. Margarita Chebysheva: prose of life, poetry of fate. - //Vyatka region.- 1996.- September 14.-P.4
16. Perestoronin N.V. Margarita Chebysheva: prose of life, poetry of fate. - //Vyatka region, 1996 – September 14.-No. 170.- p.4
17. Plastinin V. And virtual, and earthly, and cathedral. - //Kirovskaya Pravda.-2001.-October 19. (No. 135).-P.9
18. Pozdeev V.A. “And how the eternal female path is not simple...” (About the poetry of Margarita Chebysheva) // Anthology of Vyatka literature. -T.7 – P.6-10
19. Ponomarev V. With pain in my heart. Notes on the new poetry collection by M. Chebysheva.-//Kirovskaya Pravda.- 1998.- December 11 (No. 229).- P.2
21. Chebysheva M.P. “I feel like I’m from a generation of dying mammoths”: [Conversation with the poetess Chebysheva/ zap. O. Zhuravleva] - // Our version. - 1993. - No. 10. - March 6. - C4,7
22. Chebysheva M.P. “I live with an echo, I sing with an echo” - 2000, Kirov, Kirov regional printing house;
Chebysheva M.P. Scarlet Sails and a sundress. [Conversation with a Kirov poetess about life and literature].- //Vyatka-Aif.-1997. - No. 46.-P.7.
24. Chernykh N.V. Literary local history lessons in 5th grade. - Kirov, 1997
25.“I am a white sheet. And loneliness...": method. recom. To the 70th birthday of the poetess M.P. Chebysheva. - Kirov, 2002, p.4
2015 has been declared the Year of Literature in Russia. And the first event of this year was an evening in the literary and musical drawing room Central Library named after N. A. Yakhlakov. It was dedicated to the work of the most famous Vyatka poetess Margarita Petrovna Chebysheva.
Why is the event named this way? Firstly, this is the name of the book that was supposed to be published in the “Anthology of Vyatka Poetry” for the 80th anniversary of the poetess.
Secondly, Margarita Petrovna is a lyricist by the nature of her talent. Moreover, she develops the most lyrical theme- the theme of love. But in this traditional theme she has her own intonation. First of all, this is the intonation of masculinity. Young people often write about love in a tearful and sentimental tone, with excessive prettiness. Chebysheva gives a subtle and restrained portrait of feelings connected to high voltage modern world.
“I’m a sinner – I don’t believe in conventional morality.
I’m a sinner – I honor love alone as a shrine...” –
These are lines from “Monologue of a 20th Century Woman.”
How are people deprived musical ear, this is how people who lack the ability to love meet. They mistake something else for love: passion, habit, sympathy. That's why Margarita Petrovna calls love a rare bird.
Rare bird of love.
But if it flew off
from the highest heights,
bestows without measure and count.
Only love
Indivisible into soul and body,
Only she
Dies, having lost his flight.
Only love
into cleansing given to man,
no initially on it
no sin, no guilt.
Only love,
Homeless Cinderella of the century,
not for sale - it has no price.
Margarita Petrovna was born on October 6, 1932 in the village of Lebyazhye, Kirov Region. Graduated from the Faculty of Russian Language and Literature of Kirovsky pedagogical institute. She taught Russian language and literature at a school for working youth and secondary schools. She worked on television for eight years as an editor of feature programs. She led the literary club “Molodost”.
In 1967, the first book of poems, “Severyanka,” was published. In total, Chebysheva published 12 books: “Green Star” in the Moscow publishing house “Sovremennik”, “Slavyana”, “Province”, “Astafiev’s Winds”, “I Extend My Hands to September”, “Two Voices, Two Echoes, Two Stars”, “ I live with an echo, I sing with an echo”, “Russian plot”, “My village Vyatka”, as well as “Territory of Love” and “House on the Sand”.
Honored Worker of Culture of the Russian Federation. Member of the Russian Writers' Union. Laureate of the All-Russian Prize named after. Nikolai Zabolotsky, regional prize named after the front-line poet O. M. Lyubovikov.
Her poems contain images of beautiful, strong, faithful and long-suffering Russian women, just like she herself was. These images organically merge into single image Rus' - from ancient to modern Mother Russia.
And women are like that in Rus',
that, Lord, have mercy and save
from these obsessions strange eyes:
they look thoughtfully through you
and they see Something that cannot be explained.
And a thread already connects you
The desire to understand, to find an answer;
Who is this woman? No answer.
