The alternative of artistic stylization in the poetic sketches of Venedikt Yerofeev

Bezrukov Andrey Nikolaevich ORCID: 0000-0001-7505-3711 PhD in Philology Associate Professor, Ufa University of Science and Technology (Branch in Birsk) 452455, Russia, Republic of Bashkortostan, Birsk, Internatsionalnaya str., 120-V, sq. 9 in_text@mail.ru Other publications by this author

The individual author's manner of narration most vividly and texturally manifests itself in style. The style becomes an indicator of the aesthetic mobility of the writer's voice, a variation of what is permissible in the text being created, the limit of idealization. The way of thinking, which depends entirely on the style, organizes both the existing sign space and the semantic set decoded by the reader/recipient. In our opinion, the analysis of the concept of style is the dominant concretization of the author's artistic discourse. It must be recognized that the manifestation of the individuality of the writer's skill is obvious at all levels of the artistic whole, starting with the actual form, ending with the embodiment of the ideological essence. The aesthetic work of the author when creating text cash is not so similar to the process of copying something already clearly used, expressed. And yet, in the literary process, this fact takes place.

It should be remembered that imitation as a principle was massively reduplicated in the period of Antiquity. It was Aristotle ^{[1, pp. 649-680]} who singled out similarity, mimesis, copy as the leading technique of poetry, and indeed art in general. This model deliberately works in the dramaturgy of Aeschylus, Sophocles, Euripides, more muted in the lyrics of Archilochus, Solon, Sappho, and the variable experiments of ancient Greek prose writers. The effect of stylization gets its new life in the Middle Ages, the Renaissance – in chivalric sagas, semi-legendary tales of late times, in the texts of Dante, Boccaccio, Petrarch, Francois Rabelais, William Shakespeare, Cervantes. Let us clarify that in the works of these authors, the stylization technique had clearly paradigmatic features, the authors focused both on the classics and functionally corrected the signification of the repetition of the classical, already established, style. In this case, the style should be understood broadly, not literally touching the actual manifestation of this concept. The style is much more voluminous and broader than just the formal or present component of the language.

The XVII-XVIII centuries were somewhat independent, tradition and stylization faded into the background, the dogmatics of Classicism and the normativity of Enlightenment worked. The period of the XIX century both in Europe and in Russia again outlined the path of reincarnation of imitations: this is evidenced by the texts of Byron, Hugo, Balzac, M.V. Lomonosov, A.N. Radishchev, A.S. Pushkin, N.V. Gogol, I.S. Turgenev. During this period, historical stylization becomes, perhaps, one of the winning forms of convergence of the authentic truth of life and illusory dreams and dreams. On the balance of the artificial, sometimes syncretic, the works played a contrast to the original texts. For example, dramas by A.N. Ostrovsky, novels by F.M. Dostoevsky, L.N. Tolstoy, N.S. Leskov, short prose and theatrical forms by A.P. Chekhov.

He completely mixed the techniques, forms and specific layouts of the twentieth century, with his obvious protest, outrage, buffoonery, experimental poetics. Modernism, avant-garde, and, of course, postmodernism are in the mode of stylistic manifestos. It is the literature of the latter direction that, in our opinion, works out historical stylization, stylization for the epoch, for the time being described, for the concretization of empiricism, sensuality, catastrophic mentality. One of the outstanding figures of the literature of Russian postmodernism is Venedikt Yerofeyev. This name is more often consonant with the poem "Moscow – Petushki", but the beginning of the creative path was different, complex, experimental, lyrical.

Poetic sketches in the form of a linguistic, stylistic game appeared in Venedikt Yerofeyev back in the 1950s and 1960s. But the so-called "Anthology of Poets of the Remstroytrest dormitory" ^[2] was published according to the author's typewritten archives only in the early 2000s. The history of the creation of this collection is practically unknown. Therefore, in the mass of critical sources, the "Anthology of Poets of Remstroytrest" did not receive proper evaluation and analysis. One has only to assume that Venedikt Yerofeyev, working as a loader in Remstroytrest, so fascinatingly presented the format of poetry for his colleagues that the latter created a version of the polyanthea of stylistic variations, lexico-historical similarities of the early twentieth century.

