What do you think?
Rate this book
Николай Заболоцкий. Столбцы. Стихотворения. Поэмы
В настоящем издании представлены стихотворения и поэмы Николая Заболоцкого, написанные поэтом на протяжении всего творческого пути.
- GenresPoetry
352 pages, Paperback
First published January 1, 1962
4 people are currently reading
47 people want to read
About the author
Nikolay Alekseyevich Zabolotsky
26books9followersNikolay Alexeyevich Zabolotsky - (Russian: Николай Алексеевич Заболоцкий; May 7, 1903 - October 14, 1958) a Russian poet, children's writer and translator. He was a Modernist and one of the founders of the Russian avant-garde absurdist group Oberiu.
Nikolay Alekseevich Zabolotsky was born on May 7, 1903 in Kizicheskaya sloboda (now part of the city of Kazan). His early life was spent in the towns of Sernur (now in the Republic of Mari El) and Urzhum (now in the Kirov Oblast). In 1920, Zabolotsky left his family and moved to Moscow, enrolling simultaneously in the departments of medicine and philology at the Moscow University. A year later, he moved to Petrograd (now Saint Petersburg) and enrolled in the Pedagogical Institute of Saint Petersburg State University.
Zabolotsky had already begun to write poetry at this time. His formative period showed the influences of the Futurist works of Vladimir Mayakovsky and Velimir Khlebnikov, the lyrical poems of Alexander Blok and Sergei Esenin, and the art of Pavel Filonov and Marc Chagall. During this period, Zabolotsky also met his future wife, E.V. Klykova.
In 1928, Zabolotsky founded the avant-garde group Oberiu with Daniil Kharms and Alexander Vvedensky. The group's acronym stood for "The Association of Real Art" (in Russian, Объединение реального искусства). During this period, Zabolotsky began to be published. His first book of poetry, Columns (Столбцы, 1929), was a series of grotesque vignettes on the life that Vladimir Lenin's New Economic Policy (NEP) had created. It included the poem "The Signs of the Zodiac Fade" (Меркнут знаки зодиака), an absurdist lullaby that, 67 years later, in 1996, provided the words for a Russian pop hit. In 1937, Zabolotsky published his second book of poetry. This collection showed the subject matter of Zabolotsky's work moving from social concerns to elegies and nature poetry. This book is notable for its inclusion of pantheistic themes.
Amidst Joseph Stalin's increased censorship of the arts, Zabolotsky fell victim to the Soviet government's purges. In 1938, he was sent for five years to Siberia. This sentence was prolonged until the war was over. In 1944 after his appeal he was freed of guard, but still continued the sentence in exile in Karaganda. In Siberia he continued his creative work and was occupied with translation of The Tale of Igor's Campaign. This followed with his release in 1945. Upon his return to Moscow in 1946, Zabolotsky was restored as member of Union of Soviet Writers. He also translated several Georgian poets (including Shota Rustaveli's epic poem The Knight in the Panther's Skin, as well as more modern Georgian poets such as Vazha-Pshavela, Grigol Orbeliani, David Guramishvili) and traveled frequently to Georgia. Zabolotsky also resumed his work as an original poet. However, the literature of his post-exile years experienced drastic stylistic changes. His poetry began to take a more traditional, conservative form and was often compared to the work of Tyutchev.
The last few years of Zabolotsky's life were beset by illness. He suffered a debilitating heart attack and, from 1956 onward, spent much of his time in the town of Tarusa. A second heart attack claimed his life on October 14, 1958 in Moscow.
Nikolay Alekseevich Zabolotsky was born on May 7, 1903 in Kizicheskaya sloboda (now part of the city of Kazan). His early life was spent in the towns of Sernur (now in the Republic of Mari El) and Urzhum (now in the Kirov Oblast). In 1920, Zabolotsky left his family and moved to Moscow, enrolling simultaneously in the departments of medicine and philology at the Moscow University. A year later, he moved to Petrograd (now Saint Petersburg) and enrolled in the Pedagogical Institute of Saint Petersburg State University.
