One of the distinctive features of the lyrical hero is visible here - a complete, almost painful lack of pride and self-confidence. This is evident in his essays, one of which is even called "Less than one". The whole being of the hero is in one way or another subordinated to eternal and abstract categories, while being at the same time surrounded and suppressed by everyday problems: I am sitting by the window. I washed the dishes. I was happy here, and I won't be. But it is precisely this burden, intentionally or unconsciously, that Brodsky imposes on him - to cope with all failures through achievements

Not physical, but spiritual: Citizen of a second-rate era, I proudly acknowledge my best thoughts as second-rate goods, and I present them to the days to come as an experience of fighting asphyxiation. He chose this path for his hero, and therefore for himself - after all, Brodsky was as close to his alter ego as no one else, he served him as a kind of guide through the world of Words. The result of this connection was a deep, but not hopeless loneliness: My song was devoid of motive, but it could not be sung in chorus. It's no wonder that no one puts their feet on their shoulders as a reward for such speech. ... I sit in the dark. And she's no worse in the room than the darkness outside. The lyrical hero resigns himself to this - such is the quality of his soul - but not from powerlessness, but from the consciousness of all the expediency of such loneliness, due to the expectation of a miracle (a miracle of art - later Joseph Brodsky will formulate this more clearly). It is a logical and painless way out, the road further, which will be discussed below. Brodsky does not consider the way forward to be a betrayal of old beliefs, old feelings, although the evolution of the lyric hero throughout the poem is clearly visible to us: I wrote that in the light bulb there is the horror of the floor. That love, as an act, is devoid of a verb. What Euclid did not know, that, descending to the cone, the thing acquires not zero, but Chronos. This is already a reflection of one of the main life principles of the hero - after all, “space for me is really both less and less expensive than time. Not because it is less, but because it is a thing, while time is a thought about a thing. Between a thing and a thought, I say, the latter is always preferable. " And thought is always expressed in words, especially since all his works are united by the idea of ​​the superiority of language over time. Thus, the lyric hero embodies the author's own attempts to master time with the help of language. And even if these attempts are not filled with passion, but after all, human actions are of much less value than joining the stream of language. That is why the position of a detached observer, so often adopted by the poet's alter ego, is optimal for him.

Any attempts of the creator to rule over the language do not lead to anything, because the Word itself carries the idea of ​​the whole world, consisting of names, and the poet has no right to impose his understanding of reality. “You cannot impose anything on society.

(1 estimates, average: 5.00 out of 5)

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Joseph Brodsky - I entered a cage instead of a wild beast

I entered a cage instead of a wild beast,
burned his term and klikuha with a nail in the barracks,
lived by the sea, played roulette,
the devil knows who he dined with in a tailcoat.
From the height of the glacier, I looked around half the world,
he sank three times, he was ripped twice.
I left the country that fed me.
From those who have forgotten me, you can make a city.
I loitered in the steppes, remembering the cries of the Hun,
put on what is back in fashion,
sowed rye, covered the threshing floor with black roofing paper
and did not drink only dry water.
I let the blued pupil of the convoy into my dreams,
ate the bread of exile without leaving a crust.
Allowed his vocal cords to make all sounds other than howling;
switched to a whisper. Now I am forty.
What can you tell me about life? Which turned out to be long.
Only with grief do I feel solidarity.
But until my mouth was filled with clay,
from it only gratitude will be distributed.

Analysis of the poem "I entered a cage instead of a wild beast" by Brodsky

I. Brodsky is considered one of the most controversial poets of our time. Disputes about the meaning and overall assessment of his work do not subside. In this regard, the poet's own opinion, expressed by him in the poem “I entered a cage instead of a wild animal ...” (1980), written on the eve of his fortieth birthday, is of great value. The work itself has evoked many opposite opinions. Enthusiastic fans regard him as Brodsky's brilliant self-esteem. Critics primarily point to the poet's excessive self-esteem and an exaggerated description of his martyrdom. Brodsky himself highly appreciated this poem and loved to quote it.

