Biography of Oleg Moroz

Due to the rare volume, insolence of artistic tasks and discrepancies with the cultural mainstream, the poem was forgotten immediately and for a long time-they began to reinstall it only by the end of the 20th century. In the year, her reprint was prepared by philologist Oleg Moroz, living and working in Krasnodar. The editor -in -chief of the South. Bobrov seeds?

Some contemporaries highly appreciated his sophisticated metaphorical poetry, others ridiculed it, and Bobrov’s addiction to alcohol. After the death of the poet, they quickly forgot, and philologists returned him to scientific circulation only in x. An important point in Bobrov’s biography was the move from St. Petersburg to the recently attached outskirts of the Russian Empire-for a year he lived in the newly founded by Kherson and Nikolaev, traveling a lot along the Crimean peninsula.

This period pulled it out of the literary process, preventing it from gaining popularity, but it is precisely these years that the author’s creative flowering is considered. The key works of Bobrov’s seeds are poems in the verses of “Taurida, or my summer day in the Tauride Chersonesus” and “Ancient Night of the Universe, or a wandering blind man” The main character of the latter personifies the spiritual history of mankind from Adam to Christ: traveling to different countries, the shower of Nonhales from Jewish acquaints with different cultures and religious and philosophical systems.

In the finale, the hero enters Palestine, where he turns out to be one of the gospel blinds, healed by the Savior's hand at the gates of Jericho. For comparison: Homer's Odyssey consists of 12 thousand. In addition to the poem itself, the almost page volume contains a background of 70 pages written by frost, as well as a detailed commentary, a list of literature and a dictionary even on pages.

Oleg Moroz was born in the year in Krasnodar. He graduated from the philological faculty of KubSU, from the end of the X he teaches at the faculty of journalism, from the end of X - as a professor. Frost is a doctor of philological sciences, Candida defended the work of Andrei Platonov, a doctoral - in Nikolai Zabolotsky. At Vatnikstan - a cognitive project on Russian -speaking civilization - you can read the second part of this material.

In it, Oleg Moroz in detail analyzes the intellectual context of the Bobrov’s move to Novorossia - did he run from repressions, looked for reclusion or wanted to change his fate? You learned about Bobrov from the collection "Poets - X", which was compiled in the year Mark Altshuller and Yuri Lotman. When and under what circumstances did you get acquainted with this book?

How did the interest in Bobrov develop in the future? I was occupied by writers of a completely different time, so having passed the exam, I left this era, as I thought, forever, especially since I did not learn anything interesting for myself. For ten years I hung in other areas, along the way, however, teaching the poetry of the 18th century; But this did not mean anything, in those years I taught a lot.

The work of the dissertation about Nikolai Zabolotsky unexpectedly led me to Lomonosov; I had more than suggested, I was carried away by Odam and, in particular, a philosophical line in Russian poetry, the creator of which was the “Russian Pindar”. The poets belonging to this line were inaccessible, only the names were known: Vasily Petrov, Semen Bobrov, Alexander Vostokov.

Actually, there was no professional need for them, but I really wanted to read them; Maybe because it was an alternative to liquid, in the tendency of superficially reflective modern poetry, which flaunted the names of pillars of the XIX century and fastened with the modernists. In general, by virtue of character, by no means ideal, I have always been interested in “lateral” writers who, for one reason or another, were outside the main direction of Russian literature; Not that completely unknown, rather irrelevant: Evgeny Boratynsky, Vladimir Odoevsky, Alexander Veltman, Ivan Kushchevsky and so on.

I began to take collections and anthologies in libraries, often discovering that, besides me, no one had ever requested them, in which, albeit sparingly, they printed Bobrov. So I came across the book “Poets - Years”, by the way, it had a lot of interesting things, not only the poems of the author of “Night”. Not so long ago, I looked at the preface to this collection, written by Yuri Lotman: in my opinion, the paragraphs dedicated to Bobrov and now cause a desire to throw everything and sit down for Bobrov’s big poems and Lotman passages cannot be called rampant enthusiastic.

Now there is such an opportunity, but in the middle of X the case was different. Researcher-Provincial, living in the distance from the capitals, could not easily get into a large book depository like the RSL, order old printed books, delve into the archives. It remained only to wait for reprints in the "Literary Monuments." Or do not wait, but do something else. I was engaged in others, waiting or not expecting.

But the energy of desires, apparently, is not an empty thing. Life and creativity ”, and then the two -volume of the poet“ Dawn of midnight, prepared by him. Khersonida ”, reproducing his four -volume collected works of the year. What Korovin did is impossible to overestimate: by and large, he re -opened Bobrov for a reading public.For me, these were events of great importance, although I had no idea what they would lead to.

Do you remember how quickly and on which site they ended up “Night” in the end? By that time, the Russian segment of the Internet was generally formed and, most importantly, access to it was simplified. However, when I was looking for “night” on the Internet, I did it rather out of principle than eating any hopes. And I found: I don’t remember which one on the library website of some St.

Petersburg university. These were digitized pages of the lifetime edition of the epic. Either I was a completely inexperienced user, or the site was so arranged so, but I had to download the text much longer than looking for it. All four huge volumes, pages are eight hundred, had to download one sheet and print one at a time. Then I did not think about the publication of the epic, I am not a publisher, and indeed a person is not too active.

I just can’t boast of my mind with the quickness of my mind; It is rather bad, but the main thing in life, which she, in fact, taught me, is the need to turn our shortcomings in the direction in which they will become advantages. So I was quite satisfied with the opportunity to read “Night”, to think about Bobrov’s verses and, on occasion, write about them. Football, thinking and feasts with friends are the most important thing that happened in my, in general - quiet and plot, life.

