By ΠΠ°ΡΠ΅Π²ΡΠΊΠΈΠΉ ΠΡΠΈΠ³ΠΎΡΠΈΠΉ Π.
ΠΡΠΈΠ³ΠΎΡΠΈΠΉ ΠΠ°ΡΠ΅Π²ΡΠΊΠΈΠΉ
ΠΡΠΈΠ³ΠΎΡΠΈΠΉ ΠΠ°ΡΠ΅Π²ΡΠΊΠΈΠΉ (1964β2013) Π±ΡΠ» ΡΠΈΠ»ΠΎΠ»ΠΎΠ³ΠΎΠΌ-ΠΊΠ»Π°ΡΡΠΈΠΊΠΎΠΌ, Π»ΠΈΡΠ΅ΡΠ°ΡΡΡΠ½ΡΠΌ ΠΊΡΠΈΡΠΈΠΊΠΎΠΌ ΠΈ ΠΏΠ΅ΡΠ΅Π²ΠΎΠ΄ΡΠΈΠΊΠΎΠΌ, Π½ΠΎ ΠΏΡΠ΅ΠΆΠ΄Π΅ Π²ΡΠ΅Π³ΠΎ β ΠΏΠΎΡΡΠΎΠΌ. ΠΠ° ΡΡΠΈ Π΄Π΅ΡΡΡΠΈΠ»Π΅ΡΠΈΡ ΠΎΠ½ ΡΠΎΠ·Π΄Π°Π» Π½Π΅ΠΌΠ½ΠΎΠ³ΠΎ ΠΏΡΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½ΠΈΠΉ, Π½ΠΎ ΠΊΠ°ΠΆΠ΄ΠΎΠ΅ ΡΡΠΈΡ ΠΎΡΠ²ΠΎΡΠ΅Π½ΠΈΠ΅ ΡΡΠ°Π½ΠΎΠ²ΠΈΠ»ΠΎΡΡ ΡΠΎΠ±ΡΡΠΈΠ΅ΠΌ Π΄Π»Ρ ΡΠΈΡΠ°ΡΠ΅Π»Π΅ΠΉ ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎΠΉ ΠΏΠΎΡΠ·ΠΈΠΈ. ΠΠ΅ΡΠΌΠΎΡΡΡ Π½Π° Π½Π΅ΠΏΡΠΈΡΡΠΈΠ΅ ΠΠ°ΡΠ΅Π²ΡΠΊΠΈΠΌ ΡΡΠ΅ΡΠΈΡΠ΅Π»ΡΠ½ΠΎΠΉ ΡΡΠ½ΠΊΡΠΈΠΈ Π»ΠΈΡΠ΅ΡΠ°ΡΡΡΡ, Π΅Π³ΠΎ ΡΡΠΈΡ ΠΈ ΠΎΠ±Π»Π°Π΄Π°ΡΡ ΡΠΏΠ°ΡΠΈΡΠ΅Π»ΡΠ½ΡΠΌ ΠΊΠ°ΡΠ΅ΡΡΠ²ΠΎΠΌ. ΠΠ½ΠΈ ΡΠ°ΡΡΠΊΠ°Π·ΡΠ²Π°ΡΡ ΠΎΠ± ΠΎΠ΄ΠΈΠ½ΠΎΡΠ΅ΡΡΠ²Π΅ ΡΠ΅Π»ΠΎΠ²Π΅ΠΊΠ° ΠΈ Π΅Π³ΠΎ ΠΎΠ±ΡΠ½ΠΎΡΡΠΈ Ρ Π΄ΡΡΠ³ΠΈΠΌΠΈ, Π½Π°Ρ ΠΎΠ΄Ρ Π½ΠΎΠ²ΡΠΉ ΡΠ·ΡΠΊ Π΄Π»Ρ ΠΎΠΏΠΈΡΠ°Π½ΠΈΡ ΠΆΠΈΠ·Π½ΠΈ Π² ΠΏΡΠΈΡΡΡΡΡΠ²ΠΈΠΈ ΡΠΌΠ΅ΡΡΠΈ.
Grigory Dashevsky
Grigory Dashevsky (1964β2013) was a classical philologist, literary critic, and translator, but above all, a poet. Over three decades, he produced a modest body of work, yet each poem was an event for readers of contemporary poetry. Despite Dashevsky's fundamental rejection of literature's therapeutic function, his verses possess a salvific quality. They speak of human solitude and connection, finding new language to describe life in the presence of death.