As follows from the annotated references, "the anthology was compiled by Yerofeyev from poems allegedly written by his neighbors in the dormitory of the Repair and Construction Trust on Krasnaya Presnya" ^{[2, p. 87]}. For a long time the text was considered lost, as well as much written by the author, but, according to N.A. Shmelkova, "fragments of typescript were returned to the writer only in the fall of 1987" ^{[2, p. 87]}. The news of the discovery could not but please both Venedikt Yerofeyev himself, as well as his friends, acquaintances, as well as literary critics, and then researchers: "Venichka reported the news. A Polish acquaintance came to him again, who found the remains of a lost "Anthology of Poets" in Vilnius. It should be noted right away that Venedikt Yerofeyev, after the so-called "creative work of neighbors," stylistically polished literary texts, in connection with this, there is a desire to look at this literary edit of the "master" in more detail. There is also an assumption that the proofreading of the texts of self-taught poets is nothing more than the active development of their own style, polishing their own independent manner of creating works of art.

Recall that Venedikt Yerofeyev is better known to the mass reader as the author of one full–fledged text – the tragic poem "Moscow - Petushki", but literary flair, emotional intensity were manifested in other aesthetic forms. In particular, drama, tragedy, short prose, as well as in lyrics. However, practically nothing has been preserved, it has not reached the complete editing. In the famous "Notebooks", "Diaries" of Venedikt Yerofeyev, there are a number of pointers to possible experiments in the previously listed constructs. Quite a lot in the memoirs, archival records speak about the attentive attitude of the Veins. Yerofeyev's approach to Russian poetry of the XVIII century, poetry of the XIX – early XX centuries. It is noted, in particular, that the writer remembered and knew almost the entire basic basis of classical poetry. Possessing a phenomenal memory, Ven. Yerofeyev quoted modernist poets by heart – I. Severyanin, K. Balmont, A. Blok, V. Bryusov, A. Akhmatova, M. Tsvetaeva, O. Mandelstam, F. Sologub, I. Annensky, V. Khodasevich, A. Bely, Sasha Cherny, V. Mayakovsky. In our opinion, the announced list of texts of the "Anthology of Poets of the Remstroytrest dormitory" is an imitation of modernists.

The "Anthology of Poets" is a collection of texts, the general orientation of which is given in paragraphs:

1. From romanticism to realism.

2. Decadence (futurism, imagism, symbolism, "venediktovschina".

The initial block is given, in all probability, in the segment of the formal nomination, since it actually does not exist. The movement "from Romanticism to realism" is only a projection of the dynamics of the literary process, which is objectified by the author. The starting point for Venedikt Yerofeyev, of course, is a new type of artistic creativity – romanticism – an experimental kind of poetry, a more complex form of aesthetic assessment of the realities of the surrounding life. The tendency, the special craving for romanticism in Russian literature is explained by the desire of poets to reach a new horizon of aesthetic dreams, unrealizable, but sought. Russian romantics – Baratynsky, Batyushkov, Ryleev, Zhukovsky, Lermontov, early Pushkin – proved themselves as fighters for a sounding syllable independent of external circumstances, not a declarative, but an effective poetic word.

The main property of romanticism is the assertion of the importance of the creative life of a potentially rich person. The romantic hero, by definition, is ontologically close to the ideal, the peak of the convergence of harmony and antinomy, the unreal and the objective. Probably, it is from these opposites that the extraordinary power of the romantic hero, the hero-fighter, even the hero-winner is born. The illusion that the romantic aspires to, spectrally reveals the essence of the character, his personal, ambivalent spirit. Venedikt Yerofeyev knew perfectly well that the movement from Romanticism to realism in Russian poetry was consistent, planned, unlike decadence, which rapidly, fleetingly, impulsively fixed life collisions, tragic turns. Consequently, it was not necessary to polish the forms, language, style in the regulations of Romanticism, and even more so realism.

The second block of the "Anthology of Poets" – "Decadence (futurism, imagism, symbolism, "venediktovism")" is given more objectively and pointwise. The planned alignment of literary trends suggests that the phenomenon of modernism, according to Venedikt Yerofeyev, remains a mystery, but the author, the demiurge, still wants to join the mystery. Yerofeyev is a wonderful stylist, his ability to combine differences is amazing, an example of this will later be built "My Little Leniniana". In this case, the layout of the poetic form attracts precisely historical stylization, but with plot reservations, poetic overtones and functions.

