Хлебников и современная русская поэзия

Résumé En

There is no Russian poet of nowadays who hasn’t his own attitude to Khlebnikov. The interaction with Khlebnikov’s world is necessary for the creative self-determination and self-identification. Vladimir Vysotsky in the days of his youth was delighted with the verse “Rus’, ty vs ’a -potseluy na moroze” (“Russia, you all are like a kiss in the frost”), and later he inherited this poetical openness and sentimental hyperbolas in his own songs. On the contrary Aleksandr Kushner said about Khlebnikov : «For me this play with word without real lyricism seems to be boring and gives me nothing”. And it shows not only his personal taste but also his refusing of the Khlebnikov’s cosmic epics from the point of view of post-acmeictic lyrical system. Mikhail Victorovich Panov (1920-2001) was a deep investigator of the Khlebnikov’s poetical system and in the same time original poet. His poems were published at first in 1998. As a real follower of Khlebnikov he combined complexity and simplicity, vers libre and classical verse, “zaum” and semantic transparency. He has written a poetical cycle “Starry Sky” where he gives the “Khlebnikov-centic” picture of Russian poetry. Gennadiy Nikolayevich Aigi (1934-2006) has turned Russian poetry to the new system of the verse. His word is free from the literary associations and remembers the whole spectrum of potential meanings. Like Khlebnikov he has created the cosmic language. Viktor Aleksandrovich Sosnora (b.1936) shows the example of maximally individual poetical speech. In his system all the words are involved in paronimic connections. These three poets are real Khlebnikovians as personalities. They are independent and completely immersed in their intimate dialogue with Word. Many poets now sincerely adore Khlebnikov and pretend to continue his line, but their quest for the new forms is not natural enough. To be Khlebnikovian today means not to search but to find. And certainly there is nothing common between Khlebnikov and such marginal versificators like Limonov and Prigov. The concept of “graphomaniac” (A.Zholkovsky) applied to Khlebnikov is a misrepresentation of his real position in the history of the Russian poetry. The latent competition of acmeistic and futuristic traditions continues up to the present situation. The potential regeneration of Russian poetry is connected with the wide perspective outlined by Khlebnikov.