Maybe someone else is playing the flute. Boris parsnak - never regret anything lyrics

Andrey Dementiev has unusually wise verses:

Never regret anything afterward!
If everything that's happened can't be changed
Like a note from the past, crumpling your sadness,
With this past, break the fragile thread.

Never regret what happened
Ile about what can't happen already...
If only the lake of your soul is not cloudy,
Yes, hope, like birds would soar in the soul.

Do not regret your kindness and participation.
Even if for all you - a smile in response.
Someone in the genius got out, someone in the authorities ...
Do not regret that you did not get THEIR TROUBLES.


You started late or left early.
Let someone play the flute brilliantly,
But he takes songs from your soul.

Never, never regret anything -
No wasted days, no burnt love...
Let the other brilliantly play the flute,
But you listened even more brilliantly!

They say that with age comes wisdom. I didn’t believe before, they say, insanity comes, what wisdom is there! Until he got old.

Today is a significant day: the last work in the garden has been done, chokeberry has been collected. Now I’ll sort it out and take it to my mother-in-law, I have a hypertensive patient, and this mountain ash is the first remedy for pressure. My mother-in-law is a wonderful person, she is from an old aristocratic family, the Bolsheviks shot them, shot them, imprisoned them, but she endured everything - and cold, and hunger, and poverty, and humiliation, and wandering after they were thrown out on street from home. She withstood everything, except for hypertension from terrible forced labor from an early age. I'll take her mountain ash, let her cook jelly. And I'll cook for myself. I've never cooked, but I'll cook here.

And until March 1, a blissful rest. After a couple of months, the back will stop hurting and will gradually straighten up, the legs and arms will warm up, accustomed to cold and mud during the fall. I do not like autumn, although it is in autumn that you reap the fruits of the entire spring-summer garden hard labor. You will appreciate the vegetables and canned food in the underground and in the cellar and thank yourself for the inhuman labor in the beds later, but as long as you remember, you will shudder.

Until the snowstorms, no work on the street! A blissful brief moment when there is time to think about the eternal. Why are we born into the world, why do we live this way and not otherwise, and why do we live?

You involuntarily worry yourself with these questions, seeing how friends and relatives leave one after another, and you remain not so much an independent figure as a monument to them. Strange thing life! There were so many things, but only a little remained, only a little came true, as if some invisible hand paved the way for me, ruthlessly stopping all my attempts to turn away from some goal known only to it.

It is not true that life is chaotic, there is a hidden logos in it, it exists in any life, even the most primitive one, it’s just that in the life of an intellectual it is more noticeable, more complicated or something ...

Here I go over my past. It seems that there was freedom of choice, and there was enough strength to overcome any obstacle, but one was successful, and a wall suddenly stood up in the way of another. "You can not for the flags"!

After school, they unexpectedly didn’t take them to the institute, they didn’t even allow them to take entrance exams: it turns out that there was an instruction not to take children who went missing to universities with a military department. I would have passed the exams jokingly, but I didn’t know about the instructions. Fate or God, whichever you prefer, needed me to sip life. I took a sip. And this later came in handy more than once, it protected me from self-conceit and arrogance. He who sipped injustice will not become a tyrant.

And he found his calling in this test. It turns out that the radio engineer was not mine, mine was a design engineer. Who would have known if there hadn't been that KGB instruction.

Then graduate school, I wanted to become a university teacher. And it worked out well, too! But no, fate intervened again. Deprivation of a degree - and goodbye to the position of professor and head. department.

Now my young friend and comrade at NIEKMI Sasha Krasnov has become both, and I'm happy for him, but I didn't. Apparently not mine either. Mine is the same NIEKMI, where I had to create two hundred inventions. New technologies, which, if they had been created without me, would have been created much later, but God wants everything to happen in due time.

And in my personal life I literally felt the hand of Providence on myself. He wanted me to give birth to a genius daughter, and he mercilessly cut off everything that could lead me away from this goal. Only now I understand that it was not a whim, but a calculation, and then it was painful to the point of madness.

We are weak and blind in the hands of Fate. And what's the point of painfully going through the past on sleepless nights in the hope of finding some own mistakes there, which, like, could have been avoided, and life would have been happier. No, never regret anything in pursuit!

