昨日恰与一位俄语教授兼俄罗斯文学专家同车,途中问起一个一直感兴趣的问题:像勃洛克、叶赛宁等俄罗斯诗人,在1917年后从旧阵营里脱嵌,开口讴歌布尔什维克的新时代,叶赛宁甚至咏叹十月革命的改天换日之功,他们原属的那个仍保持独立性的诗人圈,却似乎并没有群起而攻之。与之相反,尤以阿赫玛托娃为代表的诗人,仍旧保持着对前辈的敬意。是何缘故?帕斯捷尔纳克在《安全保护证》里诉诸很大的篇幅批评马雅可夫斯基的转向,细读之下,文字里浸透的却是遗憾、困惑、伤心,帕氏认为马氏的转向,导致他后来的作品鄙俗不堪,毫无美感,是他自己的损失;而对马氏的道德人品,帕斯捷尔纳克基本沉默。这又是为什么? Just yesterday with a Russian professor and Russian literary expert on the road, asked a question of interest: a Russian poet like Blok, Ye Seining and so on, after 1917 from the old camp in the de-embedded, opening a song of a new era of the Bolsheviks Ye Seining even astonished the success of the October Revolution and the original poet circle that remained independent did not seem to have gathered itself. In contrast, poets, especially Akhmatova, still maintain their respect for their predecessors. What is the reason? Pasternak in the “Security Certificate” resorted to a lot of space to criticize Mayakovsky’s turn, read carefully, the text is saturated with regret, confusion, sad, Pap’s thought Markov’s turn led to his later works vulgar, there is no beauty, is his own loss; and Mark’s moral character, Pasternak basically silent. This is why?