Active work on poetic language, in our opinion, boils down to the following functions-fixators:

a) parody;

b) the aesthetic game itself;

c) lexico-phonetic experiment;

d) implication;

e) cultural dialogue;

f) form conversion;

g) fixation of tradition.

The proposed series, of course, can be expanded, fragmented, and concretized. But the main block, I think, lies precisely in these functional limits. We will conduct a step-by-step content analysis of the proposed classification.

Open the available text array of the "Anthology" of Veins. Yerofeyev's epigraphs are significant for the author. The writer was attentive to this optional part of literary works almost always. For example, due attention is paid to the epigraph in the poem "Moscow – Petushki", and in the tragedy "Walpurgis Night, or the Steps of the Commander", and in the palimpsest "My little Leniniana", and in the author's version of the Gospel "Good News". The epigraph is an indication-a guideline for further spectral decoding of the text, in this the author is traditional. Nomination of preliminaries in literary classics of the XIX century was productive and effective – A.S. Pushkin: "Eugene Onegin", "The Captain's Daughter", "Belkin's Stories", N.V. Gogol: "The Inspector", F.M. Dostoevsky: "Poor People", "Demons", "The Brothers Karamazov", L.N. Tolstoy: "Anna Karenina", "Resurrection", N.S.. Leskov: "Lady Macbeth of the Mtsensk district".

For Veins. Yerofeyev's epigraph precedes the literary cash not so much formally as meaningfully. The multilayered view – the three components of the citation – there are three stages, three degrees of understanding of poetic mastery; by gradation, ascension, this is expressed at the beginning:

"Who said that we have

Only Seraphim Yakunin?!

We are all poets, everyone

Seraphim of Yakunin!"

(from a conversation in the buffet) ^{[2, p. 5]}.

The lines sound like a standard of generalizing evaluation, from a particular figure to a factor of crystallization of something massive, obviously indivisible. Depersonalization is a characteristic feature of the literature of socialist realism. Modernism was not like that, although signs and cliches, cliches and aesthetic formulas brought together authors who were ahead of time, reduced contamination into a seething stream of formations. The following lines are a clear confirmation of this. In them you can hear the dynamics of thought, associative aesthetic play, a hint of chopped, accentuated verse by futurist Vladimir Mayakovsky:

"I'm a poet, but I'm not saying,

That I am great!"

(Seraphim Yakunin) ^{[2, p. 5]}.

Vladimir Mayakovsky began his autobiography with the words: "I am a poet. This is interesting. This is what I am writing about" ^{[3, p. 9]}, partly making a challenge to society, calling on the reader to treat the poet as "I am a person". In the phrase of Seraphim Yakunin, the idea itself is quite clearly expressed, but there is no literary lightness, smoothness, dialogue in it, as is done by the avant-garde poet. Venedikt Yerofeyev knows perfectly well what poetic diversity and the pursuit of perfection are, what it means to process a sound, a syllable, a phrase, a line. In our opinion, simultaneously with the futuristic beginning, the Yesenin style, the signs of imagism, that is, imagery, conventionality, creativity, is being played out. For example, in the context of Sergei Yesenin's poems of 1911-1912:

"Is it my fault that I'm a poet

Heavy torments and a bitter fate,

It was not by my own will that I became –

He was born that way.

<…>

I know there is no happiness in life,

She is a delusion, a dream of a sick soul,

And I know that everyone is bored with my sad tune,

But it's not my fault – I'm such a poet" ^{[4, p. 23]}.

Although the limit of self-criticism, proud self-deprecation is not so bad in the specified evaluation formula, according to Yerofeyev, but the cyclical conclusion of the tirade of epigraphs is A.V. Volkovsky's distich, which breaks the integrity of the poet as a figure into nominative, insignificant components:

"Seraphim is not like Yakunin,

Yakunin is not like Seraphim"

(Volkovsky) ^{[2, p. 5]}.

The basic concept of Yerofeyev's "Anthology" is quite clear from the point of view of the individual author's device. The scale of historical stylization fixators will be represented by the "skillful" creativity of K.A. Kuznetsov, M.V. Mironov, V.N. Glotov, V.P. Peony, V.A. Volkovsky, A.A. Oseenko (O.R.Z.), finally the most Ven. Yerofeyev's poem from the cycle "Journey around Europe on the steamship "Victory". It should be recognized how modern Venedikt Yerofeyev is in the space of the infinite, how vast he is in the world of social blockade, how contextual to the rebellious spirit of the early twentieth century, modernism, poets of the free element, how deliberately topical.