Even if they invented a time machine, and I managed to get into the key moments of my life, which determined its further course, I would not change anything there, but forgive me for this all my dear people whom I then offended voluntarily or involuntarily !

Nothing in the past can be changed, it will bring down your whole life. Do not regret that something did not come true. So that's how it was supposed to happen. No matter how your heart aches from unexpected pain, no matter how cruelly tormented by remorse for what you could do, but could not, endure it. God endured and told us. He led you through this life, even sometimes taking you in his arms when you were ready to do something stupid.

And here you are at the finish line. Do not regret what is irretrievably gone. Do not envy others, in your opinion, more fortunate. "Do not regret that you did not get THEIR TROUBLES!"

The same wise Sasha Krasnov once said very clever words: “Imagine that you would become an academician. We would have flown to a symposium somewhere, but the plane would have crashed and crashed, and you would not have been there. And so - you are alive! And he is a thousand times right, although he is both a professor and an academician, and now the head. pulpit, and I'm just a retired goat drummer. To each his own.

They say that de man is the blacksmith of his own destiny. This is not true, there is the highest judge, and the last word is always with him. It doesn't matter if you are a janitor or an academician. We can "tweak", but will it be good?

Here, on our street, a man built himself a palace, acquired crazy money for this, righteous and unrighteous. The palace turned out well, and he suddenly died from some trifle, like, from kidney stones. Here is the "blacksmith" for you. When deciding how to act at a decisive moment, listen to your inner voice, consult your past in order to act not in spite of it, but in accordance with it.

Valentin Spitsin.

Reviews

Ay, dear Valentin Mikhailovich ...., this hat, although it doesn’t look much like Monomakhov’s ... but put on by force, rubs strongly .... I don’t know how it was in your time ... but now the bureaucratic bastard has filled up with papers .... you barely have time to kick back .... yes, resist in Italian .... You won’t have time to do any science ... there’s no time .... What are our rulers thinking about ... having destroyed the academy .... she is dear to her there ... they are destroying university science at the same time .... which had nothing to breathe anyway ....
So that....:)))
We will survive ... a shovel in the teeth and plant potatoes ... or steal ...

Never regret anything after
If what happened can't be changed.
Like a note from the past, crumpling your sadness,
With this past, break the fragile thread.

Never regret what happened.
Ile about what can't happen anymore.
If only the lake of your soul is not cloudy
Yes, hopes, like birds, soared in my soul.

Do not regret your kindness and participation.
Even if for all you - a smile in response.
Someone in genius got out, someone in the authorities ...
Do not regret that you did not get their troubles.


You started late or left early.
Let someone play the flute brilliantly.
But he takes songs from your soul.

Never, never regret anything -
No wasted days, no burnt love.
Let the other brilliantly play the flute,
But you listened even more brilliantly.

Analysis of the poem "Never regret anything after" Dementiev

In the life of every person, sooner or later, there come moments of re-realization, rethinking of the life route traveled. Probably, it is with the help of such moments of reflection that wisdom comes to a person. Most poets are no exception, and they are inspired by these moments. In the poetic world, you can find many works dedicated specifically to understanding the past. Andrey Dementiev's poem "Never regret anything" can be safely attributed to such.

The central character in the work is the author himself, his verse is a message to the reader, a generalized addressee. Already from the first lines, he addresses with parting words "Never regret anything." From the height of his experience, lived years, he admonishes, urges not to look back at the past, because it has passed, and without it there would be no present that we have now. The past is not amenable to any change, it has already happened, it can only be rethought and released, breaking the “fragile thread” with it.

The author urges not to regret good deeds and accomplishments, no matter how they turn out to the reader in the end. He expresses his attitude to good and evil, to genius and simplicity. He teaches in any case to remain tolerant, to forgive insults, reproaches and evil. After all, if you do not dwell on the past, then life in the present will sparkle with much brighter and cleaner colors. Each person in the eyes of the poet is unique in his own way, and everything that happens in everyone's life is not in vain, because everything is closely interconnected. It is this relationship that the poet emphasizes in his work, and this is one of the main messages of the entire poem.