Zabolotsky had already begun to write poetry at this time. His formative period showed the influences of the Futurist works of Vladimir Mayakovsky and Velimir Khlebnikov, the lyrical poems of Alexander Blok and Sergei Esenin, and the art of Pavel Filonov and Marc Chagall. During this period, Zabolotsky also met his future wife, E.V. Klykova.
In 1928, Zabolotsky founded the avant-garde group Oberiu with Daniil Kharms and Alexander Vvedensky. The group's acronym stood for "The Association of Real Art" (in Russian, Объединение реального искусства). During this period, Zabolotsky began to be published. His first book of poetry, Columns (Столбцы, 1929), was a series of grotesque vignettes on the life that Vladimir Lenin's New Economic Policy (NEP) had created. It included the poem "The Signs of the Zodiac Fade" (Меркнут знаки зодиака), an absurdist lullaby that, 67 years later, in 1996, provided the words for a Russian pop hit. In 1937, Zabolotsky published his second book of poetry. This collection showed the subject matter of Zabolotsky's work moving from social concerns to elegies and nature poetry. This book is notable for its inclusion of pantheistic themes.
Amidst Joseph Stalin's increased censorship of the arts, Zabolotsky fell victim to the Soviet government's purges. In 1938, he was sent for five years to Siberia. This sentence was prolonged until the war was over. In 1944 after his appeal he was freed of guard, but still continued the sentence in exile in Karaganda. In Siberia he continued his creative work and was occupied with translation of The Tale of Igor's Campaign. This followed with his release in 1945. Upon his return to Moscow in 1946, Zabolotsky was restored as member of Union of Soviet Writers. He also translated several Georgian poets (including Shota Rustaveli's epic poem The Knight in the Panther's Skin, as well as more modern Georgian poets such as Vazha-Pshavela, Grigol Orbeliani, David Guramishvili) and traveled frequently to Georgia. Zabolotsky also resumed his work as an original poet. However, the literature of his post-exile years experienced drastic stylistic changes. His poetry began to take a more traditional, conservative form and was often compared to the work of Tyutchev.
The last few years of Zabolotsky's life were beset by illness. He suffered a debilitating heart attack and, from 1956 onward, spent much of his time in the town of Tarusa. A second heart attack claimed his life on October 14, 1958 in Moscow.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 4 of 4 reviews
November 12, 2020
Вслух прочитав, как ранее Овидия и Шелли,
я б Заболоцкого признала редкостным поэтом,
кабы он Ленина-слона не поминал,
тем более, что в Зимнем был Ильич не так заметен,
как в комнате мельчайший кадр отряда хоботных,
склонившийся над кубком молока.
Впрочем, и отрицать достоинства поэта -
занятие для жалких журналистов
(не даром "жалость" с "журналистом"
совокупляет жадно "ж" -
патриархат поспешно вспомнит
о "женщине", "желéзе", "железé",
"желе", "животном", "жалюзи", "жиртресте",
"жакете", "жесте", "желудях", "желудке",
"жидах", "жене", "жратве", "жлобах", "жеманном", "жёлтом" -
но всем известно, что "жестокость"
с "жуками" совмещается прекрасно,
неоспоримо, как в жаргоне - "ж%%а",
суть пост-советское пространство;
никто не вспомнит жадеит).
Не повторюсь, сказав, что только чтенье вслух
способно выразить ту степень уваженья,
что испытала я,
и в случае унылейшего "Слова.." о приснопамятном полку.
Читайте Заболоцкого, ребята,
пример же брать не грех с деревьев,
читающих уж 74 года
Гесиода.
я б Заболоцкого признала редкостным поэтом,
кабы он Ленина-слона не поминал,
тем более, что в Зимнем был Ильич не так заметен,
как в комнате мельчайший кадр отряда хоботных,
склонившийся над кубком молока.
Впрочем, и отрицать достоинства поэта -
занятие для жалких журналистов
(не даром "жалость" с "журналистом"
совокупляет жадно "ж" -
патриархат поспешно вспомнит
о "женщине", "желéзе", "железé",
"желе", "животном", "жалюзи", "жиртресте",
"жакете", "жесте", "желудях", "желудке",
"жидах", "жене", "жратве", "жлобах", "жеманном", "жёлтом" -
но всем известно, что "жестокость"
с "жуками" совмещается прекрасно,
неоспоримо, как в жаргоне - "ж%%а",
суть пост-советское пространство;
никто не вспомнит жадеит).