Kirill Kuznetsov's literary opuses, which go further, stylistically, of course, edited by Venedikt Yerofeyev himself, are consonant with the newspeak of the poets of the XIX century – V.A. Zhukovsky, N.A. Nekrasov and A.A. Fet, and are also implicitly connected with the musical culture of the mid-twentieth century.

Three poems are united by the factors of fixing the spontaneity of life: social determination (man), natural/landscape origin (being eternal), assessment of the inadequacy of natural language (creativity). The chronology of writing texts is observed and when included in the "Anthology" – 1 verse. 22/XI-56, verse 2. 23/VII-57, verse 3. 24/VII-57 The dominant combinations of texts by K.A. Kuznetsov with literary classics may look as follows.

"I would like to become a poet,

To celebrate happiness,

Always sing – in winter and summer,

So that you can understand" ^{[2, p. 6]}.

The concretization of joy, the manifestation of the desire to sing, pronounce the text and create something of their own, unique and unique, are contextually consonant with the poem by V.A. Zhukovsky:

"Fate judged me: to wander an unknown path,

To be a friend of peaceful villages, to love the beauties of nature,

Breathe under the twilight oak silence

And, bending his gaze to the pennies of water,

To praise the Creator, friends, love and happiness.

O songs, the pure fruit of the innocence of the heart!

Blessed is He who is given to revive with a handkerchief

The hours of this fleeting life!" ^{[5, p. 77]}.

For Venedikt Yerofeyev, the element of musicality, the literal singing of lines can be a reduction of the sound in his poems of the Soviet song-musical form. The author synthesizes the available, but functionally refines it. This is evident in the following poetic series:

"In our songs it is sung like this

(I'm looking for happiness for myself):

"Whoever wants, he will achieve."

So I will find happiness" ^{[2, p. 6]}.

The lines reversibly pick up verses from the song of V.I. Lebedev-Kumach "Merry Wind", performed in the movie "Children of Captain Grant":

"Who is used to fighting for victory,

Let him sing with us together.

Who is cheerful – he laughs,

Who wants – he will achieve,

Who is looking for – he will always find!" ^[6].

The reinterpretation of classical texts for Yerofeyev is an attempt to synthesize the aesthetics of a strictly Soviet nomination with the conditions of new thinking, with the requirements and challenges of another time. It can be assumed that this is both the implementation of a double coding program, and the implementation of a game with cultural signs, and the assumption of irony, and the development of its own manner, its own style, unlike the previous ones.

Literary classics of the XIX century in the landscape-coloristic mode, characteristic of N.A. Nekrasov, gets its reflection from Kirill Kuznetsov. The text of Nikolai Nekrasov orients:

"Late autumn. The rooks have flown away,

The forest was exposed, the fields were empty,

Only one strip is not compressed...

She leads a sad thought..." ^{[7, p. 135]}.

Kuznetsov's text represents the organics of synthesis, it is a transition from an external narrative, a description of the present to the refinement of the emotionally empirical, sensual. Often, lyrical poetry itself tends to such a layout of content, this is its difference from other types.

"Late autumn. The whole sky is closed

Dark clouds. It's raining in the morning.

In the evening, the air is filled with moisture.

There are no stars visible at night.

<…>

I believe in you, O dear friend, —

Together we can go to happiness!

Believe me, too, my dear,

Believe and come to me!" ^{[2, p. 6]}.

It becomes important and essential for the author to expand the Nekrasov space, literally merge the landscape with the immanent experience of the hero. The format of the combinations gives an allusion to Vladimir Agatov's song "Dark Night":

"I believe in you, my dear friend,

This faith kept me from a bullet on a dark night...

I am happy, I am calm in a deadly battle,

I know you will meet me with love,

whatever happens to me" ^{[8, p. 33]}.

Especially in the "Anthology of Poets" Ven is manifested. Yerofeyev's block, which can be regarded as a kind of stylization under A.A. Feta. Yerofeyev noted in his diary entries that his attention to the late Fet was not trivial. Traces of Fetov's lyrics are heard and can be established in the poetry of the early twentieth century – during the period of experiments and merges, sometimes, of incompatible literary forms.