As a means of expression, the author resorts to metaphors (crumpled sadness, a lake of the soul), personification (hopes, like birds), uses antitheses - “left late or early”, “it happened or cannot happen”. The poet does not neglect irony (“do not regret that you did not get their troubles”). Special attention given to exact meanings rather than means of expression. The author prefers to speak directly to the reader, without florid comparisons, and his metaphors are understandable to almost everyone. The stanzas are united by anaphors, only the third stanza breaks out of the general anaphoric rhythm, emphasizing, perhaps, the main message of the poet.

The author uses a four-foot anapaest and addresses the reader in a friendly conversation, which is emphasized by the chosen meter, the alternation of male and female rhymes, and the desired rhythm is set by a cross rhyme. The author's thought unfolds from stanza to stanza, which makes it possible to define the genre not only as a poem-message, but also as stanzas.

Reader Viktor Astrakhantsev

* * * * *Never regret anything after
If what happened can't be changed.
Like a note from the past, crumpling your sadness,
With this past, break the fragile thread.

Never regret what happened.
Ile about what can't happen anymore.
If only the lake of your soul is not cloudy
Yes, hopes, like birds, soared in my soul.

Do not regret your kindness and participation.
Even if for everything you - a smile in response.
Someone in the genius got out, someone in the authorities ...
Do not regret that you did not get their troubles.


You started late or left early.
Let someone play the flute brilliantly.
But he takes songs from your soul.

Never, never regret anything -
No wasted days, no burnt love.
Let the other brilliantly play the flute,
But you listened even more brilliantly.

= = = = = = = = = = = = = =
= = = = = = = = = = = = = =

WHO SAID "E" BEFORE?



No matter how great the Russian language is, the poet still lacks words to reveal his images, and he is preoccupied with the search for a bright and accurate word. Some even come up with new words, while others, on the contrary, introduce words or lines written by others into their text, rethinking or quoting them. Which gives rise to perplexed questions about such repetitions and borrowings. Indeed, the appearance in the new work of previously created means of expression- this is a powerful and sensitive moment for the authors, and it does not go unnoticed.

Perhaps that is why the publication of Violetta Basha appeared
"Bottomless and homeless." Borrowing - from discoveries to the stamp "
https://www.site/work/1423714/
I invite you to reflect on this topic - what are borrowings, and what are their goals and boundaries?

In her publication, Violetta raises the question of the origin of the verbal form “bottomless - homeless”, brilliant in form and deep in meaning. The author asks the question "Bottomless and homeless - who is the first?" And, answering it, he concludes that this brilliant consonance first arose in the poems of Margarita Aliger "The House in Meudon" in 1967, and then was repeated by the author of the publication in 1998 in the poem "And again there are cranes in the sky."
The author concludes:
= Thus, the discovery of the "bottomless-homeless" is Aliger in the footsteps of Tsvetaeva. I, alas, only the second. But after - off we go. =

Indeed, the combination "bottomless - homeless" produces the effect of consonant sound. In these twin words, almost all sounds are repeated, with the replacement of the sonorous H by M. And the infinity of homelessness creates a tense emotional image.
However, despite the trace indicated by the author, these words were not found in M. Tsvetaeva's poems. Not in a line, not in a rhyme.
Only in one poem does M. Tsvetaeva use the word "homeless": in the 6th part of the cycle "Insomnia" dated August 1. 1916:
= Tonight I am alone in the night –
Sleepless, homeless blueberry! =
But in this line you can not see the trace of this sonorous repetition
And although the restlessness of Marina Tsvetaeva - characteristic her tragic fate, and the heart of a real poet, according to E. Yevtushenko, is a house of homelessness, however, Marina Tsvetaeva is not involved in the creation of this verbal pearl.

These twin words were introduced into Russian poetry by Alexander Blok in his poems “Accounts are over with peaceful happiness ...”, 1910. Here are these lines:
. . . . . . . .
Desert life homeless, bottomless,
Yes, I believed it ever since
As the siren sang to me in love
The one that flew through the night, the motor.