The poet looks at his life from the height of his past years. He deliberately draws the readers' attention to the fact that already in his youth he suffered for his beliefs (“entered the cage”). It should be noted that Brodsky's short imprisonment for parasitism can hardly be considered an example of suffering. Rural exile does not make him a martyr either. Brodsky himself recalled that he was happy in the village and had the opportunity to engage in creative work.

The author has really seen a lot in life. He worked as a sailor, took part in long geological expeditions (“he sank three times,” “he was ripped twice”). The richest impressions give Brodsky the right to declare that he has learned everything that is possible. He emphasizes this with the phrase: "I did not drink only dry water." The poet's repeated forced placement in psychiatric institutions, of course, greatly influenced his sharply negative attitude towards Soviet power. He was used to seeing the "blued convoy badge" in everything, which even penetrated into his dreams.

Brodsky proceeds to his forced emigration. He believes that from people who, under pressure from the authorities, renounced him, "you can make a city." The phrase sounds too pathetic: "I ate the bread of exile, leaving no crusts." Thanks to the support provided, Brodsky very quickly reached a prosperous position abroad and could not complain of hunger in any way.

The poet proudly declares that no trials could break his independent spirit ("allowed ... all sounds except howling"). The constant struggle took away a lot of his vitality, so he "switched to a whisper." Nevertheless, Brodsky is grateful for his difficult fate, it made him stronger and more courageous. It is impossible to force a poet to give up his independent creativity. This can only be done by death ("until ... the mouth was clogged with clay").

Joseph Brodsky - I have always insisted that fate is a game

L. V. Lifshitsa

I've always said that fate is a game.
Why do we need fish, since there is caviar.
That the gothic style will win like school
as the ability to stick around without being pricked.
I am sitting by the window. Outside the window is an aspen.
I loved a few. However, it is strong.

I believed that the forest is only part of the log.
Why is the whole virgin, since there is a knee.
That, tired of the dust raised by the century,
the Russian eye will rest on the Estonian spire.
I am sitting by the window. I washed the dishes.
I was happy here, and I won't be.

I wrote that in the light bulb there is the horror of the floor.
That love, as an act, is devoid of a verb.
What Euclid did not know, that, descending on the cone,
the thing acquires not zero, but Chronos.
I am sitting by the window. I remember my youth.
Sometimes I will smile, sometimes I will spit.

I said that the leaf destroys the kidney.
And that the seed, falling into bad soil,
does not give an escape; what a meadow with a clearing
there is an example of masturbation, given in Nature.
I sit by the window with my knees hugged
in the company of his own heavy shadow.

My song was devoid of motive
but you can't sing it in chorus. No wonder
what is my reward for such speeches
no one puts their feet on their shoulders.
I sit by the window in the dark; how fast
the sea thunders behind the undulating curtain.

Citizen of the second-rate era, proudly
I recognize as second-class goods
your best thoughts and the days to come
I give them as an experience of dealing with asphyxiation.
I sit in the dark. And she's no worse
in the room than the darkness outside.

Analysis of the poem "I have always insisted that fate is a game ..." Brodsky

The poem “I have always insisted that fate is a game ...” (1971) Brodsky dedicated to L. Lifshitz, a close friend of the poet, who perfectly understood his inner world. Brodsky conveys his deep philosophical reflections on himself and his place in the world.

The main distinguishing feature of the piece is its style. It is built in the form of six lines, with the first four lines representing general reasoning, and the last two describing an ordinary everyday picture. This combination fills the poem with intimate personal meaning.

Brodsky's poetry is characterized by the use of unusual metaphors, comparisons, original images. Sometimes it is very difficult to understand what the author wanted to say. The poem cannot be easily deciphered, for this you need to make some mental effort.

