This paper contextualizes Okudzhava’s song “And We to the Doorman” (AWD), initially marginal in the Soviet poetic mainstream. It explores its shifts in tone, irregular rhythms, colloquial language, and semi-criminal undertones. AWD’s structure, with uneven stanzas and no clear refrain, reveals underlying symmetry and recurring themes. The meter is predominantly iambic but varies. Unconventional verse endings and various rhyme schemes, including distant chains, characterize its prosody. The narrative touches on social cohesion and class conflict. The style reflects a challenging attitude toward privilege, employing rhetorical devices and indirect threats. The melody aligns with thematic elements, featuring repetitive patterns and a spoken quality. Semantically, AWD presents an ambiguous message on class struggle and moral issues. In sum, this analysis uncovers Okudzhava’s song’s formal complexities, thematic nuances, and stylistic innovations.

中文翻译：

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测试布拉特·奥库扎瓦 (Bulat Okudzhava) 歌曲“我们对门童：‘开门！’”中的文本和领土边界

本文以奥库扎瓦的歌曲《我们到门卫》（AWD）为背景，这首歌最初在苏联诗歌主流中处于边缘地位。它探索了它的语气、不规则节奏、口语和半犯罪色彩的变化。 《AWD》的结构具有参差不齐的诗节和没有明确的副歌，揭示了潜在的对称性和反复出现的主题。韵律主要是抑扬格，但有所不同。非常规的诗句结尾和各种押韵方案，包括遥远的链条，是其韵律的特征。叙述涉及社会凝聚力和阶级冲突。这种风格反映了对特权的挑战态度，采用修辞手段和间接威胁。旋律与主题元素保持一致，具有重复的模式和口语质量。从语义上讲，《AWD》在阶级斗争和道德问题上传达了模糊的信息。总之，这一分析揭示了奥库扎瓦歌曲的形式复杂性、主题细微差别和风格创新。