In the distance there is a large creature on four legs.

Introduction.

High respect for art and artistic talent is one of the good cultural and moral traditions of the peoples of Dagestan.

Rasul Gamzatov acquired the sonorous lyre of a poet, inheriting the rich original poetic traditions of his native Avar and all fraternal peoples of Dagestan.
Its springs poetic word there were Chanka and Mahmud, Batyray and Etim Emin,
Jiri Kazak, Gamzat Tsadasa.

Rasul Gamzatov inspired and continues to inspire His Majesty’s people. He achieved more deeply and completely than anyone else in his work. national poet. Today Rasul Gamzatov is one of the most outstanding poets of the 20th century. He advanced all world poetry and expanded its horizons.

“A bright figurative system, thoroughly imbued with national originality and flavor, big thoughts and thoughts about human life and existence, about the destinies of mankind and high humanism make the poetry of our fellow countryman a universal phenomenon, a global phenomenon.”

Rasul Gamzatov is one of the best translators and commentators on Pushkin, and he himself is a poet of the Pushkin type. Rasul Gamzatov sang of his native hearth, native mountains, good neighborliness, love and friendship of people. With his wonderful poems, he forced his fellow countrymen to sing songs about love and youth, about the homeland and courage.

“The discovery of Dagestan - that’s what I would call it, that’s what the work of Rasul Gamzatov used to be for me,” wrote Makliy Abashidze.

It was Rasul Gamzatov, the great Soviet poet, the true son of his era and his people, who was destined to fulfill a noble mission - to make a poetic discovery of Dagestan.

The work of Rasul Gamzatov is enviably original, truly national in its appearance and composition. Its roots go deep into the spiritual existence of the mountaineers - former and modern. The poet with greed and passion discovers his people for himself, getting to know them selflessly, admiring them.

Many books have been written about Rasul Gamzatov. Both Russian and Dagestan critics write about him and his work and give an excellent assessment of his poems.

Rasul Gamzatov is my favorite poet and I also wanted to write at least something about my favorite poet, about his work, give an assessment, express my thoughts. That's why I took this topic.

There is a lot of research on this topic. Many books, monographs, and articles are dedicated to Rasul Gamzatov.

The first small book about the poet is the book by the famous literary scholar and critic Vladimir Ognev “Journey into Poetry” and “Rasul Gamzatov”. The result is great research work L.B. Antapolsky’s book “At the Hearth of Poetry” appeared.

The well-known Dagestan critic Kamil Sultanov has written a number of articles of a general and specific nature about the work of Rasul Gamzatov. He also wrote the book “Rasul Gamzatov”. Great recognition for the poet’s creative inspiration were articles about him by recognized masters of the poetic word:
Y. Smelyakov, A. Fadeev, M. Svetlov, I. Tikhonov, K. Chukovsky, S. Marshak.

Literary and critical materials about the work of Rasul
Gamzatov are made in the books “The Tale of Rasul Gamzatov”, “The Mastery of Rasul
Gamzatov”, “Rasul Gamzatov - poet and citizen”.

Famous Dagestan critic-researcher of Rasul’s work
Gamzatov S. Khaibullaev dedicated a number of literary critical articles and books to him. The study “Legacies and Discoveries” attempts to reveal the diverse and large-scale world of Rasul Gamzatov. The author of the book will focus the reader’s attention on two problems: the poet’s creative mastery of the traditions of national artistic culture, his innovative contribution to Dagestan literature, which allowed it to become a phenomenon of national and world significance.

Ch.S. Yusupova pays great attention to the work of R. Gamzatov. A number of articles and books “Dagestan Poem”, “Formation and Development of the Genre”, “On Modern Avar Lyrics” were published.

Researcher Musakhanova draws readers' attention to the continuation or development of Pushkin's poetry in the works of Rasul Gamzatov.

The master of artistic expression Gamzatov does not limit himself to presenting his creations to the reader. In the prefaces to his collections, in literary critical articles, journalistic speeches, statements, notes, the poet strives to widely reveal the essence of literary creativity, to show the miracle of the birth of the poetic word, to justify the high purpose and calling of the artistic word. This task is successfully accomplished by the book “Loyalty to Talent,” which contains the most significant literary and critical articles of the poet.

Our scientific work dedicated to R. Gamzatov consists of an introduction, three chapters, a conclusion and a bibliography.

The introduction talks about R. Gamzatov, in general, about his role and significance for our literature, about the poet’s place in the history of our culture.

Chapter I “Pushkin traditions in the works of Rasul Gamzatov” examines the traditions developed in the works of R. Gamzatov and draws parallels between the works of R. G. Gamzatov and A. S. Pushkin.

In Chapter II “Development of the traditions of Dagestan classics in creativity
Rasul Gamzatov” explores the problems and tasks that R.G. Gamzatov develops in his work, continuing the traditions of previous poets and writers of Dagestan, based on the poem “Take care of mothers” and “Two Shawls”.

In Chapter III “Innovation of Rasul Gamzatov” we draw attention to the originality of Rasul Gamzatov, his dissimilarity from others, etc.

In conclusion, we give the conclusions that we came to as a result of the research and evaluate the work of Rasul Gamzatov, determine the significance and relevance of his work.

The bibliography includes the name of the critical literature used.

Chapter I. Pushkin traditions in creativity

Rasula Gamzatova.

While studying at the Literary Institute, Rasul Gamzatov studied the works of Russian classics, especially A.S. Pushkin. Love for creativity
Pushkin, his passion for his immortal works inspired Rasul
Gamzatov on the idea of ​​translating his poems and poems into the Avar language. He translated excerpts from Eugene Onegin, Boris Godunov, Poltava and other works by Pushkin.

As a result of such a passion for the work of the greatest Russian poet, R. Gamzatov translated “The Robber Brothers” into the Avar language,
"Gypsies", "Bronze Horseman". This was a good school for R. Gamzatov at the beginning creative path under the influence of Pushkin. Pushkin's school helped the young poet appreciate brevity, laconism, wise simplicity, purity and depth of feelings: to hate all literature and mannerisms.

No matter how Gamzatov’s literary tastes changed, his love for Pushkin’s poetry remained unchanged. Rasul Gamzatov's first steps in literature
Pushkin was and remained his constant companion, teacher and mentor.

Perhaps this is explained by the fact that the share of father Rasul Gamzatov
Gamzat Tsadasa has long had a cult of Pushkin: the founder of new Avar literature with great love and skillfully translated into native language. He expressed his attitude towards Pushkin in poems dedicated to his memory:

I will not break my word of truth

When I tell you, poet:

How the light of the sun enters the eyes

How glad I am that the Avar

I am captivated by your poetry

Dzhigit finds wisdom in him

And the old man gains youth.

Gamzat Tsadasa was doubly pleased when he saw that his own son was fond of Pushkin’s poems.

An unchanging love for Pushkin, serious work on translations of his works, in all likelihood, warned the young R. Gamzatov against getting carried away by all sorts of fashionable trends in poetry, which often happens to beginning poets.

Not everyone is given the opportunity to find a faithful teacher and mentor from the first steps of their creative path - this also requires flair and talent. Having mastered both, R. Gamzatov, even in his student years, found a worthy teacher in the person of Pushkin and with great benefit took lessons from him in poetic skill and wisdom.

R. Gamzatov owed this to his comrades and teachers at the Literary Institute. The time spent by R. Gamzatov at the Literary Institute is a kind of “lyceum year” for the poet. It was then that he learned the meaning and power of Russian literature, thanks to which a previously unknown big world opened up before him.

Many years later, in the article “Towards Modernity,” Rasul Gamzatov wrote: “Russian literature helped us write better, stronger, write more accurately, more specifically, more expressively express thoughts and feelings more deeply. She introduced us to wonderful examples of genres unknown to us. Mountain poetry acquired new features: its musicality was enriched with verbal painting, the ability to create expressive realistic paintings. In Russian literature, the highlanders saw not only the Russian person, the Russian character, but they saw themselves, their destiny, their thoughts, thoughts and aspirations. In Russian literature, our people found the truth about themselves.”

The study of the experience of Russian and world literature and R. Gamzatov’s own creative searches went hand in hand. In the history of the development of Russian-Dagestan literary relations, the image of the great Russian poet Pushkin, creativity
Pushkin occupy a special place. The role of Pushkin’s great creative experience in Dagestan literature, as well as Russian traditions in general classical literature, perceived throughout the world as a high school of excellence, is of great importance. But this aspect has been studied very poorly.

We are in our own scientific work we will try to explore this problem, namely, to trace the development and continuation of Pushkin’s traditions in his work
R. Gamzatova.

From the very beginning, the appeal of figures of Dagestan literature to the creative experience of Pushkin, who outlined it in the late 19th and early 20th centuries, especially intensified in the pre-revolutionary years in the work of revolutionary poets S. Gabieva, G. Saidov, Z. Batyrmurzaev and other advanced writers, helped to understand their own paths in art, gave a new glow to the traditions of liberation and civil service to the people that were ripening in Dagestan pre-revolutionary literature, and contributed to the strengthening of realistic features.

“And during the years of the revolution, the image of Pushkin was perceived by the progressive public of Dagestan as the image of a folk hero, a fighter against evil, as evidenced by the bright article of the poet-educator, the first prose writer
Dagestan, who died during the civil war, Nukhui Batyrmurzaev
“A few words to writers,” published in December 1917 in the first democratic magazine of Dagestan. “Tane Cholpan” (“Morning Star”) No. 8.
The only sign is that in the article Pushkin is presented in the constellation of great representatives of Russian literature - Lermontov, Nekrasov, Tolstoy and
Gorky, whom, like Pushkin, Batyrmurzaev considered true heroes, who were not afraid to speak the truth about the situation of the oppressed and disadvantaged masses. The author of the article called on his literary contemporaries to follow their example.”

This sublime tradition of understanding Pushkin’s ideological and artistic heritage continues to develop and enrich itself in Dagestan literature.
She responded especially widely in the translations of the works of the great poet into the languages ​​of the peoples of Dagestan, in the works of Dagestan poets dedicated to
Pushkin, and, of course, in creative studies with Pushkin.