The lyrical hero of the poem is very lonely. He reflects on the fact that this loneliness is completely self-sufficient. A person is able to limit himself to the closest and most accessible things. The author believes that in the modern era, the cultural needs of people have decreased significantly. It became senseless to strive for lofty and inaccessible ideals, when everything you need is at hand ("why the whole virgin, if there is a knee"). This is emphasized by the author's uncomplicated actions (“sitting at the window”, “washing the dishes”).

The hero accepts such a limited existence. The main value for him is his own thoughts, which fully reflect the unsightly reality. The author believes that in his non-standard reflections he was able to come closer to understanding the basic laws of the universe (“in a light bulb - the horror of the floor,” “a thing gets ... Chronos”). Brodsky is glad that his works do not fit the generally accepted rules and evoke fierce criticism ("you can't sing in chorus"). He feels like an outcast, but at the same time he feels complete freedom from any kind of power.

In the finale, Brodsky turns to direct criticism of the Soviet system ("second-rate era"). As a citizen of this country, the author admits that his thoughts automatically become “second-rate goods”. Nevertheless, he self-confidently believes that they are the only true and correct. Descendants will be able to appreciate his work, "as an experience in the fight against suffocation."

In the last lines, philosophical reasoning merges with everyday life. The author compares the darkness in his room to the all-encompassing spiritual darkness in the state.

I believed that the forest is only part of the log.
Why is the whole virgin, since there is a knee.
That, tired of the dust raised by the century,
the Russian eye will rest on the Estonian spire.
I am sitting by the window. I washed the dishes.
I was happy here, and I won't be.

I wrote that in the light bulb there is the horror of the floor.
That love, as an act, is devoid of a verb.
What Euclid did not know, that, descending on the cone,
the thing acquires not zero, but Chronos.
I am sitting by the window. I remember my youth.
Sometimes I will smile, sometimes I will spit.

I said that the leaf destroys the kidney.
And that the seed, falling into bad soil,
does not give an escape; what a meadow with a clearing
there is an example of masturbation, given in Nature.
I sit by the window with my knees hugged
in the company of his own heavy shadow.

My song was devoid of motive
but you can't sing it in chorus. No wonder
what is my reward for such speeches
no one puts their feet on their shoulders.
I sit by the window in the dark; how fast
the sea thunders behind the undulating curtain.

Citizen of the second-rate era, proudly
I recognize as second-class goods
your best thoughts and the days to come
I give them as an experience of dealing with asphyxiation.
I sit in the dark. And she's no worse
in the room than the darkness outside.

L.V. Lifshits I've always said that fate is a game. Why do we need fish, since there is caviar. That the gothic style will win, like the school, like the ability to stick around without being pricked. I am sitting by the window. Outside the window is an aspen. I loved a few. However, it is strong. I believed that the forest is only part of the log. What is the use of the whole maiden, if there is a knee. That, tired of the dust raised by the century, the Russian eye will rest on the Estonian spire. I am sitting by the window. I washed the dishes. I was happy here, and I won't be. I wrote that in the light bulb there is the horror of the floor. That love, as an act, is devoid of a verb. What Euclid did not know, that going to the cone, the thing acquires not zero, but Chronos. I am sitting by the window. I remember my youth. Sometimes I will smile, sometimes I will spit. I said that the leaf destroys the kidney. And that the seed, falling into bad soil, does not sprout; that a meadow with a clearing is an example of masturbation, given in Nature. I sit by the window, hugging my knees, in the company of my own heavy shadow. My song was devoid of motive, but it couldn't be sung in chorus. It's no wonder that no one puts their feet on their shoulders as a reward for such speech. I sit in the dark; like a fast, the sea thunders behind the wavy curtain. Citizen of a second-rate era, I proudly recognize my best thoughts as second-rate goods, and I present them to the days to come as an experience of fighting asphyxiation. I sit in the dark. And she's no worse in the room than the darkness outside.

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Performed by Anatoly Bely. I've always said that fate is a game. Why do we need fish, since there is caviar. What gothic ...

"I have always said that fate is a game ..." Joseph Brodsky

L. V. Lifshitsa

I've always said that fate is a game.

