Pirate Potter of Poetry: On the Lectures of Mikhail Panov

The most common reproach for the humanities - in impracticality (the philologist will not become a writer) - is not suitable for the book of M.V. Panov. The linguist legendary in several generations (1920-2001) explained that it needs to be added to the language so that he again became the language of poetry. Figures and jewelry are needed in the last turn: first - stresses, accents, the importance of knowing words. Panov gave these lectures from 1977 to 1983 at the Russian branch of the Philology faculty of Moscow State University. M.V. Lomonosov. They could be called philological musicals, not in a general sense, but in historical: the art of appearing on stage, easily zeroing their acting role. Panov's lectures in comparison even with the most insightful analysis of Yu. M. Lotman - like a musical after a psychological drama. Attention to special effects, to the surprise of repetitions, to the coordination of surprises - all this is not quite like the Lotman, who is important, how the text works, and not how he improvises. The severity of Lotman and the lightness of Panov now, with the release of this book, complement each other.

Panov, as if warns the poets under consideration against impaired measures, from excesses, from monotonous lethargy - and in this he looks like a coach or director of the musical, and not a dramatic director. The basis of his analysis technique, he puts the term “button” - a word that does not exist in any language, meaning the introduction of diversity that never becomes monotonous.

But at the same time, Panov explains that poetry does not begin where spontaneity and improvisation arise, but where the poet himself becomes the philosopher of this spontaneity. So, Pushkin's reform is understood as the introduction of epithets, characteristics, which at the same time are least similar to labels, but, on the contrary, are dynamic. “ The deep humanism of Pushkin - where does it come from? But he still goes from the epithet ... The epithet allows you to see the world dialectically: one object is replaced by conflicting definitions, they flow past the determined object, they rebuild it, they allow us to see the great in insignificance . ” Lotman would say that Pushkin has few epithets, that Pushkin prefers verb dynamics. But Panov is important differently: that an epithet, an adjective as a smooth form, with full -glazed endings in the Russian language, is a new sonority: calling the thing “great”, we cherish it, protect it and see that we had not seen before that they despised ”(in the Pushkin meaning of the word we did not see).

Panov watches how poets turn improvisation into high artistry: unlike the drama theater, where the canon of artistry is given in advance, in the musical it is necessary to prove the appropriateness of his manner. For example, the accumulations of consonants in Pasternak are interpreted as a stumbling speech, and it is compared with the installation of Eisenstein, in which, like Pasternak, things suddenly come to life. Another philologist would say that the accumulation of consonants stops the reader's attention. But for Panov, it is important that things themselves stop, stand on the hind legs, like stone lions in Eisenstein’s frame.

In this difference, his prospects and the usual one: it is important not as the reader felt the words of the poet, but as the words of the poet forever changed reality. M.V. Panov, of course, was the last great Russian futurist, and the poetry about Russian poets attached to the course of lectures, which resort their imagery - outstanding futuristic works. By the way, M.V. Panov immediately understands all the statements of Khlebnikov: “ And the steam locomotives were divided into the gloss / their pupils of the kneading sludge ... ” - electricity is tame by a person, because the lantern is compared with the cloth.

Nearby, Panov says that Pasternak resembles a person who, in response to the question of the game "Bird?" It would be not the first “chicken” that came across, but “goose” - because shorter and more material. It is interesting that the other great Russian humanitarium, S. S. Averintsev, jokingly explained that it was better to teach children not affectionate, but short words: “dog”, not “dog”. In both cases, non -triviality of thinking is also the ability to understand the entire cultural worlds: although Panov, unlike Averintsev, did not write about antiquity or Byzantium as worlds, he found the same worlds in the poetry of Annensky or Akhmatova, solving the psychologically broken poems of Annensky as strict and accurate still lifes and genre scenes. Poetry for him is a way of translating from the language of our experiences, rather trivial, into the language of heroes experiences, always non -trivial and therefore promising discoveries.

Therefore, being a like -minded plot, and not an inner voice, freeing himself from isolation on himself, his reasoning Panov always begins where the poets themselves stop. If Mandelstam said that he was “disgusted by the arrogance” of Batyushkov, who answered “Eternity!” To the question “What time is it?”, Panov says that Batyushkov first had time in Russian poetry, the ability to survive affects in the sound of a long time. Or, for example, arguing about the Odams of Lomonosov and Derzhavin, Panov sees the principle of mosaics in the symmetry of one Lomonosov, and in the rhythmic volumes of Derzhavin - the nuances of picturesqueness. For MV Panov, there is always a reform of rhythm or the principle of versification - the reform of worldview. For example, the neologisms of Sologub with their sonorous vowels, such a melting, like “star Mair”, not only made the text more melting, as another philologist would say, but ensured its multifaceted: you can hear the dream of an educated person in the top, or it is possible - the sobriety of folk songs. How much more multifaceted he interprets the melting of the block. Or the free verse of Kuzmin, which portends the death of the heroes, about the death of those who have not yet guessed: it is important that a free verse is closer to the description than to the melting, and the description always has in mind the end of the dead world.

The phenomenology of M.V. Panov always works in many hands, learning not only traditions and influence, but also the ability to recreate influences right here on the stage of the highest philological musical. You can only honor the work of the publisher of lectures by T.F. Neshumova, who worked on preserved audio recordings and notes, thanks to which we now know what is happening in great poetry.

Alexander Markov