At the present stage, there is not a single poet or writer who has not experienced the ennobling influence of Pushkin’s lyre. The work of R. Gamzatov is indicative in this regard.

His creative connections with the traditions of Pushkin, as well as in Russian literature in general, have not yet become the subject of special study, although the existing scientific literature constantly focuses on this topic. Rasul
Gamzatov constantly talks about his creative connections with Russian literature, about his teachers - Russian classics and masters of Soviet poetry, among whom he distinguishes the great Pushkin. The image of the great poet often emerged in his works. This can be explained by the difficulty and complexity of the problem of literary interactions, especially at the present stage, when they are characterized by a high creative level and
The “address” of influence cannot always be found, especially in a poet like R. Gamzatov, whose creative connections with Russian literature appear not as repetitions of samples, but as new ideological and artistic discoveries that continued new paths not only in Dagestan, but throughout the Soviet literature, being a poet, having his own face, his own national identity. R. Gamzatov is not afraid to talk about his teachers, among whom he most often cites names dear to him from Pushkin to Marshak, whose creative destinies serve as an example for him of a life and poetic credo. From them, as from his outstanding predecessors in Dagestan literature - from Mahmud to G. Tsadasa, S. Stalsky and E. Kapiev, he learned artistic comprehension of the depth of thought, beauty, clarity and expressiveness of figurative means and the power of the civil sound of the poetic word, realism.

Interesting in this regard are his “Word to the Reader,” prefaced by the three-volume “Collected Works” (1968), in which he lovingly names names dear to him, and a dialogue with Vl. Korkin, published in the magazine
"Literary Review", where he talks about Pushkin's realism. Also public are the words of R. Gamzatov that Russian literature helped many representatives of our national literatures “to write better, express their thoughts and feelings more powerfully and more deeply,” and that it “introduced them to new genres” associated with them in understanding the general patterns of development North Caucasian literature at the regional meeting of writers of the North
Caucasus in Nalchik in 1959. But his thoughts about Pushkin and the nature of his work are expressed more fully in the article “He Stood in High Thoughts,” published on the 150th anniversary of the poet’s death.

Emphasizing in all his speeches the question of the significance of the experience of Russian literature for the creative rise of our national artists, the poet invariably affirms his main idea: “A bad master who ceases to be a student, thereby explaining the high, moral and aesthetic meaning that he puts into concepts apprenticeship, since he well understands that traditions are frozen laws, and a living developing process and no matter how great the teachers are, the main Teacher of a true poet is always Life, connection with his people and time, which prompt him themes and images that absorb living impressions of the real world."

In his statements about Russian writers, not only is there a deeply realized internal need to express his spiritual connections with high world citizenship, truth, goodness and justice, humanism and beauty that characterize Russian literature, but the poet’s worldview is also expressed, feeling that he is the legitimate heir and continuer of the advanced traditions of Russian literature, which was developed in him by the Great October Revolution, by all Soviet images life and previous traditions of Dagestan literature.
R. Gamzatov’s aesthetic positions are harmonious with his artistic practice, being an example of fruitful treatment national writer to the experience of Russian literature. At the same time, it is important to note the organic understanding of the poet’s creative experience of Russian literature with its own traditions. All his statements are from public lines of an earlier period:

With a cute volume of Pushkin

I met youth

On my table next to me

Blok and Mahmud
The subsequent generalizations about two mothers - his native and Russian literature, who raised him as a poet of the Soviet era, reveal the essence of his poetic origins and illustrate this relationship. This process had a peculiar effect in one of the best poems R. Gamzatov's mature period "As long as the earth turns", where you can see a roll call with Pushkin
“Bacchanalian song” in the rapture of life, in the affirmation of its eternal and lofty principles:

Why did the joyful voice stop?

Ring out the bacchanalian choruses!

Long live. . .

Pour the glass full!

To the sounding bottom

Into thick wine

Throw the treasured rings!

Let's raise our glasses and move them together!

You are the bright sunshine!

How is this lamp paler

Before the clear sunrise of dawn,

So false wisdom flicker and smolder

Before the sun of the immortal mind.

Long live the sun, may the darkness disappear!

The work of R. Gamzatov gives a broad semantic content of the motif
The bacchanalian feast of Pushkin’s poem by comprehending the “essence of life” and its philosophical wisdom. R. Gamzatov’s poems, like Pushkin’s, begin with chanting the joy of being, the fullness of life:

I drank the sun like people drink water

I walked along the mountainous mountains

Towards the red sunrise,

Following the red sunset.

I greedily drank the sweetest air

Infused with clouds.

I reveled in the beauty of the earth

Blessed her lot

Fell in love more than once, killed myself

And songs, like songs he sang

This peculiar beginning creates a special mood of moral purity and light, bringing together the mood of Pushkin’s poem and serving as a psychological concretization of the life credo of the lyrical hero:

The nature of the human soul is complex, -

I drank with my friends at the same time

In the hour of joy - a booze of honey,

In the hour of grief - bitter wine

And if I drank with my heart, I didn’t drink

For fun and pleasure

I saw the ashes of Hiroshima

I heard laughter at festivals.

The impressions of the outside world gradually expand and lead the author to deep psychological image universal human traits of the modern highlander, revealing his moral character, absorbing the troubles and anxieties of humanity, intensely thinking about the meaning of life. And the wonderful lines of the poem, which, like Pushkin’s, are the result of what was told, carry, in Pushkin’s way, a bright thought about the triumph of life, about the triumph of its eternal principles:

I love, and rejoice, and suffer.

And I drink every day to the dregs,

And I feel thirsty again

And life alone is to blame for this.

Let me leave the world one day

I did not quench my thirst in it.

But people crave this thirst

As long as the earth turns.

As G.B. Musakhanova writes in the article “Pushkin’s traditions in creativity
R. Gamzatov” “... the Pushkin tradition finds consonance in Gamzat’s perception of the philosophy of the immortality of life, permeated with the morality of the personality of his contemporary.”

Let's remember the ending of Pushkin's poem:

Long live the muses, long live the mind!

Long live the sun, may the darkness disappear! For years we have known this youthful bright perception of life, its eternal life-giving principles, receives fullness and depth of sound in creativity
Pushkin. And despite the dramatic circumstances of his life, the loss and death of like-minded friends, despite all the conflicts and cataclysms of reality, which were reflected in his work with deep poignancy. He retained a sunny perception of the great value of life. It is no coincidence that advanced Russian criticism characterized him as a “sunny genius”, a deeply harmonious talent.

Many works were created in this Pushkinian way of perceiving life.
R. Gamzatov's mature period, telling about the transience of life towards death, characterizing the deep psychological revelation of the “dialectics” of the human soul. Understanding the nature of Pushkin’s realism, his historicism artistic thinking, R. Gamzatov, in a dialogue with critic Vl. Korkin, says: “A realist, no matter what tragedy or drama he experiences, knows that life is beautiful and eternal... Pushkin’s realism affirms the unity of being in the perspective of history, reveals the law of harmony of the real world, the dialectic of the soul.”

A distinctive feature of R. Gamzatov’s perception of Pushkin’s traditions lies not in the externally tangible “points” of contact with his heritage, but in the diverse creative comprehension of the life of the “secrets” of mastery, in the assimilation of his principles of a truthful portrayal of man and his connections with society, in the historicism of comprehension of leading trends time, in relation to native folklore, in search of their own paths in art. And in this capacity, the connections between R. Gamzatov’s creativity and Pushkin characterize a new level of contacts and rapprochement between Dagestan literature and Russian literature. One of the main common creative principles of both poets is the “all-responsiveness” of their poetry.

“F. M. Dostoevsky singled out as one of the most important features of Pushkin’s work the “all-revoking nature of his lyre,” the breadth and depth of the response to the leading problems of the time, and V. G. Belinsky saw in “Eugene Onegin”
"Encyclopedia of Russian life" of the 20s of the last century."

But Pushkin’s work was not addressed only to the Russian reality of his time; the poet was excited by the past and future of Russia; as G.F. Yusufov says, “the roar and peals of European revolutions and liberation movements of the end burst into his poetry XVII beginning XIX century.

Under his pen, the West and East panorama of the life of the peoples of Russia acquired enduring artistic value, expanding the ideological and thematic horizons of Russian literature.

“Responsiveness”, breadth of understanding of the history and modernity of the West and
The East is also distinguished by the poetry of R. Gamzatov, which has significantly enriched the thematic, national and international scales of literature
Soviet Dagestan.

In the breadth of coverage of modern problems, Pushkin’s experience in a certain way served as an example for him. At the same time, there are also typological convergences that raised the world of poetry of R. Gamzatov with Pushkin in search of high spirituality, in problems of morality and humanism, in the artistic principles of the relationship between the individual and society, and the openness of human feelings.

Pushkin is especially dear to R. Gamzatov for the patriotic and international features of his poetry, which he speaks about with great warmth and admiration in the article “He stood full of great thoughts.”

At the end of the 20th century, examples of his favorite poets Pushkin and Lermontov appeared in the poetry of R. Gamzatov - they acted as symbols of conscience and honor, highest peak human spirit. This is not only a well-worn tribute to the memory of the great Russian poets, which was typical for many works of Dagestan poetry of the 30s and subsequent years dedicated to the great Russian classics. His works do not contain their biographies, but they contain the high spirit of Russian classics, enriching the disclosure of complexity spiritual world a contemporary who seeks to the essence of complex issues of existence and helps to reveal new facets of the confessional nature of poetry
R. Gamzatova. Thus, in the works “The time has come” to “blow out the lights of the villages”,
Lermontov’s “The Border between Life and Death of Pushkin” becomes the theme of philosophical moral understanding of the border between meanness and greatness of spirit, ideological existence and immortality.