That the gothic style will win like school
as the ability to stick around without being pricked.
I am sitting by the window. Outside the window is an aspen.
I loved a few. However, it is strong.

I believed that the forest is only part of the log.
Why is the whole virgin, since there is a knee.
That, tired of the dust raised by the century,
the Russian eye will rest on the Estonian spire.
I am sitting by the window. I washed the dishes.
I was happy here, and I won't be.

I wrote that in the light bulb there is the horror of the floor.
That love, as an act, is devoid of a verb.
What Euclid did not know, that, descending on the cone,
the thing acquires not zero, but Chronos.
I am sitting by the window. I remember my youth.
Sometimes I will smile, sometimes I will spit.

I said that the leaf destroys the kidney.
And that the seed, falling into bad soil,
does not give an escape; what a meadow with a clearing
there is an example of masturbation, given in Nature.
I sit by the window with my knees hugged
in the company of his own heavy shadow.

My song was devoid of motive
but you can't sing it in chorus. No wonder

no one puts their feet on their shoulders.
I sit by the window in the dark; how fast
the sea thunders behind the undulating curtain.

Citizen of the second-rate era, proudly
I recognize as second-class goods
your best thoughts and the days to come
I give them as an experience of dealing with asphyxiation.

Analysis of Brodsky's poem "I have always insisted that fate is a game ..."

The poem “I have always insisted that fate is a game ...” was written by IA Brodsky in 1971 and is dedicated to LV Lifshits. This man was a close friend of Joseph Alexandrovich and, probably, understood better than others what was going on in the poet's soul. Therefore, such a personal work full of contradictions is addressed to him.

This poem contains philosophical fabrications, framed by short phrases, a kind of everyday notes. The composition looks like this: the stanza consists of six lines that rhyme in pairs. Four of them are worldview calculations. The last two lines are sketches from everyday life. These parts represent such a stark contrast that the reader may not at first get it in his head. However, it becomes clear to those who know the author well or are able to ponder the meaning of the work.

The poem is built on refrains. First, we see the anaphores opening the stanzas (except for the last two): "I have always repeated," "I counted," "I said." Then the beginnings are repeated at the lines containing the life theses of the author:
Why do we need fish, since there is caviar.
That the Gothic style will prevail as a school ...

Finally, the couplet begins with the phrase "I am sitting by the window." Only in the fifth and sixth stanzas does this refrain change to "I sit in the dark."

These repetitions are not accidental. The central theme of the poem is reflection. The author, who is also a lyrical hero, being alone and performing simple actions (“I washed the dishes”, “I remember my youth”), restores his life principles in his memory. The poet always talks about them in the past tense, which suggests that he no longer adheres to these beliefs. Moreover, in some lines there is a doubt about the correctness of youthful ideas about the world:
I believed that the forest is only part of the log.
What is the use of the whole maiden, if there is a knee.

Earlier, relatively speaking, the poet neglected the personality, preferring the body. Now the poet looks at things differently. Suddenly he discovers that his inner world is no less diverse than the material world, which he previously estimated and where he was striving. This revelation, reconciling with reality, is enclosed in the last lines:
I sit in the dark. And she's no worse
in the room than the darkness outside.

So the philosophical component of the poem seeps into everyday life. This harmony is noticeable in the image of "the sea thunders behind a wavy curtain." The room is a metaphor for the poet's soul, and the sea is reflected in it as a curtain shaped like waves.

The only thing that worries the author is his contribution to poetry. He analyzes his own work:
My song was devoid of motive
but you can't sing it in chorus. No wonder
what is my reward for such speeches
no one puts their feet on their shoulders.

Joseph Alexandrovich is not embarrassed that his poems are not popular with the majority, but he complains that he, as a poet, may not influence his descendants. The reader may notice here an allusion to the expression "stand on the shoulders of giants" by Isaac Newton. However, today we can say that this prophecy, fortunately, did not come true. Many contemporary authors were brought up on the work of Brodsky, so one cannot but overestimate his contribution to world culture.