Не повторюсь, сказав, что только чтенье вслух
способно выразить ту степень уваженья,
что испытала я,
и в случае унылейшего "Слова.." о приснопамятном полку.
Читайте Заболоцкого, ребята,
пример же брать не грех с деревьев,
читающих уж 74 года
Гесиода.
September 13, 2024
I am in awe of these translations, to the point of envy. I’ve been in love with Nikolai Zabolotsky’s poetry since 1974, when Iosif Brodsky urged me to write my thesis on his works. When I taught Russian literature in translation during the 1970’s and 80’s, I so wanted my students “to get� his poems, but they couldn’t; no translations came close to mirroring the power and complexity of the originals. Too bad Dmitri Manin’s translations weren’t available then. Paraphrasing poet Yevgeni Yevtushenko (and others): a translated poem is like a lover: faithful but ugly, or beautiful but unfaithful. Somehow these translations deliver both faithfulness and beauty to an extraordinary degree. Dmitri Manin is a master of translation as much as Zabolotsky is a master of poetry.
August 1, 2022
"Stanno in piedi gli alberi burocratici
quasi penetrando in ogni casa;
è finito da tempo il loro bivacco da nomadi,
vivono fra i cancelli, sotto chiave.
Tumultua la calca dei viali,
fortemente compressa dalle case.
Ma ecco, tutte le poste si spalancano,
ovunque passa un bisbiglio:
vanno all’ufficio gli Ivanòv
con le solite brache e le solite scarpe.
Vuote tranvie levigate
porgono loro le proprie panche;
gli eroi salgono, acquistano
fragili assicelle di biglietti,
seggono e le tengono davanti,
senza infatuarsi del rapido viaggio.
E il mondo serrato da piatte case
sta come un mare dinanzi a noi,
mugghiano le onde dei selciati
e attraverso le pale delle ruote
semplici sirene si dimenano
con gomitoli di capelli ranciati.
Altre, vestite da sguardinelle,
non possono stare rinchiuse:
con le gambe facendo balletti,
camminano.
Ma dove andare,
a chi portare la boccuccia vermiglia,
a chi dire quest’oggi “micino�,
presso quale letto buttare le calosce,
strappando l’automatico sul petto?
Che non ci sia dove andare?
O mondo, plumbeo idolo mio,
sferza con larghe ondate
e concedi riposo a codeste sgualdrine
sul crocicchio a gambe in aria!
Dorme quest’oggi il mondo minaccioso,
nelle case calma e pace.
Vi troverò davvero un angolino,
dove mi aspetti la mia fidanzata,
dove le sedie siano messe in fila,
dove la credenza somigli a un Ararat,
fasciato da un merlettino di carta,
dove sia un tavolo e il samovàr
dalla lorìca di ferro a tre piani
brontoli come un generale casalingo?
O mondo, avvolgiti in un solo quartiere,
in un solo selciato infranto,
in un solo fondaco sparso di sputi,
in una sola topaia,
ma sii pronto alle armi:
un Ivanòv bacia una sgualdrina!"
-----
Gli animali non hanno nome.
Chi gli ha ordinato di nominarsi?
Una sofferenza uniforme
è la loro sorte invisibile.
Discorrendo con la natura, il toro
si allontana nei prati,
sopra gli occhi magnifici
stanno le alte corna.
Ragazza bruttina, la roggia
giace tra le erbe, quieta,
ora ride ora singhiozza,
con i piedi nascosti sotterra.
Perché piange? Perché si strugge?
Perché mai è ammalata?
Tutta la natura ha sorriso,
come un’alta prigione.
Ogni piccolo fiorellino
agita la piccola mano.
Il toro versa bigie lacrime
e sta, opulento, a pena vivo.
E attraverso l’aria deserta
s’aggira leggero un uccello,
per una canzone antica
affatica l’esile gola.
Gli brillano innanzi le acque,
ondeggia la grande selva,
e ride l’intera natura,
morendo ad ogni istante.
Read
January 30, 2024Read for school
Displaying 1 - 4 of 4 reviews
Can't find what you're looking for?
Get help and learn more about the design.