At the same time, R. Gamzatov’s images of Russian poets, despite all their veneration, are not textbook ones. Among similar works by R. Gamzatov, dedicated to
Pushkin, one short poem stands out, in which the image of the Russian poet helps to understand the difficult relationships between peoples in the past
Dagestan and Tsarist Russia. This is an eight-line poem with an epigraph of one line from Pushkin’s “Prisoner of the Caucasus”: “Humble yourselves, Caucasus, Ermolov is coming!” And then the whole poem is a reinterpretation of this epigraph:

No, we didn’t resign ourselves and didn’t bend our backs

And in those years, and hundreds of years later

Neither the mountain sons nor their peaks

At the sight of the general's olet

Neither cunning abuse nor strength

Nothing to do with it. I undertake to assert:

It was not Ermolova’s Rus' that conquered us

The Caucasus was captivated by Pushkin's Rus'.

As we can see, a very serious topic is stated, and despite the laconicism of its artistic solution, the author managed to convey complex relationships
Dagestan and Russia period Caucasian War and reveal the meaning of new relationships, born of the friendship of peoples, show the new attitude of the highlander, who feels himself the rightful heir of advanced Russia -
"Pushkin's Rus'", looking for spiritual principles in history for the rapprochement of our peoples. The remarkable lines clearly separated Pushkin as a sympathetic highlander from official Tsarist Russia and are an innovative artistic solution to the theme “Pushkin and the Caucasus.” This is a kind of poetic monument to the great Russian poet. And at the same time, the poem becomes a new discovery of the national and international character traits of the modern highlander, his civic positions. The image of Pushkin, his personality allows the poet to highlight the complexity and multidimensionality of life, the value of the spiritual and moral searches of his contemporary.

Appeal to experience and the image of the genius of Russian literature enriches the artistic vision of history for Dagestan poets and brings Pushkin closer to our time.

At the same time, the creative assimilation of his experience contributed to the revelation of new facets of the confessional orientation of R. Gamzatov’s poetry and filling it with philosophical depth. At the same time, the national artistry of his work was expressed even more clearly, testifying to high level literary connections at the present stage, when contacts, contributing to new artistic discoveries, deepen the features of the originality of his poetry, which represents a whole imaginative world of ideas and poetic discoveries.

For understanding creative nature The connections between R. Gamzatov’s poetry and Pushkin’s traditions are of significant interest in the assertion of the sonnet tone in his poetry, which largely develops in line with Pushkin’s traditions.

In his artistic quest to create this genre, R. Gamzatov relied on the traditions of all world poetry, but his work echoed the traditions of the Shakespearean and Pushkin sonnet. For R. Gamzatov Pushkin and
Shakespeare is the greatest peak of poetry, artists who, in his opinion, “mastered with equal strength the two strings of human nature - feeling and thought” and brilliantly expressed them in an organic alloy. And at the same time, the mountain sonnets of R. Gamzatov became a new word, opened up new things for the literature of their native land, their North Caucasus artistic possibilities, introducing the sonnet to the pan-European culture.

But the main thing that is especially important to emphasize is that the appeal to the sonnet genre - this complex form of lyricism - corresponds to the artistic nature of the Dagestan poet and is not perceived as foreign in his poetry. He accepted the experience of Russian poetry and the international experience of the sonnet, based on the capabilities of the national tradition of his native culture and his artistic practice.

Even before turning to the genre of sonnets, the share of which is considered the main image of love, the struggle of passions, moral conflicts, R. Gamzatov proved himself to be a generally recognized master of love lyrics, and in his sonnets he organically merged the centuries-old traditions of oriental love lyrics with European traditions sonnets, poeticizing and exalting Woman and the holiness of feelings.

It also corresponds to the established principles of his poetry, especially his miniature and eight lines, the brevity, metaphorical and orophoric nature of the narrative characteristic of the sonnet with an emphasis on the depth of subtext, which acquires philosophical significance, with the final lines being the semantic key of the work.

R. Gamzatov introduced a living stream of national mountain poetry into the centuries-old art of the sonnet. The poet overcame the specific barrier of the formal requirements of the sonnet system, with its complex rhyme and arrangement, due to the variety of natural means of Avar verse, despite the lack of final rhyme, as the poet himself said later: “The marriage of Avar verse with the European sonnet is a marriage of love, and there was no violence in it.
Here I am on my horse and at my gate.”

All these facts indicate that the traditions of Pushkin, his realism, historicism of deep comprehension of life and human character are fruitfully developing in Dagestan literature, giving new impulses that help the spiritual and poetic growth of our literature. These few observations, naturally, do not pretend to be a complete coverage of the relationship between poetry
R. Gamzatov with the creative experience of Pushkin.

Chapter II. Development of the traditions of Dagestan classics in the works of Rasul Gamzatov.

As researcher Khaibullaev writes: studies of the consistent historical path of origin, formation, formation of Avar literature, how aesthetic system suggests that creativity
Rasula Gamzatov, being a new, higher stage of development, at the same time is a natural and logical continuation of the traditions of national artistic culture.

Connoisseur and connoisseur of poetry N.S. Tikhonov noted the connection between creativity
R. Gamzatov with development trends and experience of previous literature and his innovative character. In an open letter in honor of the award in 1963
Rasul Gamzatov Lenin Prize for the collection “High Stars” N.S. Tikhonov also wrote: “Old friend, dear Rasul! It is not easy to be an outstanding poet in a country where high poetry has long been known and loved. It is not easy to continue the poetic work in Dagestan, in Avaria, where there were also powerful poets like
Chanka, Mahmud from Kahab-Roso and Gamzat Tsadasa, the people's memory will carefully preserve them, but you must do this, because the proud native mountains, native people gave you the strength and word for poetic feat. And thus you have earned the love of a great reader.”

The poet's creative connections with the traditions of national culture are complex and multifaceted. Approaching the work of Rasul Gamzatov, with his articles on the history and theory of literature of the peoples of Dagestan, one can understand that he mastered the achievements of the artistic thought of the world and Dagestan, in aesthetic, ideological and artistic terms.

National culture gave him energy and strength for further creative takeoff.

The experience of the development of Avar literature confirms the correctness of the conclusion that “a mass literary movement is always a necessary historical prerequisite for brilliant writers.”

The literature of Dagestan in the second half of the 19th century promoted Mahmud from
Kahab-Roso, in which the creative power of the era was concentrated.

The era of great social changes led to the emergence of a brilliant satirist in Avar literature, Gamzat Tsadasa, who was replaced by Rasul
Gamzatov is a poet of great talent who continued the traditions of Dagestan lyric poetry in the 20th century.

Rasul Gamzatov repeatedly pointed out the peculiarities of the movement aesthetic thought peoples of Dagestan.

“We must remember that poetry, the most original, original form of our literature, contributed and is contributing to the birth and development of other peoples and types of literature. We detect kinship from positions in our young prose and drama.”

“Starting from the 18th century, throughout its development, ideological and thematic series and problems were core in Avar literature: the emancipation of the human personality, the emancipation of women, the fight against religious obscurantism. Strong social motives, close interest in the concerns and needs of the working person, glorification of goodness and justice determined the humanism and democracy of the developing literature.”

Tracing the evolution of the genre structure of Avar literature, we notice constant continuity here too. One of the common genres of Avar poetry is philosophical lyrics, the founders of which were
Magomed Kudutlinsky and Hasan from Kudali, further development and it receives development in the poetry of Ali-Gadzhi from Inkho, then in the poetry of Gamzat Tsadasa and
Rasula Gamzatova. The traditions of love lyrics were consistently passed on to each other by Ankhil Marin, Eldarilav, Chanka, Mahmud from Kahab-Roso, poets of Mahmud's time: Etil Ali from Tletl, Nurmagomed from Mesterukh, Magomed from
Tlokha, Kurban from Inkhelo, Rasul and Magomed from Chirkey. She becomes the leader in Galuatov’s work.

Satire, which became the main weapon of Gamzat Tsadasa, originates in the work of Said Arakinsky and is further developed in the poetry of Magomedbeg from Gergebel, Alibadzhi from Inkho, and Rasul Gamzatov also often turns to it.

The movement of Avar literature from era to era allows us to trace the diverse manifestation of traditions in the form of ideological, then in the form of thematic, then in the form of genre, then in the form of style, then in the form of principles of selection, generalization, reflection of life phenomena.

Each subsequent generation of literary figures had a cultural heritage - a set of artistic values ​​created previous generations artists. But it did not meet the demands and needs of subsequent eras; not everything in it could be accepted and continued.

In the exact expression of Romashka, “Tradition is the past in the present and the modern in the future, that active tendency in literature through which time is carried out, it is a common language for the literature of different eras.”

As a lyric poet, Rasul Gamzatov did a lot for the development of literary and critical thought in Dagestan. He appreciated the work of every poet of pre-revolutionary Avar literature and determined his contribution to the development of national culture. And as a result, he created a rather complete contradictory picture of the successive development of the literature of peoples
Dagestan in stages, starting from its origins to the present state.

Rasul Gamzatov, revealing his attitude towards cultural heritage ancestors, explains what he could draw from it, what he acquired, what he continued, what he abandoned, in what area he had to continue new paths.

Literary and critical works allow him to lead readers into his creative laboratory and show “the miracle of the birth of the song word.” In his poems, poems, prose, literary critical articles, he increasingly turns to the creative and civic appearance
Mahmud from Kahab-Roso and Hamzat Tsadasa. For him, they are artists who determined entire stages in the development of the artistic culture of the people, beacons on which their contemporaries and followers were guided, they determined the confident pace of our literature. Rasul Gamzatov figuratively and at the same time concretely expressed this movement of Avar literature from one milestone to another.

Rasul Gamzatov, who grew up in the traditions of his predecessors, awakens
Gamzat Tsadasu, he is Mahmud’s turn, Mahmud collects his predecessors and contemporaries. If we arrange this series in chronological order, then Mahmud from Kahab-Roso, according to the expression
N.S. Tikhonov, “was called upon to complete the enormous path of development of mountain lyric poetry with the creation of works that are high images of not only Dagestan, but also world lyricism.”

Mahmud created a whole poetic school. During the life of Mahmud from Kahab-
Roso created a whole galaxy of lyric poets, who followed in his footsteps in line with his themes, problems, and often imitated him, being unable to surpass his strength in the quality and degree of their talent. The poet worked almost until the end of the first decades of the twentieth century.

Mahmud is a lyrical poet, but Mahmud’s romanticism was replaced by the realistic tendencies of the original poet Gamzat who appeared on the literary arena
Tsadasy.