It seems that Afanasy Fet is unique for his special artistic focus on the world, the purposefulness of his gaze regarding details and all sorts of little things. The natural life depicted by him in the texts is so dynamic (at the same time it is built quite often without the use of verbs) that the reader involuntarily, unconsciously begins to actualize the projection of this picture reliably and objectively accurately. Although the poet is upset that the means are not so diverse and effective for transmitting maximum accuracy, it turns out to be qualitatively.

A.A. Fet's manifestation of such a view is quite clearly built in the famous poem "How poor our language is! ..".

"How poor is our language! – I want and I can't. –

Not to convey that to either friend or enemy,

What is raging in the chest with a transparent wave.

In vain is the eternal longing of hearts,

And the venerable sage bows his head

Before this fatal lie" ^{[9, p. 251]}.

Deliberately simple, trivial, even banal, demonstrates literally everything fetovian in practice, Venedikt Yerofeyev, however, on behalf of Kirill Kuznetsov:

"...Can't find words like,

My language is very poor,

Without embellishment, very simple,

The song pus <k>ai (to you) is flying..." ^{[2, p. 6]}.

Notable for the "Anthology of Poets" Ven. Yerofeyev accuracy of factual materials, which are entered by the compiler. These are dates, explanations, years of life, full indication of names, surnames, patronymics, titles of a number of poems. Yerofeyev's perfectionism was observed even in the collection and processing of mushrooms, not to mention collecting records, reading lists, debt obligations. In the course of the analysis of the "Anthology of Poets of the Remstroytrest dormitory", I would like to make a few assumptions about the time periods indicated in it. A clear timekeeping is given under the name of each "neighbor": K.A. Kuznetsov (1939 – 1958), M.V. Mironov (1932 – 1957), V.N. Glotov (1936 – 1957), V.P. Peony (1938 – 1957), V.A. Volkovsky (1935 – 1957), Fiery Red–Haired Regular - AA Oseenko (1937 – 1957).

In 1956-58, presumably, Venedikt Yerofeyev lived in a Remstroytrest dormitory. In this regard, the dating of the second year does not mean the literal departure of a person, his death, but a break with neighbors, for example, the relocation of Veins. Yerofeyev to another place of residence. A simple calculation reveals the age of the young poet – 19 years. Kirill Kuznetsov (18 years old in 1957), Vasily Peony (19 years old), a little older than Oseenko (20 years old), Glotov (21 years old), Volkovsky (22 years old), Mikhail Mironov (25 years old) are about the same age.

Each of the potential poets, according to the plan of Venedikt Yerofeyev, has a certain literary mask, type, character. The compiler himself encodes his own figure at least twice during such an experiment: this is an actual nomination, a real person, a stylization stage, and, of course, a language experiment. Consequently, Yerofeyev also works out a peculiar manner of writing in the form of lyrics, in addition to the well–known prose – "Notes of a psychopath", "Good News", especially dramaturgy - "Walpurgis Night, or the Commander's Steps", "Dissidents, or Fanny Kaplan".

The authorship of the next part of the "Anthology of Poets of Remstroytrest" is given to Mikhail Mironov (1932 – 1957). The poems included in the main text array are dated 1956 (September, November). Each text has a title: "It seemed to me ...", "N. Krivtsov", "Recognition", "Vacation". It is the poetics of Mikhail Mironov's sketches that looks unusually slender, unlike other authors. In this case, it is rhythmics, stanzas, language, composition, and the external structure of texts – architectonics.

Associatively, the Mironovsky block resembles a rather thoughtful experiment of Veins. Yerofeyev with the poetic classics of the XIX century. It seems that the texts of A.S. Pushkin, M.Y. Lermontov, F.I. Tyutchev, A.A., Feta, and N.A. Nekrasov form a single sounding monolith. The special harmony of the rhythm, barely recognizable word / phrase, quote orientate to the sublime and timeless.

The playful nature of the first poem in the block – "It seemed to me ..." by Mikhail Mironov is obvious almost from the very title. The first line "It seemed to me..." – a reminiscence of the Nekrasov text – clearly refers to "You and I are stupid people...", a little further on combinatorics picks up Lermontov's poems "Mtsyri" and "Demon", as well as Tyutchev's "Oh, how murderously we love ...". This poem is plot-based, it has obvious signs semantic set ^[10]. Such a move is achievable by introducing a mask reception, similarity. In the text, such a figure is a lyrical hero.