The way of life with a terrible spiritual emptiness for Blok is not accidental. In a slightly modified form, it also appears in the verses "Commander's Steps"

Life is empty, crazy and

bottomless !
Come out to battle, old rock! =

These word images "homeless, bottomless" are a feature of A. Blok's poetic thinking and are included in the core of his poetic vocabulary. A few examples of that:

= …In this bottomless azure,
In the twilight of near spring
Weeping winter storms
There were starry dreams. (The wind brought from afar)

As in the years of youth, I do not know
Bottomless the spell of your soul ... (Vyacheslav Ivanov)

20th century... More homeless,
The haze is even more terrible than life ... (Two centuries)

And blue eyes bottomless
Blooming on the far shore. (stranger)

How scary! How homeless (Deception)

I will carry you over the abyss
Her abyss teasing. (Demon)

= We homeless familyless, disorderly, poor - what do we have to lose? (Intelligentsia and revolution). Margarita Aliger absorbed the entire line of Blok into her poems, replacing only the words “Life is deserted” with the word “everything”:
= A to Kama from Meudon
Everything is homeless and bottomless =
and filled the abyss of Blok's loneliness with the realities of M. Tsvetaeva's life:
= No address, no shelter.
There is no voice, no word.
No daughter, no husband.
Only horror, only cold. =
Very strong and precise lyrics!

In her poem, Violetta repeats the same move, taking the line from M. Aliger,
and rearranging the words:
= In the movement of slow summer,
In the bends of pitcher days,
In patterns of sunlight
On the bent arm mine
In eyes bottomless and homeless
Tired at the end of the day
In a tear that rolled down from the icon,
There is only God. But there is no you. =

But are there any borrowings in these two cases?

In the first case, there is no doubt that Margarita Aliger retains not only the original text, but also its general tone, emotional content. Describes the wanderings of Tsvetaeva through the elevatedness of Blok. Violetta Basha transfers only the phrase into poetry, while allowing a decrease in the style and height of the original image. This loss of drama and emotional thickening of the image removes the question of borrowing. Only twin words remain from the primary image.
The absence of borrowing is also confirmed by the fact that the author of the poems, as it turned out, was not known for certain about the origin of this poetic image. But this is a completely different side of the matter.

In the network poetry of the last decade, there are many variations of the use of the combination "homeless - bottomless". This full-sounding image is very attractive, allowing you to give it a diverse character.
From attempts to express longing and sadness:
= My sadness bottomless, love homeless
A tramp walks the earth. = (from a song by Stas Piekha)

To reckless arrogance:
= I - homeless,
I am - bottomless,
I'm a luxury bully
I am an orchestra of wild songs,
Daring, cheerful, bold and drunk. = (poems by Andrey Sokolov)

However, despite the use of twin words in these texts, it is also not correct to consider them borrowed from Blok. There are no traces of the depth of the original image.
In addition, for many network authors, the initial concepts are torn off from each other and spaced into different verbal structures:

= human crueltybottomless….
Witness of hell, doghomeless =(
http://www.mypishem.ru/stihi/stihi-bez-rubriki/bezdomnyi-p-s.html

= Here I stand - homeless -
But the city bottomless
In the eyes ... = (author - Alexey Sverchkov)
http://www.sunhome.ru/poetry/1132679?print

Not wishing to further bore the reader with pearls of network poetry, I will only note that in the examples given, the original phrase and its word-image in Blok's interpretation are torn off from each other. Only sound repetitions or, at best, rhymes remained, and they cannot be considered borrowing. And in general it is doubtful whether these poets even knew about the primary source of these beautiful words.

Now let's look at the verses of Svetlana Romashina quoted by Violetta:
= And again there are cranes in the sky
Curl in the blue bottomless.
They took me on wings
In dreams of a tramp homeless.
I dive with them into the clouds,
Under the dome of the sky as a pilgrim,
I am life's essence for sure
I recognize in a flock of cranes. =

The twin words "bottomless - bottomless" became isolated, turned into rhymes and definitions of different objects. One word describes the blueness of the sky, the other is assigned to a vagabond. Breaking away from each other, they lost the effect of their bell sound. The original integrity of the image is lost, there is no fact of borrowing.