Gamzat Tsadasa correctly understood the processes taking place in life, reflected them truthfully, raised questions relevant to social development and sought to give a clear answer to them. This strengthened the connection between his literature and the life of the people.

N.S. Tikhonov had reason to say, even when the multifaceted talent of Gamzat Tsadasa had not yet fully revealed, about him: “He was the sharpest mind of modern Avaria, a poet who killed the enemies of the new with words, a sage experienced in all the subtleties folk life“, merciless to everything false, a brave fighter against ignorance, stupidity and self-interest.”

Having inherited from their teachers and mentors the lessons of civil and artistic activity, Rasul Gamzatov turns to the new poet to wake him up, to wake him up in the sense that he, the new poet, will have to continue to carry the poetic baton that he himself once accepted from his predecessors.

The merit of Rasul Gamzatov is that without losing the achievements of his predecessors, the fire of their poetry, preserving in his work the spirit and power of pre-revolutionary literature, he paved a new ramp for the development of the culture of the peoples of Dagestan.

In addressing the woman, Mahmud from Kahab-Roso and Rasul Gamzatov are very close to each other. But their principles of this treatment are very different. They determine the originality of the ideological, artistic and aesthetic systems of the two poets. The poetry of Mahmud of Kahab-Roso is centered on his beloved. Continuing Makhmud's traditions, and at the same time, competing with him in comprehending the depth of figurativeness and expressiveness of the world of human feelings, Rasul
Gamzatov wrote many love poems. They are distinguished by Makhmud's passion, intensity of feelings, and temperament. Other works of this cycle are close to the poetry of Mahmud in their tonality, romantic elation, sublimity figurative system, the desire to subordinate all the forces of nature to love.

Along the crests of years not in the form of a tower,

And a woman of flesh and fire

She still comes to me today

And turns me into a boy.

In his poems, naming the names of his teachers and mentors, addressing them with words of gratitude, Gamzatov writes:

I know all of Mahmoud by heart,

But there's one thing I don't understand:

Where about my love, where from

Did he find out before I was born?

The image of the mother represents us as the keeper of the family hearth, and that from which the movement of life is impossible, the keeper of water and fire, the central support of the mountain family sakli.

It's hard to live when you've lost your mother forever

No one is happier than you, whose mother is alive!

In the name of my dead brothers

Listen - I pray! - in my words!

No matter how events beckon you

No matter how the whirlpool attracts,

Take care of your mother more than your eyes

From grievances, from cravings and worries.

Tracing the work of Gamzat Tsadasa, one can clearly imagine the movement of the poet’s thoughts from Dagestan to vast Russia, from there to the concerns and aspirations of humanity. This process is especially noticeable in Tsadasa’s work of the 40-50s during the period of his son’s intensive literary work. Gamzat with his creativity, social activities lifted his son onto his shoulders so that he could see the distance to which he was walking due to the transience human life couldn't get there. And Rasul Gamzatov took in these distances with his gaze, told Dagestan about them and told them about his homeland.

I love life, I love the whole planet,

In it, every, even small corner,

And most of all, the Land of the Soviets,

I sang about her in Avar as best I could.

Across all countries, across all continents, Rasul Gamzatov carried his love and his pain, not for a minute, without forgetting his native Dagestan. And whatever you sing about
Gamzatov, his song is ultimately about the Motherland:

From which peak I will not throw a stone,

I see him flying and selling there,

In what depths did the song not come to me,

She is flying to my native mountains!

Dagestan literary studies are faced with the task of comprehensively covering the issues of Russian-Dagestan literary connections both in all Dagestan literature and in the works of its leading representatives.
The work of Rasul Gamzatov makes it possible to concretize the answer to the question “what do national literatures give to Russian literature?”, which, in essence, our science has not yet answered. The development of the literary process of our time increasingly brings it forward to Dagestan literary criticism.

Eternal themes - love for a mother, love for a woman - what a mystery they contain!
It seems that everything has been said, but if the hand of a true artist touches them, they will sound as if for the first time.

When your day begins,

The moment the dawn breaks,

And the sun touches the window,

Burning lights on the windows?

And mine only begins then,

When, giving me a look

My friend is waking up.

The book of love by R. Gamzatov “Two Shawls” is a book of many and contradictory hearts, simple and complex. His love is like a transparent crystal through which his mother’s face shines.

Fill the whole house with tobacco spirit

Pour buza, if you want wine, drink it,

You don't have to feel sorry for me, old woman.

Just get well soon.

It is a mountain stream in which different streams merge. The national Avar character and folk traditions give the book a unique identity. How not to marvel once again at the native Russian language, whose generous ability to penetrate into the peculiarities of others??43 gives us the opportunity to enjoy translations, feeling the difference between an Italian and a Kalmyk, an Estonian and an Indian. Gamzatov in Russian sounds like a highlander and no one else. This is a considerable merit of the translators, although not all the poems in the book “Two Shawls” are translated successfully and it is sometimes not easy for the reader to get to the true Gamzatov through such phrases as “the silent mouth of the mouth, the memory of gray hairs,”
"hope with the morning brow." The poem “Take care of mothers” is a hymn to the Motherland, mother, woman. The poem is polysemantic and rises to high civil generalizations, is divided into lyrical passages or everyday scenes and focuses attention on the image. The idea of ​​the poem, born of the need to fill the void that was created after the death of the mother, to quench the thirst for memory and to express the feeling of a hopelessly unpaid debt to her, is not reduced to one specific image - in the poem there is a deep and emotional reflection on the lives of all mothers and sons, their relationships, his farewell to his mother, farewell to all mothers and sons.

The ideological and moral content of the poem is enriched by the introduction of folklore national traditions and folklore imagery into its artistic system. A spiritual and psychological portrait of a mother who lived a life full of work, worries, grief, but also joys and happiness, a portrait of a person who managed to survive.

This is all wonderfully defined and expressed by one single, but extremely capacious image of a shawl. The ancient and obligatory, by law, custom of wearing a scarf - a shawl - made it a broad national symbolic image. The white scarf of the mountain woman in folklore is a symbol of purity and purity, the black one is a sign of mourning and sadness; removed from the head and thrown at the feet of the warring, it is an instrument of peacemaking, its loss is a shame forever, etc.

A direct and immediate witness and participant in all events in the mother’s life, the shawl becomes an emotionally interested storyteller, for all the dramas of her owner’s fate brought fundamental changes to her “life.”
Reflecting the changing waves that reigned in the mother’s life—more broadly in humanity in general—her colors changed: cheerful ones gave way to sad ones, and vice versa:

What kind of person I was!

And green.

Like a sultry mighty banana in Africa

She was lilac, like the praetors of the glades,

That in May they are dressed with carpets of violets.

It was also a warm coffee color,

It was orange-yellow, like a sunset,

She was golden, like falling leaves,

And gray, like the inscription on an old dagger, -

The colors reflected the change of fate.

Chapter III. Innovation of the creativity of Rasul Gamzatov.

In the previous chapter we tried to determine the degree of commitment
R. Gamzatov to the traditions of national poetry, both folk and professional, and now let’s try to find a renewal of traditions in R. Gamzatov’s work. One of the advantages of literature is its connection with modernity. It is expressed in an appeal to the pressing tasks of humanity, the ideas of humanism and democracy, in a vision of the world, its past, present, future through the eyes of a modern artist, modernity artistic language, visual and expressive means. According to the definition of V.V. Grinin and
A.B. Ladygina “Modernity in art is a new modern hero, new human characters and a fundamentally new perception of the world, just like creative finds in the implementation of the plan.”

Regarding Russian multinational literature, the terms and concepts, modernity and innovation are perceived as synonymous, since best artists— our contemporaries are true innovators in the field of artistic creativity.

We include Gamzatov among the galaxy of such masters of art, with whose work begins a new, more mature period in the development of Avar and all Dagestan literature, when “it develops deeper layers of national reality, when poetic arable land expands, when artists dare to speak and more often turn to universal humanities.” problems."

One cannot ignore one of R. Gamzatov’s early poems, “Love Different from the Ancestors,” in which the poet talks about the new quality of patriotism of the Soviet people.

Yes, his ancestors - poets and workers - passionately loved their Motherland and people, lived and worked for their benefit and prosperity. But love was of a different quality, since the country itself resembled an eagle that did not open its wings:

A love different from that of our ancestors,

I love you, my dear fatherland.

I love you for your spring, for your sun

Especially for your five-pointed star.

The homeland of the mountaineers and mountaineers free from centuries-old oppression of bondage, the republic is building in the large family of peoples of the Soviet country happy life- an object of special love and admiration.

As Khaibullaev writes: “The feeling of a united family, the understanding of one’s involvement in the great creative activity of the Soviet peoples significantly expanded the poetic range of Rasul Gamzatov’s creativity and became the leading theme of all creative work, determined his appeal to the destinies of the people of our diverse planet.”

Literally with each new collection, the poet becomes more and more drawn to eternal and never-ending problems: the problem of goodness, justice, humanity, attentiveness, sensitivity to the concerns and needs of the peoples of neighboring and distant countries. Developing the Dagestan national theme, the poet comes to large-scale conclusions and generalizations that are topical for humanity
…».

Gamzatov’s poetry and prose covers all facets of the life of the peoples of Dagestan.
At the center of Gamzatov’s poetic perception is Dagestan. He is the cradle of his poetry, his inspiration. Threads stretch from it to the most remote corners
Russia, and from there even wider to the countries and continents of the planet.

Explaining the concept of many of his works created abroad or on foreign themes, their ideological and thematic orientation, the poet writes: “I don’t want to look for all the phenomena of the world in my sakla, in my aul, in my
Dagestan, in my sense of the Motherland. On the contrary, I find a feeling of Motherland in all phenomena of the world, in all its corners.” And in this sense, my theme is the whole world.”