Although the pronominal forms "I" / "YOU" are brought to the realization of the absolute of desires and passions, it is "I" that dominates in such a layout. The characters of M.V. Mironov seem to overcome the intensity of the sensual, over-emotional, the reader anticipates the expected / desired, it is actually manifested by the text itself.

In a special way, with the factor of over-quotation, the lines alternating in semantic terms look like: 1-3 / 1-3 / 1-3 / 1-3 / 1-3 / 1-3, it is they who denote the dynamics of artistic narrative: "It seemed to me ... // But I will not say… // Is there another one... // And maybe... // Don't cry, child… // Love has passed ... // There is no strength to love ... // Those days have passed ...", etc. The author concludes the text with a special rhythmic confusion: the last two quatrains contrast with the previous quatrains, look deliberately ill-conceived, difficult to pronounce. This is probably due to the fact that the parting line has been finally reached:

"Your soul will ask for affection, I know,

But it's too late – you can't bring me back,

And past happiness, past caresses

In vain you call to yourself" ^{[2, p. 7]}.

The poem "It seemed to me ..." is extraordinarily musical, a whole orchestra plays in it. Sounds, layered on top of each other, initially repel and frighten, but with further reading, the formed world of the text is complemented by a picture of changing experiences. In this case, one should see Venedikt Yerofeyev's special gift – to hear the melody of a word, and then synthesize a potential difference, proportionally combine heterogeneous sound overtones into a single context / discourse ^[11]:

"It seemed to me that I loved you

It was a flash of early youth.

But I won't say that I forgot you,

And yet those worries are not in me.

Another face is already languishing in my soul,

In love, no one could determine,

And maybe you'll have to repent,

But still I ask you to forget me" ^{[2, p. 7]}.

Commensurate with the tactics of the Yerofeyev aesthetic game of combining with Pushkin's "I loved you":

"I loved you: love still, perhaps,

In my soul, it has not completely faded away;

But don't let it bother you anymore;

I don't want to sadden you with anything" ^{[12, p. 431]}.

It is necessary to supplement the pastiche "It seemed to me ..." and the Nekrasov "You and I are stupid people":

"You and I are stupid people:

What a minute, the flash is ready!

Relief of an agitated chest,

An unreasonable, harsh word" ^{[13, p. 94]}.

If the mood for recombination of the classics of Russian poetry is obvious in the texts of Mikhail Mironov, he is attracted more by the golden XIX century; in the experiments of Viktor Glotov and Vasily Peony, the obvious exaltation of A. Blok, V. Mayakovsky, I. Severyanin is felt. The poems of this part are entirely filled with modernist tendencies. But at the same time, rhythmics, poetics, aesthetics, and syllable are transformed:

"Let there be no God! But there was a god before!

Where did this holy face go?

<…>

Tell me where to look for happiness,

If there is not even a god in the world?

<…>

Let me die! But where is there a tear?

Or will I leave my life like a dog?

Let the moon at least come to the moon, –

I won't even find happiness in death!" ^{[2, p. 9]}.

The set of basic techniques and forms of implementation of the principles of the artistic is quite understandable and traditional, but the combination itself completely destroys the aesthetics of the implemented ^[14]. The realities of the world, reality as such, are leveled in the text, the voice and creativity become the main thing. The search for oneself, the foresight of extremes, deliberate prophecy, of course, bring Venedikt Yerofeyev's experiments closer to modernist trends. Confirmation of this is the following form:

"I am a passerby in the square,

In the barbershop – the Client,

I was a pre-conscript yesterday,

Tomorrow Is The Entrant.

At work, I am the Head of the Warehouse,

In the train – A passenger,

In the department – the Violator,

The guys have an Idol..." ^{[2, p. 10]}.

Vasily Peony, by special elaboration of phonics, creates not so much a soundless picture of "understanding – misunderstanding" as objectifies the situation of deafness of society. At the same time, the lyrical hero is initially intolerant of such things, but further along the text he humbles himself and agrees to state hopelessness:

"Citizens! Turn completely into hearing!

I'm going to read a wonderful verse!

If you say, "I'm deaf!"

I'll tell you: "Ah...!"

If anyone is suffering from a disease of tears,

Immediately go to the South!