The inclusion of some bright words in the poems does not mean at all that one author catches goldfish from another. He can find them on his own, without intentionally repeating someone else's pattern. Words have their own life, and words taken from a dictionary or from a book are not yet the subject of authorship. They have to go through art.
So, for example, the rhyming of the words “freedom” and “the people” does not at all mean imitation of Pushkin.
And only merging into one phrase: “Freedom to the people!” they become a slogan or a slogan.



These notes, as already mentioned, are written in the development of V. Bashi's publication, which considers the negative connotation in relation to borrowings. And it's understandableafter all questions of a priority are very sensitive for authors.

However, there is another approach to borrowing, repeating a theme, plot, to direct or indirect imitations. After all, models of artistic consciousness live independent life regardless of time, unexpectedly manifesting itself in the most unexpected moments of creative thinking.
Russian poetry is rich in talented imitations or developments of well-known themes and images. For example, Pushkin wrote several imitations: the Koran, Anacreon, Dante, as well as poems based on Chenier, Pindemonti. Some of them are more poetic than the original. Pushkin's Onegin is caused by the personality of Byron and his heroes. Lermontov has "Imitation of Byron", borrowings from Zeidlitz "Flying Ship". Nekrasov's imitation of Lermontov is "In the unknown wilderness."Readers can continue this series.
Foreign literature is also rich in borrowings.


In his imitation, the author seeks to develop a theme or literary image, enrich it with a new vision, development, compare with it or challenge it.
In addition, the authors are always attracted by the desire to comprehend the eternal plots and images: Don Zhaun, Don Quixote, Hamlet, Solveig, Demon, etc.
Ironic imitation of the original underlies the whole genre of literary parody.
In addition to literary images, individual phrases and winged words, individual phrases from plays, for example, by Shakespeare, A. Griboyedov, Ostrovsky, and others, from fables, live an independent life. Among them are also poetic tropes, figurative or sonorous and beautiful phrases, one of which is “homeless-bottomless”, which was the reason for this publication.
When evaluating them, the decisive moment is the talent of development, the depth or modernity of understanding the original image.
All mentioned uses in own composition previously known represents a vast literary space of vocabulary and images, which saturates creativity, causes moments of creative competition and thereby develops literature.
Therefore, the real interest is not only the one who first said “E”, but also those who, having heard A, say B, C and the next letters of the alphabet.



= = = = = = =
*borrowed from the Auditor" by N. Gogol.

He is known to my generation from the program "Turns of Time", which he hosted on the radio for many years. In the screen saver of the program, his poem "Never, never regret anything" in the author's performance certainly sounded. Very correct, dapper, with a spectacular finale: "Let the other one play the flute brilliantly, but you listened even more brilliantly."

Dementiev had many hypostases. He is not only a poet, but also a presenter, letters to whom our grandmothers wrote, he is also a politician, he is also an editor. On the day of his death, they remember the magazine "Youth", which he headed for 12 years.

There were no cardinal transformations associated with his name in the journal - he was neither Narovchatov nor Kataev, who transformed from a harmful person into a benefactor and ascetic as editor-in-chief. His life was smooth and consistent. But the best thing he did was his songs. Especially "Apples in the Snow" and "Swan Fidelity". Without discounts and exaggerations - completely folk songs.

He lived long life. Twenty days to ninety years. He was going to celebrate his anniversary at home, in Tver, where he created the House of Poetry ...

Of course, we can say that longevity is genes: his father and mother lived ninety each. But I see nobility in this longevity - akin to the nobility of a writer defending a small person. Everyone gets in old age the face that he deserves. Andrey Dementiev is not flabby, not blurry. His eyes, with rays of wrinkles, shone with kindness. Having risen high above his worker-peasant nature, he did not lose respect for his reader. That is why the people were drawn to him, like that unbelieving woman who went to church only because the priest called her a dove. He remained an intellectual, retaining an interest in the little man. In contrast to modern pops from Instagram, who are only interested in themselves.

Never regret anything after

If what happened can't be changed.

Like a note from the past, crumpling your sadness,

With this past, break the fragile thread.