In this fusion of national and universal motives, Chingiz sees
Aitmatov the power of influence of Rasul Gamzatov’s poetry on the reader. He's writing:
“Gamzatov’s practice gives full grounds to judge the beneficial nature of the creativity of the combination of national and international in art and literature.
Constantly relying on Dagestan, asserting the word “Dagestan,” asserting civil national identity of his people, Gamzatov creates a broad, universal path of poetry, mastering the experience and achievements of Russian and world literature, boldly invading dialectics modern life, Problems modern century. This explains the wide fame and popularity of Gamzatov, the love of multinational readers for his poetry and prose, for they see in him their contemporary, a great Soviet writer equally close to everyone.”

Getting acquainted with the life of different countries and peoples, she convinced the poet that people all over the earth live with the same concerns about peace, about bread and warmth. These thoughts and concerns bind them. In the modern world, people, no matter where they live, cannot think about the future of humanity and our long-suffering earth. These thoughts are embodied in specific poetic material.

“The poetry of Rasul Gamzatov is distinguished by the scale of his thoughts. Concreteness of images and depth of generalization are its inherent qualities.”

Whatever phenomenon and facts of national and international activity he addresses, the poet knows how to put a charge of great emotional and artistic impact into this poetic material.

In his poetry, Rasul Gamzatov strives to find something that is consonant with people of other countries and languages. Addresses large and important issues of our time, and introduces this universal, universally significant into Dagestan reality.
The value and necessity of posed problems, the ability to connect national problems with universal humanity, high artistry made Rasul Gamzatov’s poetry understandable and close to the people of the planet, thanks to it he acquired millions of friends and like-minded people among people of good will. With his work, Rasul Gamzatov raised Dagestan literature to an unprecedented height, gave it new qualities, made poetry accessible to many modern problems, equally important and close to his native people, home country. He managed to build bridges of friendship between peoples and strengthen their mutual trust.

Rasul Gamzatov told the people of the earth about the amazing republic
Dagestan and its people. And the mountaineers discovered an unusually colorful world of countries and continents.

In the works of Rasul Gamzatov one can see the most diverse approach to the heritage of national artistic culture. It is expressed " Firstly, in the use of traditional poetic genres and types, artistic forms to display new reality, a new person, a new psychology.

Secondly, a significant update and introduction into creative practices of those vaccinated, but who fell out at the extreme stage literary development artistic forms.

Thirdly, in breaking instilled aesthetic ideas about the nature of a particular genre, enriching it with new criteria, i.e. new content or form-building features, components.

Fourthly, the introduction of a national artistic system of unusual genres and types that are widely used in world artistic practice.”

What is new with Rasul Gamzatov, it seems to us, is the expression of new features of the national spirit, which the poetry of his fathers could not reveal. It's about, of course, not about the degree of talent - among predecessors of predecessors
Gamzatov were great poets. But he personified another new day for the country that built communism. New people, new love, new songs, new landscape,
Dagestan of victorious creators and builders, Dagestan in many ways connected not only with the lives of its neighbors, but with the modernity of the most distant countries and peoples, a part of a mighty power, he was the first to say this loudly. The novelty did not bring him any loss of his mountain identity. But its originality is also new. Melody of the Accident in his poems about Cuba, Africa or Japan. It is clear that he is a “general” poet, using S. Stalsky’s definition, i.e. Soviet.

But the pan-Soviet and pan-human (because this is also the wealth of his talent) did not implore the national in his poetry. On the contrary, they made the national higher, more vigilant, more powerful. Let us remember the words of A. Blok:
“The passion of every poet... is saturated with the spirit of the era... for in the poetic perception of the world there is no gap between the personal and the general...” Personal (own) and general
(social) at every moment of the creative act cannot help but come into contact and coordinate with each other.

The wider the circle of thoughts, the more significant these thoughts, the more global the geography of Rasul Gamzatov’s poems, the more willingly over the years he resorts to the source, which he called pure and eternal - the mountain poetic tradition. Let's look through "Clear Years" - a mountain song, a legend, a fairy tale, not only as one of the components, but also in its original form, so to speak, included in the book. They brilliantly serve the poet’s intentions.

The Lezgins have a legend about the hero Sharvili. This mountain hero, like Antey, lost strength as soon as his feet left his native land. Sharvili was defeated when peas were scattered at the site of the fight and covered with carpets. Maybe in our age, for a poet, peas are a danger of crumbling into shallow darkness, and carpets are indifference and complacency?

Thank God, neither one nor the other ever affected Rasul Gamzatov.
Sulu poet multiplies tenfold motherland. Its increasingly visible kinship with the Dagestan folk tradition.

In the work of Rasul Gamzatov, along with the inherited blood of mountain poetry, there is also fresh plasma flowing into the fruit of modern and Soviet poetry; next to the beaten paths of Dagestan poetry, he paves new highways along which generations of young and recognized poets go
Mountain countries

N.S. Tikhonov, a great expert and connoisseur of Caucasian poetry, always noticed this innovative role of the Dagestan poet:

“Before him there were many good and different poets, and even extremely significant, but he brought something new into the world of transformed mountains, hired the broadest word to express not only everything that would speak about his native Avar region and his fellow countrymen, he became a poet of new feelings, a new man-builder, for to which everything that is outdated, dilapidated, close, everything that strives to heights, everything that adorns the man of our time is alien.”

R. Gamzatov is one of the many artists who writes in a wide creative range. He embraces in his work almost all types and types of word art. Some of them he inherited from the national artistic tradition, others were provided by the experience of the world literary process.

On the other hand, in the work of Rasul Gamzatov we find, as Khaibullaev notes: “... updating the traditional genre arsenal of Avar poetry or enriching certain genres with new qualities that were not inherent in them in early, habitual artistic practice.”

In the folklore of the peoples of Dagestan, and in professional literature, small artistic forms such as quatrains, octets, and inscriptions that are miniatures have been and are widely in use.

Gamzatov increasingly turns to these loud local forms.
In the work of Rasul Gamzatov, these lyrical miniatures were partly preparations or sketches for larger poetic works. The poet himself defines the creative history of these works in this way.

“They said that I came to the “eight line” genre, following the mountain poetic tradition. It's hard for me to agree with this. I started writing eight-line poems because it was convenient for me to express myself in them at that time. AND
“blanks” for big things often found their full and complete embodiment in this short genre.”

The poet's genre of eight-line and quatrains should be considered as a synthesis of many traditional phenomena and innovative searches.

Despite the deep historical roots lyrical miniatures, their connection with the experience of previous literature and their auxiliary role in the poet’s creative plans, we can say that lyrical miniatures are the poetic discovery of Rasul Gamzatov, his revival of the traditions of this genre in new conditions.

“Miniatures are not a by-product or a cost poetic creativity, but an original and completely independent form of artistic representation and expression. The “octets” and “inscriptions” are made up of brilliant miniatures, for which the poet looked for examples in folk speech. In them he invested not only his life experience, but also the experience of many generations of their people. In these extremely condensed poems, he appears as an experienced and wise lapidary. Feeling, the embodied word, appears before us purified of everything inert or superfluous.”

A pattern emerged in mastering the genre of lyrical miniatures creative process, which was accurately noted and named by R. Gamzatov.

There is a moment when you imperceptibly cross the border of the artistic experience of the past in search of something new. Keeping the old in yourself, you move towards the new.

As a result of this movement, genres were updated:

Write on your dagger

Children's names so that every time

Hot-tempered people remembered

Something that is sometimes forgotten.

Cut out the butt of a rifle

Mothers' faces every time

With condemnation or pleading in his gaze

Mothers would look at you.

The poet rediscovered the genre of lyrical miniatures, showed its rich artistic possibilities, corresponding to his aesthetic demands of the time, so other poets began to turn to him.

If eight lines and quatrains, inscriptions can be found analogies and original forms in the folk and professional poetry of the Avars, then such genres as epigrams, sonnets, legends, established in the work
R. Gamzatov, are new and unusual genres for the poetry of peoples
Dagestan.

The search for new forms and their widespread introduction into creative practice are determined by the individuality of the artist himself, his worldview, aesthetic ideas, the breadth of creative searches, the originality of poetic thinking, interests, inclinations, professional level and training.

The pre-revolutionary poets of Dagestan, at best, could rely on the traditions and achievements of Eastern poetry, which was close and accessible to them, while the modern artist has access to the entire creative experience of world artistic culture and its conquests.

One of the genres brought to life by the more mature level of artistic thinking of the peoples of Dagestan is the sonnet.

Your eyes.

I saw your eyes differently:

When there is calm in them, when there is a thunderstorm,

When they are as bright as a summer day

When they are dark as the night's shadow

When they are like mountain lakes

From under the eyebrows they look with a transparent gaze

I saw them when they were dreaming about something

When long eyelashes hide them,

I used to see them soften,

Sad looking tired...

Bent over my line...

They took away the clarity and peace

My previously unperturbed eyes, -

And I’m an eccentric, I’m singing them for the hundredth time.

The best poets of all times and peoples have turned to the sonnet since the Middle Ages.

They checked theirs on it creative possibilities and poetic power
Petrarch, Dante, Michelangelo, L. Roxor, W. Shakespeare, Goethe, A. Pushkin, M.
Lermontov, A. Mitskevich, A. Fet, A. Blok, V. Bryusov, A. Akhmatova, and. Bechler and many other recognized masters of artistic expression.

Gamzatov's poetry perceives modern world in all its complexity and inconsistency, it exposes its wounds, poses burning problems for humanity and therefore does not leave anyone indifferent, attracting the attention and interest of many millions.

True innovators do not refute but continue the best traditions of their native culture, deepening and enriching these traditions in new historical conditions. Gamzatov took such a difficult but fruitful path from the very beginning of his creative career.

The best writers always look at the world with sober, open eyes and therefore see things as they really are.

Rasul Gamzatov, whose work follows the best traditions of Russian and world literature, has always advocated a truthful reflection of reality. In poems about happiness, Gamzatov depicts human happiness, which a person achieves through continuous work and battles.
Gamzat’s understanding of happiness, its attitude to life in general, seems to be a direct continuation and further development the best traditions of world poetry.

In his “Poems about Happiness” truly patriotic feelings and constant anxiety for the fate of the world merged together. Rasula Gamzatova in these poems continues the best traditions of revolutionary poetry and, first of all, V.V.
Mayakovsky.