However, they do not take ordinary people there,

Well, come on, let's stay! Eh!" ^{[2, p. 11]}.

The paragraph manner of visual impact on the reader, characteristic of the Sixties – the experience of R. Rozhdestvensky, A. Voznesensky, E. Yevtushenko, B. Akhmadulina – is also noticeable in the "Anthology of Poets" of the Veins. Erofeev. This technique works with Vladimir Volkovsky and A.A. Oseenko. For example:

"On Seraphim"

"We are tormented by spiritual thirst,

I was hanging around the dorm.

And only the carpenter Seraphim

At the crossroads, he appeared to me."

"On N. Mironov"

"Well, let it be – "love has passed", well, let the roses fade"

"Over the river Ptanyu in the spring", –

"Don't cry, child!" – "You're shedding tears in vain!"

"Your voice cuts my ears!" ^{[2, p. 12]}.

The poems of these neighbors-poets are genre-close to epigrams and charades-burima. For example:

"MYOCARDIAL INFARCTION"

"Today I have to O.Z.

So that tomorrow until the evening L.

I really don't want to.

But I don 't want R. anymore .

In the morning you need to drink K.D.

Then run a K.E.T.

And the fact that P.Z.M.Ts.D.

Z.S.U.B.V.S.A.T." ^{[2, p. 14]}.

The satirical mood, with elements of deliberate irony, is obvious in the thematic layout itself. Yerofeyev understands that the present form is only a way to improve the content.

"Seraphim Yakunin"

"You are a wolf and a dog, you are a lady with red lips!

You are "bread kvass"! "Love introduction"!

You are "big eggs", you are "fat soup with mushrooms"!

You are a "poplar" with a "shadow"! A man without a shadow!" ^{[2, p. 13]}.

Thus, the main block of the "Anthology of Poets of Remstroytrest" is an unconditional artistic stylization, an experiment by Venedikt Yerofeyev himself. This experiment has been carried out at all the main levels of the artistic whole: language, genre, form, style, manner, semantic integrity. Embodying the author's idea, Ven. Yerofeyev pointwise separates himself from the literal personal "I". It's as if he doesn't want to speak in his own voice, it's better and better to pronounce the evaluation version, according to Yerofeyev, with other people's voices, adopting a certain speech mask. Such a form, I think, implements the fractal of double coding, the dynamics of aesthetic play, manipulation of the reader's/recipient's consciousness, it also implements the installation of imitation and partial recognition of pretexts. Once, G. Adamovich dreamed that everything was clear in verse, but that a penetrating transcendental breeze would burst into the "cracks of meaning", so that "every word meant what it meant, and everything together was slightly twofold." What we find in Yerofeyev. These are preliminary observations on the poetic experiments of Venedikt Yerofeyev, testifying to the intellectual culture and aesthetic freedom of the author. Consequently, significant and essential signs of Venedikt Yerofeyev's style in the "Anthology of Poets of Remstroytrest" are – the breadth of aesthetic polypositions, the volume of artistic thinking, an acceptable hint at the rhizome of textual meaning, maintaining a productive dialogue with a potentially prepared recipient. In our opinion, this action program is vividly implemented in the poem that completes the poetry collection of Venedikt Yerofeyev. Following the manner of Igor Severyanin ("That May" ^{[14, pp. 230-231]}, 1929), Yerofeyev himself, working with intertext ^[15], positions himself as a poet of the "language":

"I am again, intoxicated by May, on an intoxicating frigate

I meet the May humanity with a half-contemptuous grimace.

Inhaling the sweetness of the ocean, sympathizing with Picasso,

And I deliberately disloyally listen to the crackling of delegates" ^{[2, p. 14-15]}.

The "Anthology of Remstroytrest Poets" compiled by Venedikt Yerofeyev is a rather bold and constructive experiment with such a principle as artistic stylization. The texts stated in the collection tend not only formally, but also meaningfully to the aesthetic authorities of the XIX-XX centuries. Venedikt Yerofeyev does not distort the authenticity of the language, his main task is to convey the similarity of the manner of thinking of classical poets. Functionally, such a game is quite justified, because the poetics of postmodernism is focused on the probabilistic synthesis of typologically different highways. It is also worth noting that other texts by Venedikt Yerofeyev are not devoid of a lyrical background, because for the writer it is the marking of a real, living life.

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