You said that Bobrov’s reprint would not have happened without Maxim Amelin - a poet living in Moscow, the translator and the editor -in -chief of the “United Humanitarian Publishing House” and “B. Tell us about how we met him. I knew Amelina Paet from the beginning of X-according to publications in “thick” magazines, later-as a publisher of very non-trivial authors, say, Evgeny Karasev or Sergey Neldichen.

Maxim Amelin is an extraordinary poet, and not to pay attention to his poetry it would be difficult in any case - to me. In X Andrey Platonov, to the question of one of the literary profiles: “To which direction do you belong to? I have mine. " Maxim from the same breed: he has his own poetic direction. It belongs to a very small number of poets who set themselves large aesthetic tasks; In the era of the decline of aesthetics, and we live in such an era, such an approach to poetry means a lot and it will become obvious over time.

Amelin-poet is distinguished by a sensitive perception of aesthetic measurement of poetic speech; His interest in poetry of the 18th century is not accidental, which has received a kind of refraction in his poetics: there is a creative boiling in it in the impatience of opportunities awaiting their realization. The sensitivity to aesthetics is also manifested in the work of Amelin-publisher-in the breadth of his views on poetry, the ability to evaluate the artistic merits of very different poets, the ability to see in this aggregate diversity the wealth of Russian poetic speech.

And, of course, this feature is directly related to the publication of "Night".

Own work, CC by 4. I have never been very much eager to participate in literary life, to push in a poetic environment; It is more interesting to write - my texts are my main connections. Maxim read something from my scriptures about Bobrov, this determined his appeal to me with a proposal to engage in preparation for publishing the text “Night”. The technical side of our work is not very interesting.

I spent a lot of time and effort on compiling a commentary on the epos; As it later became clear, work on the comment has become the most important stage in the understanding of Bobrov’s poetics, without it, my preface to the book would look completely different. Amelin-editor interestedly supported my, not always indisputable, research and supplied inaccessible old publications necessary to explain the far from the most important realities of the “night”.

In my opinion, he is an impeccable editor - business, competent, tactful. When I studied at the journalism faculty, you often taught the history of literature, mentioning the topics of your research: for example, in the 20th century - a strange speech of Platonov’s characters or the dialogue of Brodsky’s poetry in a polemic with Bakhtin. Over the years of study, Bobrov managed to discuss his life and creativity in pairs?

And if not beavers, then who is closest to modern students from his era? It so happened that I had a lot of them, and not only literature, but about literature - Russian and foreign - and there is nothing to say. Either because the duties of a teacher of such and such discipline imposed certain restrictions on my interests, or the opposite-because I could easily realize my interests, since it was necessary to choose from, one way or another, I often inserted the authors and works that I thought and wrote about at that moment.

The discussion of the work with students is an important procedure for me is not sure that for current students, but once it was different; However, someone is now not indifferent. The point is not that the collective understanding is more productive than the individual, by no means. Discussions with students are mobilized, you have to wildlyxicate, looking for convincing arguments in favor of their words, so that the one who did not know, found out, and the one who knew something understood ...

I realized what? Well, I understood something, it doesn’t matter that. Moreover, experience shows that students understand your words in their own way. All the time I convince students what to say, even something stupid, if only not wasted, speaking creates a cloud of meaning from a couple of emotions, maybe ugly in form, but still this is some kind of form. There is my personal benefit: their crooked speeches give thoughts, the existence of which I did not know.

Perhaps the dialogue is the most suitable way of existence for me, this is a dispute, and consent, and individual, and collective, and much more. Of course, one or another questions arose in connection with work on the “night” could not be said in pairs: Bobrov’s poem highlighted the ideas of the Enlightenment in a problematic perspective, and not taking into account it, in principle, it is not interesting for me to talk about poetry of the XVIII century.

For the not so many years of my teaching work, the student has changed a lot, so to speak, socio-anthropologically. In the perception of art today, the emphasis is on emotional inclusion, the statements essentially boil down to the formulas that do not go beyond the framework of elementary oppositions, which are heard by everyone. There is a feeling that in general, the intellectual life of society is simplified, culture is thought of as a tool for solving current issues, and if you do not reduce it to applied purpose, then it will cease to be perceived at all.

Simply speaking, aesthetics is replaced by sociology or even sociologized conspiracyology. Students for this are very susceptible, of course, among them exceptions, but these are exceptions. Revolution in students cause works whose topics are in contact with their social experience. That is, works about love, love disasters, affairs, etc. Here, Alexander Sumarokov, “Rogonets in the imagination,” and Nikolai Karamzin “Poor Lisa”, especially since I force me to talk about their characters in the future of modern morality, by the way, often mutually exclusive.

Fruitful isolation - frequent circumstances for writers of exactly that era or is it a logical plot for any creative people? And immediately I will ask a related question: do you feel yourself in sociocultural isolation, doing philology in Krasnodar? Is the inclusion in the metropolitan community important and how did the Internet have changed the Internet?

Apparently, Bobrov, by his nature, was a closed man, perhaps even unsociable; Nevertheless, his loss from the literary process for almost ten years has become decisive. Lossed literary acquaintances and the loss of those who had already deprived him of the opportunity to gain a poetic reputation, enter the circle of like-minded people and take advantage of group support without which, we note, not a single little noticeable writer of that time ascended the Russian Parnas.

This was the case with the poet: not having the slightest idea of ​​the violent literary polemics of the 10ths that consolidated the literary groups and set the vectors of the poetic development of their participants, Bobrov could not get used to in the capital's literary world. He was valued as a poet, however, moderately, but in none of the literary parties he became his own.

The publication of the four -volume collected works, probably, also did not benefit him: venerable poets who risked to publish such meetings only to old age, most likely saw in him a arrogant upstart with exorbitant vanity; There is nothing to say about young writers.