“Poems about Happiness” by Rasul Gamzatov unusually expanded the boundaries of his poetic lyrics. She became a phenomenon of world poetry.

Against the background of Avar national life, Gamzatov managed to glorify hospitality as a universal phenomenon.

Even though my house is off to the side

But still take a detour

And come see me

My stranger, friend.

Not only political, but also Gamzatov’s love lyrics are polemical. IN
In Gamzatov's poems about love, thoughts and feelings, fused together, shimmer like colors in the sun. Feelings of affection for their beloved are conveyed in them with noble restraint.

As Kamil Sultanov writes, “Prayers of tender attitude towards a woman, exaltation and praise of her with enormous political power, expressed in love lyrics Gamzatov, his latest poems about love, embodied in perfect artistic form. It is significant that in Gamzat’s poems, glorifying the sublime feelings of boundless love, there is no word “love”. The poet sang love without using the word itself.”

I'll be there on a long autumn night

Silently keeps your peace

A maple bending over a sleeping valley,

Quiet rock above the river.

Gamzatov's lyrics radically changed mountain readers' understanding of lyrical genre, taught them to be more demanding and not to accept a lightweight poem as true poetry.

The poetry of young Gamzatov could not help but be polemical. After all, Gamzatov came to literature, as Mustai Karim noted, “... during the years of the highest
the “flourishing” of thoughtless rhetoric in poetry, hypocrisy in lyric poetry, when tenderness, love, and melancholy almost disappeared from the pages of poetry books. Lyrical heroes many, many books were equally faceless, devoid of doubt, anxiety, pain, and, ultimately, flesh. Of course, this means that at that time Soviet poetry was completely impoverished - it lived and served the people, but there was too much foam. But the foam most likely catches your eye.”

Conclusion

Considering and analyzing the work of Rasul Gamzatov in our scientific work, we came to the following conclusions.
A study of artistic experience shows that all forms of literary connections have been developed in his poetry. Even a consistent understanding of not all of Rasul Gamzatov’s statements about great Russian literature and its wonderful masters of the past and present, whose personality is especially dear to him, arouses scientific interest as one of the forms of literary connections.

His statements are permeated with a high and reverent attitude towards Russian literature, they teach not only creative approach from experience, but also testifies to the beneficial impact of Russian literature on the formation aesthetic views poet.

Rasul Gamzatov also widely develops such forms of specific connections as creative rethinking of motives and figurative analogies from individual works Russian classics, responding differently to his creative aspirations. But the main essence of the traditions of Russian literature is poetry
Rasul Gamzatov not in externally tangible points of contact, but in the deep creative mastery of his experience, in the principles of typification of reality, a realistic and multidimensional image of man, his connection with society, with the world, in the historicism of revealing the leading trends of the time, which allowed him to create innovative works.

Pushkin's traditions are developed in the works of Rasul Gamzatov.
It was essential translation activities. Thanks to his painstaking work on translating Pushkin’s poems, he comprehends the “secrets” of artistry, keen observation, refined simplicity and expressiveness of words, and the ability to see the deep meaning of life in individual phenomena.

Through the centuries, Pushkin’s traditions receive new filling in Gamzat’s perception of philosophy, the immortality of life, permeated with the morality of the personality of the modern era. Many of his works have something in common with Pushkin’s.

However, the roll call of Pushkin's poems is not a repetition of his theme or the form of a sample lyric, but a story about the civic feelings of the hero of the new Soviet fighter. Thus, turning to the experience and images of the great geniuses of Russian literature enriches the artistic vision of the Dagestan poet of time and brings them closer to our time.
“The study of the consistent historical path of the origin, formation, formation of Avar literature as an aesthetic system allows us to assert that the work of Rasul Gamzatov, being a new, higher stage of its development, is at the same time a natural and logical continuation of the tradition of national artistic culture.”

National culture gave him energy and strength for further creative growth. Gamzatov appreciated the work of every pre-revolutionary poet and determined his contribution to the development of national culture. And on the basis of all this, he created a rather complex picture of the development of the literature of the peoples of Dagestan. And at the same time, revealing his attitude to the cultural heritage of his ancestors, he explains what he could draw from it, what he acquired, what he continued, what he abandoned, in which area he had to continue on new paths.

Literary and critical works allow him to lead readers into his creative laboratory and show “the miracle of the birth of the song word.”

Rasul Gamzatov selected all the best from his predecessors, continued to add and update the traditions of the Dagestan classics.

Rasul Gamzatov inherited his lyrical principles from the legendary Avar poet, singer-poet, who worked at the end of the 19th century, Mahmud from Kahab-
Roso. Mahmoud from Kahab-Roso is a poet of love and a romantic. The romanticism of Mahmud was replaced by the realistic satire of the original poet Gamzat Tsadasa. He correctly assessed the processes taking place in life and reflected them truthfully, raising issues relevant to society.

Rasul Gamzatov borrowed and combined in his work romantic traditions the lyrics of Mahmud from Kahab-Roso and the realistic tendencies of his father and mentor Gamzat Tsadasa.

3. Rasul Gamzatov defines the meaning of innovation as follows:

“Art is alien to innovation. It's all made up. Not losing what was created by Pushkin and Mahmud is the essence of innovation.”

The poetry of Rasul Gamzatov is distinguished by the scale of his thoughts. New Rasula
Gamzatov is manifested in the expression of those features of the national spirit that the poetry of his fathers could not reveal. Melody of the mountains, his poems about Cuba, Africa and
Japan. Universal questions and prayers did not implore the national in his poetry. On the contrary, it made the national higher and more powerful.

He updated the genres of poetry: eight-line, quatrain, inscriptions, epigrams, tales, etc.

Such genres of literature as the sonnet, epigram, legends, established in the works of Rasul Gamzatov, are new and unusual genres for the poetry of the peoples of Dagestan.
The search for new forms and their widespread introduction into creative practice are determined by the individuality of the poet himself, his worldview, aesthetic ideas, the breadth of creative searches, and the originality of poetic thinking.

For the first time in Dagestan literature, Rasul Gamzatov turns to the sonnet form, borrowing from European literature. The creativity of Rasul Gamzatov is a concentrated expression of the potential of the spiritual culture of peoples
Dagestan. It not only brought the poetry of the peoples of the Mountain Country to new higher positions, but also had a strong and beneficial influence on all spheres of art. Along with the enrichment of the traditional arts of Dagestan - music, choreography, theatrical art, the poet’s work gave a powerful impetus to the emergence of new types of arts, such as pop, ballet, and cinema.

The creativity of Rasul Gamzatov entered the Soviet multinational culture in a mighty stream, representing the widest panorama of human life, expressed in word, sound, color, material.

Rasul Gamzatov is a poet and public figure. He worthily represents our multinational literature abroad. His poetry perceives the modern world in all its complexity and contradictions. In his work he poses problems that concern humanity.

Rasul Gamzatov was and remains a beloved poet all over the world. His poetry, like that of the great Russian poet Pushkin, will always remain relevant and will never lose its meaning.

Bibliography

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23. Musakhanova G.B. Sonnets of Rasul Gamzatov.//Artistic quests in modern Dagestan literature. Makhachkala: 1983, p.57.
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Gamzatov R. //Two shawls. M.: Soviet Russia. 1971, p. 52.

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M.: Soviet writer. 1978, p.157.
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M.: Soviet writer. 1978, p.162.

Mustai Karim. Life is the essence. "Literary Newspaper", November 15, 1962.
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Gamzatov R. Loyalty to talent. M.: 1982, p.215.

Period Rasul Gamzatov was born in 1923, on September 8, in Tsada (a village in the Khunzakh region of the Dagestan Autonomous Soviet Socialist Republic). His father, Gamzat Tsadasy, was a people's poet of his native republic, laureate of the State Prize Soviet Union, and her mother, Khandulai Gaidarbekgadzhievna Gamzatova (1888-1965), was a simple Asian woman, a homemaker.

School years

Like all Soviet children, at the age of 7, that is, in 1930, Rasul Gamzatov went to study at the Araninsk secondary school, and was a rather diligent, intelligent and inquisitive student. He especially enjoyed listening to his father's stories about famous hero Shamile, who, having received eight wounds directly in the heart, continued to fight. He was able to cut the rider and horse from head to toe with one blow of his saber. In addition, Rasul listened in fascination to the story of the brave Naib Hadji Murad. Later he translated Leo Tolstoy's poem about this hero into his native language. Other favorite heroes of the future poet were the legendary Khochbar and the handsome Chokh Kamalil Bashir. All this is because Rasul Gamzatov’s nationality is Avar, and he was interested in all those stories that told about the heroic past of his people. He also loved listening to songs based on the words of the legendary love singer Mahmoud. He knew about the history of his people precisely from these stories. And little Rasul really enjoyed listening to poems written by his father. He soon learned them by heart.

Rasul Gamzatov. Biography: first steps as a poet

When the boy was only 9 years old, he wrote his first poems. From that day on, lines flowed from his pen, as if from They were about his native school, about his friends and classmates, about teachers, etc. By the age of 13 (then Rasul Gamzatov had just moved to the 7th grade) in one from Avar newspapers, namely in “Bolshevik of the Mountains”, one of his poems was published. The famous writer Radzhab Dinmagomaev, a compatriot of the Gamzatovs, wrote a laudatory review of this work. After that, Rasul was published every now and then in various publications of the Khunzakh region, in the Buinakskovsk city newspaper, as well as in the republican weekly Bolshevik Gor. Since the young man did not have his own pseudonym, he signed with the creative name of his father - Tsadas. But one day a gray-haired mountaineer expressed his surprise at the changes in his father's style. And in order not to be confused with Tsadas, he took the surname of his ancestor as a pseudonym. Now he was a young Avar poet who bore the name Rasul Gamzatov.

Youth

After graduating from the 8th grade of high school, the future famous poet submitted documents to the Avar Pedagogical School in the city of Buinaksk. After 2 years, he returned to his home school as a teacher. After some time, he joined the Avar State Theater as an assistant director, and then got a job as head of a department at the Dagestan newspaper Bolshevik Gor, where he also worked as his own correspondent. Then fate brought him to Dagestan radio, and for some time he was a broadcast editor.