Never regret what happened.

Ile about what can't happen anymore.

If only the lake of your soul is not cloudy

Yes, hopes, like birds, soared in my soul.

Do not regret your kindness and participation.

Even if for all you - a smile in response.

Someone in the genius got out, someone in the authorities ...

Do not regret that you did not get their troubles.

You started late or left early.

Let someone play the flute brilliantly.

But he takes songs from your soul.

Never, never regret anything -

No wasted days, no burnt love.

Let the other brilliantly play the flute,

But you listened even more brilliantly.

Direct speech

Yuri POLYAKOV: He could cross himself with a two-pound weight

We asked the famous writer and playwright to remember Andrey Dementyev.

I well remember my acquaintance with Andrey Dmitrievich. It was 1973 or 1974. Great Hall of the House of Writers. Dementiev had just moved from Tver to Moscow, and this was his first creative evening. And for two with the poet Peter Vegin. At that time they were about the same "weight class". Vegin was a fashionable poet. He represented the experimental Fronder line, a kind of Voznesensky, but of a smaller caliber. Dementiev had just come to work at Yunost as deputy editor for Boris Polevoy. And so we, young poets, went to their battle like a football match. The hall went wild when Dementiev read his poems. It immediately became obvious that this was a great folk poetry. He was perceived as a pure lyricist, charged with positive. He emerged victorious.

It is terribly disappointing that Andrei Dmitrievich passed away three weeks before his 90th birthday, for which we were preparing. We called each other, discussed what we would do in Tver at the Dementiev Poetry Festival.

On June 1, I was with him on Radio-1, he was broadcasting the program "Turns of Time" live. We famously spent the broadcast. But I noticed that Andrei Dmitrievich looked worse than usual. He always struck with his vital male perseverance. Once we ended up with him either in Pitsunda, or in Koktebel. He was already over 60. He went to the beach, took off his robe and... We, relatively young prose writers and poets at the age of forty, looked shyly at our bellies. Before us stood a man in his seventies with an ideal athletic figure. He trained according to the method of Russian weightlifters. He could cross himself with a two-pound weight - it was a sign of athletic power. Until the age of 70, his jacket was bursting with biceps. Andrei Dmitrievich was set for a centenary milestone. There was every chance for this.

He was betrayed so many times, there were so many tragedies in his life, and he managed to make benevolence and forgiveness the dominant feature of his personality.

As per notes

Composer Mikhail MUROMOV: When I sang "Apples in the Snow", he said: "That's ten at once!"

More than fifty popular songs have been written to the verses of Andrey Dementyev.

“Swans flew over the earth”, “I call you with my Alyonushka”, “Tell me, mom”, “I draw you” - we sing these familiar lines with pleasure, often not suspecting that the author of poems that have long turned into hits, - poet Andrey Dementiev. He readily gave poems to composers and singers, believing that in this way they would truly go to the people. More often than others, composer and singer Mikhail Muromov wrote music for them.

This is a huge loss for literature. And for people - even more. Because it is difficult to meet such a bright person, - Mikhail Muromov told KP. - First of all, he was a man. Wonderful, wide, sweet, smiling, dancing until the last years.

- How did you meet?

We lived nearby. I rented an apartment on Spasskaya, and he lived in Astrakhansky Lane in a writer's house. We practically met on the street. He gave me his poem "Stewardess", and when I made a song, it immediately became popular, even without radio, because it began to sound on all planes. And after "Stewardess" he gave me his book. And from this book I got 12 songs at once, including the same "Apples in the Snow". These are verses from 1976. I just asked them to remake them a little, and he very easily made concessions to the composers. We sat down together, calculated, and the song is still working. And she is already 31 years old!

- And what songs did Andrei Dmitrievich like the most?

When I sang "Apples ..." to him on the phone, he said: "So, this is a dozen, we won't even think about it." I often came to his house - he was a very hospitable host, smiling, sweet. We will all miss him.

The five most famous songs on the poet's verses:

  • "Swans flew over the earth"
  • "I call you my Alyonushka"
  • "Apples in the Snow"
  • "I draw you"
  • "Stuntmen"