She can be a sinner and a saint,
He executes with cruelty and kindness,
In a glance gray eyes now it's hot, now it's cold,
And on the lips - raspberry and wormwood.
She will kill you, but will not betray you,
He will take his soul and give his own.
However, what is a drop at the bottom,
A riddle in an inaccessible depth -
Will stay.
And don't look for an answer
Who is this woman. No answer.
The Vyatka village with its unpretentious beauty, the people who live here appear before us in poetry as if they were alive.
She wrote about herself, feeling a blood connection with generations of women who walked the Earth before her, identifying herself with the heroines of her poems: time and destinies, past, present and future are intertwined in them
Russia... Chebysheva returns to this topic again and again, because her soul hurts about the fate of her homeland, sometimes affectionate, like a mother, and sometimes harsh, like a stepmother. But still the only one, because Russian people are not given another.
What did Margarita Chebysheva believe in? In people. And also - by virtue of the word. Although many believe that today poetry, which once elevated the souls of people, is fading into the background, poets do not gather huge halls, and newspapers practically do not publish lyrics... But, nevertheless, there are still poets in Russia who are able to “burn with a verb.” people's hearts...
I know that walls cannot be made from words.
And don't be shackled.
But everything that broke the shackles,
Born from words.
Depends on many things, but not on the word
The strength of any foundation.
But everything that shook the foundations,
Born from words.
A century can be quiet, a century can be loud -
There are no ambassadors to the future.
But everything we leave to our descendants
Born from words.
She lived quietly and did not like to be seen. But my civil position expressed herself firmly and clearly in poetry.
Margarita Petrovna Chebysheva passed away in November 2014. In the memory of everyone who knew her personally and her poems, she will remain a bright person, a stately Russian beauty with a braid on her shoulder, in a colorful shawl - the very Slavic Vyatka poetry that she was and will remain in her work.
The territory of her love is truly vast. This is not only Vyatka land, Vyatka nature, Vyatka people - this is all of Russia. The poetess divides this territory into three main themes: Time, Motherland, Love. They are as unchangeable and eternal as life is unchangeable and eternal.
The poet's living voice sounded at the evening. The disc “My whole life will sprout in poetry” was recorded in regional library for the blind in 2014. In the author's performance, those gathered heard a story about her and the poems “I grew up on green land,” “Ancestors,” and “I walk the earth barefoot.” Irina Babkina read several poems.
Songs based on poems by M. P. Chebysheva were performed by Vladimir Veske, Elena Dmitrenkova - Amsterdam (recorded); Oksana Trubina (live sound).
The program was prepared and conducted by librarians Tatyana Inkova and Tatyana Tungusova.
Songs based on poems by Margarita Chebysheva, performed by Oksana Trubina:
Night
I live in echoes
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Born in the village of Lebyazhye, Kirov region. She studied and worked on Vyatka land. After graduating from the Kirov Pedagogical Institute, she taught Russian language and literature for many years. She worked as an editor for feature programs on Kirov Television and as the head of the Molodist literary club. The first book was published in 1967. Author of many poetry books. She has been published in collective collections, in the magazines “Our Contemporary”, “Volga”, “Nizhny Novgorod”.
She traveled a lot around the region, participated in almost all regional Literature Days. Awarded the badge of the Ministry of Culture of the RSFSR “Excellence in cultural patronage of the village” (1980). In 1974 she received a diploma from the Kostroma Department of Culture for a cycle of poems about Kostroma. Winner of the N. Zabolotsky prize (All-Russian and Urzhum region), front-line poet O. Lyubovikov, Kirov Regional Press Committee.
Honored Worker of Culture of Russia.
Member of the Russian Writers' Union since 1987.
Books:
“Severyanka” - 1967, Kirov, Volgo-Vyatka book publishing house;
“Green Star” - 1974, Moscow, Sovremennik publishing house;
“Slavyana” - 1975, Kirov, Volgo-Vyatka book publishing house;
“Stretching out hands to September” - 1979, Kirov, Volgo-Vyatka book publishing house;
“Astafiev’s Winds” - 1987, Kirov, Volgo-Vyatka book publishing house;
“Province” - 1993, Kirov, Kirov regional printing house;
“Russian plot” - 1998, Kirov, “Triad” publishing house;
“I live with an echo, I sing with an echo” - 2000, Kirov, Kirov regional printing house;
“My Village Vyatka” - 2003, Kirov, Triad Publishing House.
“Territory of Love” - 2007, Kirov, State Institute of Industrial Enterprise “Vyatka”.