Moscow

After the end of the Great Patriotic War, in which he lost his brothers, Rasul Gamzatov moved to Moscow to study at the capital's Literary Institute. M. Gorky. He was encouraged to take this step by the Lak poet Effendi Kapiev, who, having heard his poems translated into Russian, was fascinated by the talent of the young Avar. By the way, before moving to Moscow, the young man was a member of the Union of Writers of the USSR. Gamzatov’s knowledge of Russian was more than insufficient for admission to the university, but the director, Fyodor Vasilyevich Gladkov, liked the translations of his poems so much that he, ignoring the many mistakes made by the young men in the dictation, enrolled him among the accepted students. Perhaps he already had a presentiment that a future famous poet was standing before him, and not only in his homeland. Indeed, years later, the entire USSR knew who Rasul Gamzatov was. His biography of this particular period became the beginning of his career path as literary figure THE USSR.

Studying at the Institute named after. M. Gorky

Here, at the institute, the young Avar discovered a lot of new things for himself. Poetry revealed itself to him in a new light. As he became more and more familiar with the works of various Russian and foreign authors, he fell in love with one or the other every time. Among his favorites were Blok, Yesenin, Bagritsky, Mayakovsky, and, of course, Pushkin, Nekrasov, Lermontov, and among the foreign ones he was very close to the works of Heine. In 1950, the poet Rasul Gamzatov graduated from the institute. He later said that Russian literature made an indelible impression on him and his work.

Social activities and state awards

After Rasul Gamzatov received a higher education at the Moscow Literary School and returned to his native Dagestan, he was elected chairman of the Writers' Union of the Autonomous Republic. He held this position for 53 years, until his death in 2003. In addition, he was first elected as a deputy and then as deputy chairman of the Supreme Council of the Dagestan Autonomous Soviet republic, well, and after that already a deputy of the all-Union scale. He was also a member of the editorial boards of such authoritative publications as “New World” and “Friendship of Peoples” (magazines), “Literary Russia” and “Literary Newspaper”, etc.

Rasul Gamzatov's life was very eventful: he constantly moved from Dagestan to Moscow, traveled a lot, met fans of his talent, but most importantly, he always felt the attention and care of the state. He can be called the darling of fate. In those years, the state awarded various prizes and awarded medals and orders to talented artists. Gamzatov was a cavalier (four times), “October Revolution”, “Friendship of Peoples”, etc. Before his death in 2003, he received from President V. Putin

Rasul Gamzatov - poet

While still studying at the institute, the first collection of poems by the famous Avar poet was published in Russian. After that, it was translated into the languages ​​of other peoples of the USSR. The poet’s best works were: “Our Mountains”, “My Land”, “The Year of My Birth”, “A Word about an Elder Brother”, “Homeland of a Highlander”, “My Heart is in the Mountains”, “Dagestan Spring”, “Arema” (1963 ), “And the star speaks to the star”, “The Third Hour”, “Cranes”, “Island of Women”, “My Dagestan”, “Judge me by the code of love”, “The Constitution of a Highlander” and others. Almost each of the collections was awarded some kind of state prize. So, for example, for “The Year of My Birth” the poet Rasul Gamzatov was awarded the USSR State Prize, and for “High Stars” - the Lenin Prize.

Sage!

They say that mountains make people special. Perhaps this is due to closeness to God? Separated from the world, living far from civilization, real sages live among the mountains. The works of Rasul Gamzatov and his thoughts are simply breathtaking! They contain an incredible amount of wise sayings. Here, judge: “Glory, don’t, don’t touch the living,... sometimes you kill even the strongest and best.” It's amazing how much depth there is in this one line! And here is how he represents happiness: “Happiness is not something that comes by itself when you are not looking for it, happiness is a city recaptured in battle or rebuilt from the ashes.”

Songs of Rasul Gamzatov

Melodies were written for many of the Avar poet’s poems. The songs were performed by such famous singers as the legendary Anna German, the world famous Galina Vishnevskaya, Joseph Kobzon, Muslim Magomaev, Valery Leontyev, Sofia Rotaru, Vakhtang Kikabidze and others.

Family of Rasul Gamzatov

The great Avar writer worshiped his parents all his life. Of course, his father would be the highest authority for him, but he had a special love for his mother. The life of a mountain woman is not so easy, so his attitude towards her was careful. Here is a quote from one of his works: “I conjure: take care of your mother. Children of the world, take care of your mother.” He treated his wife with the same respect. The poet had quite big family. And as is customary in every Asian family, he was surrounded by the attention, reverence and care of his household. Rasul Gamzatov's wife Patimat gave birth to three daughters. He had no heir. And his daughters gave him many granddaughters and not a single grandson. Perhaps it was precisely because he was constantly surrounded by women that his attitude towards the weaker sex was so reverent. He really appreciated their beauty and tenderness. Here are the lines he dedicated to mothers: “For years, you have no power over a woman - and, of course, this is no secret. For children, all mothers are beautiful, which means there are no ugly women!”

Memory

The great Avar poet died in 2003 at the age of 80. While still alive, he immortalized himself with his wonderful works. The governments of Russia and Dagestan have more than once made decisions to establish memorials to the memory of the great Avar both on the territory of Dagestan (installed here in large quantities monuments to Rasul Gamzatov) and throughout Russia. In 2013, in the presence of Russian President V. Putin and the mayor of Moscow, a memorial to the great poet was solemnly opened in the capital.

-What makes a young man wise?
- Woe!
-What makes a boy a wise man?
- Joy!
- What manhood serves as a yardstick?
- Attitude towards women.

What is more useless than an unripe fruit?
Which was torn off ahead of time?
- Fallen fruit that rots on the ground
Only because they didn’t take it off in time.

Impassive, what have you rejected?
- Passion!
And who is rejected by passion?
- We, the passionless ones!
Subjects, who gives birth to you?
- Power!
And who gives birth to her?
- We, the subordinates!

It can be very difficult when
There is skill, but there is no strength for the job.
It can be very difficult when
You are inept, even though your strength knows no bounds.

On the days of flowering and on the days of leaf fall
In a world inclined to good hopes,
I don't need separate happiness
Inaccessible to other people.

In India it is believed that snakes
They crawled to the ground first.
Highlanders believe that eagles are older
Other inhabitants of the earth.
I am inclined to think that at first
People appeared, and later
Many of them became eagles,
And others turned into snakes.

A swan in love does not live long,
Only the evil raven lives for three centuries.

Neither Pushkin nor Socrates knew everything,
The whole world knows everything, big and populous,
But sometimes the world is judged by those who think
Themselves as bearers of absolute truths.
There are no all-knowing people in the world,
There are only those who imagine themselves to be all-knowing.
Sometimes I'm afraid of their authority,
A condemning look and a punishing voice.

Our eyes are much higher than our legs.
I see this meaning and a special sign:
We were created so that everyone can
Look at everything before you take a step.

They say it's posthumous
Our bodies will become earth,
I'm ready to believe
In this simple rumor.
Let me become a particle
Land won in battle
That land on which
Now I live with all my heart.

Friends grow old, we grow old ourselves,
Those are far away, those are not alive at all.
We meet with friends more and more often
At the funeral of my friends.

Live long, live righteously,
Striving to bring the whole world into fellowship,
And do not blaspheme any of the nations,
Keeping your own honor at its zenith.

Life is so fast, and this day is not forever,
And no matter how hard we try, it’s still
In due course, evening will come to replace it.

Love will want - and in the swirling darkness
A crimson flower will bloom on a rock,
And the snow will rustle on the top.
But in a heart of stone at all times
She is unable to sow seeds,
The thorn still grows in it today.

Know: winner from time immemorial
Heals wounds faster
Than the one who is defeated in a fight.

And in the mountains since the gray time
The masculine character imposed a ban
Saying a defamatory word
To the guest who galloped away after.

And you, whom everyone honors and glorifies,
Don't forget, because it may happen
Along the stairs that lead you up,
You still have to go down.

Who among us humans does not have a sweet life?
It’s hard for those who don’t believe!
Well, who has it much harder?
The one who doesn’t trust anyone!

Who is happier than a man
What illness did you never know?
-Only the one who envy forever
I had no affection for either enemy or friend!

People, we are getting old and decaying,
And with the passage of our years and days
It's easier for us to lose our friends
Finding them is much more difficult.

The kingdoms of the human spirit are restless,
And no matter how much you call them to agreement,
Tenacious Iago - a subject of deceit -
Will not turn into a knight of love.

Everything is instantaneous, only the waiting is eternal...
We will all die, there are no immortal people,
And this is all known and not new.
But we live to leave a mark:
A house or a path, a tree or a word.

We only know what happened
What will happen is unknown to us,
But everyone is given a time limit
To show talent and strength...
Above tenderness, separation is not free.

Let none of us go hungry,
And let no one be too full:
One becomes angry from hunger,
Another does evil to us out of satiety.

Is it because there are other hopes in the world
One thing dearer to me: to die in honor.
I am responsible to the memory of the dead,
The executor of those who perished along the way.

Who did not cover his heart with an amulet,
A hero died in the face of times:
He was killed not by a bullet, not by slander,
And he is slowly defeated by subtle flattery.

…No people,
Inside which the disease does not lurk.

But in the world of effects and causes,
Descending into secret depths,
Not one could get there
To the truth, to the core.

But if you always think: “What then?” —
We will have neither children nor grandchildren!

But is it a joyful day off?
For those who haven't worked for weeks?
But happiness is that love doesn’t need rewards.
Love is its own reward.
Fire, debts, illness, enemy,
Adversity, leaking roofs -
Only one fool understates
The meaning of the above.

From time immemorial the heart of a poor poet
And a friend wounds and a friend kills:
The enemy has never been able to do this.

- Why are your eyes empty, like two holes?
- There are no thoughts in them and there is no pain.
-Why do your eyes burn like fires?
“Thought and pain light up the light in them!”

A word repeated a hundred times will fade.

All the pages in the book of life are beautiful,
Everything in this book is sensible and smart.
To be reborn as an ear of wheat,
Dead grain lies in the ground.

