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Moritz P. Yunna

( Russian poet)

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Biography Moritz P. Yunna
Moritz, Yunna Petrovna (p. 1937), Russian poet. Born June 2, 1937 in Kiev. The first poem published in 1954, the first book, "Talking about happiness" - in 1957. In 1961 she graduated from the Literary Institute. Gorky, from which two years earlier had been excluded because of 'the rise of harmful tendencies in her work'. 'The revolution died, and her corpse stinks' - so, according to EA Evtushenko, formulated its position on Moritz student party in 1954. In 1963 in the journal 'Youth' was published poem Moritz, dedicated to the memory of Titian Tabidze, which, according to the commentary Yevtushenko, 'has caused anger in the CC, but not very much of its rigidity, and many liberals'. This episode can be considered as a key to describe the life, social and artistic behavior Moritz, its relationship with the literary environment. The rejection of totalitarianism is a deeply personal Moritz, . personal character, . motivated primarily aesthetic repulsion of social evils, . generated by the gregarious stupidity and mediocrity: 'Who gave this right cretin / Shove star under the guillotine? " In this angry philippics Moritz part of the address and impersonal carriers 'progressive' thinking, . lovers primitive topical lyrics, . which, . according to one of the hyperbolas Moritz, . - 'Executioner poetry primary',

Dominant poetry Moritz - a dynamic and multifaceted comparison-comparison of the life and work. Art - an inseparable and indispensable part of being equitable in relation to nature and man, needs no justification vnehudozhestvennymi objectives: 'On life, about life - about what else? / Sings to exhaustion poet ... After all, there is nothing more than to watch a poet / And do not hover over the more! " The world around us appears here as a result of intense creative effort ( 'I called the flower - and a flower zaalel ...'), . which is essentially identical to the most organic manifestations of human nature ( 'I am a child named - and it was born ...'),

. Nature lyrical Moritz differs sharply defined and certainty: an outstanding temperament, . focus on its core business, . categorical judgments, . unpredictability of psychological reactions, . uncompromising, . inevitably lead to the isolation ( 'Solitude now / To bring the masterpiece! "),
. Standing opposite and opponent of the poetess, the object sarcastic, sometimes deliberately abusive - okololiteraturnaya 'black', psevdointelligentsiya prone to boast of their 'exclusivity' and simulate 'spirituality'. However, for the simple, sincere, hard working people have a real poet is always lacking and kindness, and warmth: "But have you ever looked into the souls of men, / walking in the cold in tears?"

. The cult of the creative efforts in poetry Moritz based on a deep belief in the inexhaustible potential of human
. The need for spiritual work, . unacceptable concessions to the emptiness and vanity, not only declared in an extremely clear, . memorable formulas ( 'And if the body is lazy to plow / And, . well-fed as infants, . beat thumbs, . - / Soul will have to starve sdyhat, . / Scum eat, . strangers plunder the soul '), . and confirmed by the rhythmic, . verbal and imagery of the lyrics Moritz,
. Poetry is an example of actual harmony in themselves convey to the reader that the charge zhiznetvorcheskoy energy, which is intended to help in the pursuit of high and severe code of ethics embodied in the poetry Moritz.

The stylistic origins of the poetics Moritz - the 'silver age', as evidenced by statements of the poet, who proposed termite 'ahmatsvet' as a kind of 'unity' women's poetry in Russia. In the artistic practice Moritz can see fruitful continuation of both traditions - and Akhmatova (a visible plasticity shaped parts, . atmosphere of mystery, . harmony tracks), . and Tsvetaeva (nervous tension intonation, . lyrical maximalism, . propensity to hyperbolas),
. To this we must add a distinct roll with Blok's poetic world (gravity metaphor to the limit symbolic polysemy, oxymoron connection 'high' and 'low'). Creativity Moritz - a rare example of fairly harmonious combination of individual pioneering poetic impulses received from the symbolist, Acmeist and futuristic art systems.

Verses Moritz intrinsic musicality. Key role in her artistic system is rare for contemporary poetry refrain: repetition or variation of key lines or stanzas of verse tells semantic harmony and at the same time creates a magical atmosphere. In this system the best are precise and seemingly neeffektnye rhymes, commitment to which sharply distinguishes Moritz from other poets of the sixties innovative orientation. Denial of assonansnoy of rhymes, rhymes on the compound and punning - consciously setting Moritz: 'Follow me, follow me - all the rhymes beggars, all the brotherhood / my old women, beautiful unvarnished ...'.

His unique and catchy poetic script Moritz acquired in early 1960, and its further creative way - more and more consistent implementation immediately identify opportunities. In this sense, Moritz refers to those masters, which Tsvetaeva called 'poets without history': all the poems written by Moritz for over forty years, a unity, a stronger loyalty to the poet eternal themes of life and death, love, creativity. Hence - increased and organic aphoristic poems Moritz, free psevdofilosofskoy significant and strained wit: 'There is no wasted a wonderful', 'How hard is it to be an eternal. How hard is it to be a new. / And as more and more difficult to be a new and eternal ';' And that talent does not mix / All that love the people, / And the worst, that is, / And the best thing that will '.

The paradoxical, playful humor, a genuine kindness of children's poems are marked Moritz. Moritz working hard in the field of poetic translation, wrote stories.

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