Let it be good for good people
And according to their merits it’s bad - for all the bad ones!

May childhood be as short as a moment,
And let youth last for a whole century!

I will give joy to my friends,
I will give my pain to the song,
I will give love to people,
I’ll leave the anger and reproach myself.

Let's separate our two eyes,
So that they don't hurt each other.
Two people don't like each other
When they play the same role.

Distribution of earthly bounties
Sometimes there is injustice in our lives.
I have become toothless - they put meat in my mouth,
I was in trouble - I supplemented with porridge.

Heart, heart, I'm in trouble with you,
Why don’t you want to love those who love?
Why are you drawn there?
Where are you and I not really needed?

- Tell me, what is the most despicable thing in the world?
- Trembling cowardly man!
- Tell me, what in the world is more despicable than him?
- Silent cowardly man!

Slava, don’t, don’t touch the living,
What do you know about people?
Even the strongest and best of them
You kill sometimes.

Death will take us and everything we live.
Only love will escape her touch.
So the raven flies away when he sees the house,
Where there are still logs burning in the warm hearth.

Centuries of mystery are full,
And life will not disappear until
There is a feeling of newness
And surprise and miracle.

Happiness is not something that comes naturally
It comes when you are not looking for it,
Happiness is a city recaptured in battle
Or rebuilt from the ashes.

What would I wish for under the tent of fate?
Everything you would like is the same:
So that bread becomes lighter and cheaper,
And the word is both more significant and more valuable!

I know very well that a hundred fools
Can't break one sage!
But I personally saw how a hundred wise men
They run, leaving room for the fool.
I know very well that the fool is pathetic -
After all, he is more crippled than a eunuch!
After all, he is naturally offended by the creator
Scarier than someone born blind!

8.9.1923 - 3.11.2003

A country: Russia

Rasul Gamzatovich Gamzatov (Avar. Rasul XIamzatov; September 8, 1923 - November 3, 2003) - an outstanding Soviet and Russian poet, publicist and political figure. People's poet of the Dagestan Autonomous Soviet Socialist Republic (1959). Hero of Socialist Labor (1974). Laureate of the Lenin Prize (1963) and the Stalin Prize of the third degree (1952). Member of the CPSU(b) since 1944.
Rasul Gamzatov was born on September 8, 1923 in the village of Tsada, Khunzakh region of Dagestan, into the family of Gamzat Tsadasa (1877-1951), the people's poet of Dagestan. Studied at Araninskaya high school. He graduated from the Avar Pedagogical College in 1939. Until 1941 he worked school teacher, then - an assistant director in the theater, a journalist in newspapers and radio. From 1945 to 1950 he studied at the Literary Institute. A. M. Gorky in Moscow.
He was elected as a deputy of the Supreme Council of the Dagestan Autonomous Soviet Socialist Republic, deputy chairman of the Supreme Council of the Dagestan Autonomous Soviet Socialist Republic, deputy and member of the presidium of the Supreme Soviet of the USSR. For several decades he was a delegate to the writers' congresses of Dagestan, the RSFSR and the USSR, a member of the Bureau of Solidarity of Writers of Asian and African Countries, a member of the Committee for the Lenin and State Prizes of the USSR, a member of the board of the Soviet Peace Committee, Deputy Chairman of the Soviet Committee for the Solidarity of the Peoples of Asia and Africa.
Member of the USSR Supreme Council of the 6th-8th convocations since 1962. In 1962-1966 and since 1971 he was a member of the Presidium of the Supreme Soviet of the USSR. Full member of the Petrovsky Academy of Sciences and Arts.
He died on November 3, 2003 at the Central Clinical Hospital in Moscow. He was buried in the old Muslim cemetery in Tarki at the foot of Mount Tarki-Tau, next to his wife’s grave.
Rasul began writing poetry in 1932, publishing in 1937, in the republican Avar newspaper “Bolshevik Gor”. The first book in the Avar language was published in 1943. He translated classical and modern Russian literature into the Avar language, including A. S. Pushkin and M. Yu. Lermontov, V. V. Mayakovsky and S. A. Yesenin.
At the Literary Institute named after. A. M. Gorky Gamzatov met and became friends with young poets, Naum Grebnev, Yakov Kozlovsky, Elena Nikolaevskaya, Vladimir Soloukhin, who began to translate Rasul Gamzatov’s poems into Russian. Poems and poems by Rasul Gamzatov were translated by Ilya Selvinsky, Sergey Gorodetsky, Semyon Lipkin, Yakov Helemsky, Yulia Neiman, Robert Rozhdestvensky, Andrey Voznesensky, Yunna Morits, Shapi Kaziev, Marina Akhmedova-Kolubakina, Sergey Sokolkin. The poet-translator N. Grebnev is responsible for the translation of the particularly well-known “Cranes,” which became a song on the initiative and performed by M. N. Bernes in 1969. The works of Rasul Gamzatov have been translated into dozens of languages ​​of the peoples of Russia and the world.
A number of different poems by Rasul Gamzatov also became songs, for example, “The sunny days have disappeared.” Many composers worked closely with Gamzatov, including Dmitry Kabalevsky, Jan Frenkel, Raymond Pauls, Yuri Antonov, Alexandra Pakhmutova; among the performers of songs based on his poems are Anna German, Galina Vishnevskaya, Muslim Magomaev, Joseph Kobzon, Valery Leontiev, Sofia Rotaru, Vakhtang Kikabidze, Mark Bernes, Dmitry Hvorostovsky.
Rasul Gamzatov is a holder of the Order of St. Andrew the First-Called.
Hero of Socialist Labor (September 27, 1974)
Order of St. Andrew the First-Called (September 8, 2003) - for outstanding contribution to development Russian literature and active social activities
Order of the Golden Fleece (Georgia) State award of Georgia 2003
Order of Merit for the Fatherland, III degree (April 18, 1999) - for outstanding contribution to the development of the multinational culture of Russia
Order of Friendship of Peoples (September 6, 1993) - for his great contribution to the development of multinational domestic literature and fruitful social activities
four orders of Lenin
Order of the October Revolution
Three Orders of the Red Banner of Labor
Order "Cyril and Methodius" (NRB)
USSR medals
Lenin Prize (1963) - for the book “High Stars”
Stalin Prize, third degree (1952) - for the collection of poems and poems “The Year of My Birth”
State Prize of the RSFSR named after M. Gorky (1980) - for the poem “Take care of mothers”
People's poet of Dagestan
International Prize " Best Poet XX century"
Asian and African Writers Lotus Prize
Jawaharlal Nehru Award
Ferdowsi Prize
Hristo Botev Prize
International Prize named after M. A. Sholokhov in the field of literature and art
Lermontov Prize
Fadeev Prize
Batyray Prize
Mahmoud Prize
S. Stalsky Prize
G. Tsadasa Prize and others

Nikolay Zabolotsky
Anthology of Russian poetry

When day and light have passed
Nature does not choose itself,
Autumn groves large premises
They stand in the air like clean houses.
Hawks live in them, crows spend the night in them,
And the clouds above, like ghosts, wander.

Autumn leaves dried substance
And the whole earth was covered. In the distance
A large creature on four legs
Mooing, he goes into the foggy village.
Bull, bull! Are you really no longer a king?
The maple leaf reminds us of amber.

Spirit of Autumn, give me strength to wield the pen!
The structure of air contains the presence of diamond.
The bull disappeared around the corner
And solar mass
Hangs like a misty ball above the ground,
And the edge of the earth, shimmering, bleeds.

Rotating the round eye from under the eyelids,
A large bird is flying below.
You can feel a person in her movement.
At least he's lurking
In its embryo between two wide wings.
The beetle opened its house between the leaves.

Architecture of Autumn. Location in it
Airspace, groves, rivers,
Location of animals and people
When rings fly through the air
And curls of leaves, and special light, -
This is what we will choose among other signs.

The beetle opened its house between the leaves
And with his horns out, he looks out,
The beetle dug up various roots for itself
And puts it in a pile,
Then he blows his little horn
And again he hides like a little god.

But then evening comes. Everything that was pure
Spatial, luminous, dry, -
Everything became gray, unpleasant, hazy,
Indistinguishable. The wind blows smoke
The air rotates, the leaves fall in heaps
And the top of the earth explodes with gunpowder.

And all nature begins to freeze.
A maple leaf is like copper
It rings when it hits a small twig.
And we must understand that this is an icon,
which nature sends us,
Entering a different time of year.

Read by Mikhail Tsarev

At first glance, both the creativity and the very personality of Nikolai Alekseevich Zabolotsky, a remarkable Russian poet-philosopher of the 20th century, an original artist of words, a talented translator of world poetry, seem mysterious and paradoxical. Having entered literature in the 20s as a representative of the Society of Real Art (Oberiu), the author of avant-garde works and the creator of the so-called “rebus” verse, from the second half of the 40s he wrote poems in the best traditions of classical Russian poetry, where the form is clear and harmonious, and the content is distinguished by the depth of philosophical thought. Throughout his life, N. Zabolotsky enjoyed the authority of a sensible and extremely rational person; in the 50s, in adulthood, he had the appearance of an official mediocre, impenetrable and arrogant to unfamiliar people. But the works he created testify to what a sensitive and responsive heart he possessed, how he knew how to love and how he suffered, how demanding he was of himself, and what great storms of passions and thoughts found solace in his ability to create beauty - the world of poetry.

The poet's work gave rise to controversy in literary circles, he had many admirers, but also many ill-wishers. He was subjected to slanderous accusations and repressions in the 30s, consigned to oblivion in the 60s and again - deservedly - exalted in the 70s. His creative path was thorny and difficult.

The literary heritage of N. A. Zabolotsky is relatively small. It includes a volume of poems and poems, several volumes of poetic translations of foreign authors, small works for children, several articles and notes, as well as his few letters. However, literary scholars are still discussing the issues of his creative evolution, its driving forces, and the principles of its periodization.

Currently, the work of N. A. Zabolotsky rightfully occupies a prominent place in literature, since he, despite a difficult life and unfavorable historical conditions for the improvement and manifestation of talent, managed to write a new significant word into Russian poetry.

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