In the idyll “Cephys”, a tender and selfless friendship is crowned with nothing: Philint liked the fruits of the pear, and Cephis happily gives him a tree, promising to shelter him from the cold: “Let it bloom for you and be rich in fruits!” Old Philinte soon died, but Cephisus did not change his old feeling: he buried his friend under his favorite pear tree, and “crowned the hill with a cypress” - his tree of sorrow. These trees themselves, the ever-living cypress and the fruit-bearing pear, have become symbols of undying friendship, spiritual purity and humanity.
In the “sacred whispering of leaves,” Cephisus heard Philinth’s gratitude, and nature bestowed him with fragrant fruits and transparent bunches. Thus, the spiritual beauty of Cephisus subtly merged into an idyll with the beauty and generosity of nature. Nature and the people's environment glorify the nobility in people, strengthen their spirit and moral strength. In work and in the lap of nature, a person becomes spiritually rich, able to enjoy true values life - friendship, love, beauty, poetry. In the “Friends” idyll, all people, young and old, live in harmony. Nothing disturbs his serene peace.
After working day, when “the autumn evening descended on Arcadia”, “around two elders, famous friends” - Polemon and Damet - people gathered to once again admire their art of determining the taste of wines and enjoy the spectacle of true friendship. The affection of friends was born in work, and their work itself is a wonderful gift of nature. Relationships of love and friendship are Delvig’s measure of the value of a person and the whole society. Neither wealth, nor nobility, nor connections determine a person’s dignity, but simple, intimate feelings, their integrity and purity. And the end of the “golden age” comes when they collapse, when high spirituality disappears.
“Good Delvig”, “My Parnassian brother” - Pushkin called his beloved friend, and these glorious titles will forever remain with the poet of his unique, genuine lyrical talent. Delvig, who glorified the beauty of earthly existence, the joy of creativity, inner freedom and human dignity, has an honorable place among the stars of Pushkin’s galaxy.
Anton Antonovich Delvig came from an old, impoverished family of Russified Livonian barons. Having received elementary education in a private boarding school, he enters the Tsarskoye Selo Lyceum, where he already entrance exams get acquainted with A.S. Pushkin. This acquaintance will soon develop into close friendship, which will connect the two poets all their lives.
“The happy sloth of Parnassus” Delvig did not show diligence in studying science, however, according to Professor E.A. Engelhardt, director of the lyceum, Anton Delvig knew Russian literature better than all his classmates. The poetic atmosphere that reigned in the lyceum prompts young Delvig to turn to independent poetic creativity: he soon becomes one of the first lyceum poets. In 1814, Delvig's first poem appeared in print - the patriotic ode "To the Capture of Paris." Since that time, the young man has been constantly collaborating with the best Russian magazines, where his works are published.
In the memoirs of contemporaries, their letters, friendly poetic messages Delvig appears in the image of a sloth, sleepy and careless:
Give me your hand, Delvig! what are you sleeping?
Wake up, sleepy sloth!
You are not sitting under the pulpit,
Put to sleep by Latin (A.S. Pushkin).
And Delvig himself constantly supported this myth about himself. However, its active literary activity indicates the opposite. He went down in the history of Russian literature not only as a serious poet who spent years polishing his creations before sending them to print, but also as a publisher of literary almanacs “ Northern flowers", "Snowdrop" and "Literary Gazette".
There were serious reasons for the formation of the myth about the sloth Delvig. Delvig’s “laziness” is a companion to love of freedom, a symbol of emphatically informal, “homely behavior.” This is a challenge to prevailing morality. Like Pushkin, who in his elegy “Village” (1819) asserts that “free idleness” is “the friend of reflection,” a state necessary for the poet to create, Delvig is convinced: a true artist is able to compose his best songs only by renouncing the senseless vanity in which Often a person is immersed.
In his work, Delvig turned to various genres, including a song, a sonnet, an idyll, and a friendly message. In his works, Delvig sought to capture the ideal, which undoubtedly brings him closer to Pushkin. But unlike Pushkin, for Delvig there seem to be no contradictions in life; he prefers simply not to notice them.
The originality of A.A.’s creativity Delviga
Modern Russian reality did not satisfy the romantically minded poet, which was reflected in his works written in the song genre. Delvig's Russian songs are focused on folklore. Delvig masterfully uses traditions folk song: diminutive suffixes ( orphan, side, gateway), constant epithets ( dashing homewrecker, white breasts, silky curls), parallelism technique ( good for the flower in the field, / good for the little bird in the sky, - / for the orphan girl / more fun than with the fellow), negative beginnings ( Not the frequent autumn rain / Splashes, splashes through the fog: / Well done, he sheds bitter tears), repeats ( Drink, the melancholy will pass; / Drink, drink, the melancholy will pass!).
The heroes of the songs are deprived high ranks and titles, but endowed with sublime feelings. In Delvig's Russian songs there are always dramatic, sometimes tragic collisions: a young man pours out his sadness with wine (“Not frequent autumn rain”), a girl grieves about failed love (“My Nightingale, Nightingale”). From Delvig’s point of view, real life takes away from a person the legal right to happiness given to him by God.
The romantic dream of a big ideal world of human happiness in Delvig’s mind was often associated with antiquity, with the world of Hellas, where, as it seemed to the poet, man was harmonious.
Delvig did not know not only Greek, but also German language That’s why Pushkin was so surprised by Delvig’s ability to accurately guess the spirit, structure of thoughts and feelings of a person of the “golden age.” Delvig’s image of this long-gone world was formed solely under the influence of poetry. As a result, its antiquity is not a copy ancient world, Delvig looked at antiquity through the eyes of a Russian person. The ideal world of antiquity was recreated by the poet mainly in works belonging to the idyll genre, although he often turned to other ancient genres, such as epitaph, epigram, inscription.
Delvig relied primarily on the idylls of Theocritus, who gravitated toward genre pictures and scenes. Delvig's idylls are often dramatic, but always end happily. The action of idylls usually takes place under the canopy of lush trees, in a cool, tranquil silence, near a source sparkling under the rays of the sun. The state of nature is always peaceful, which emphasizes harmony inside and outside of man. The heroes of idylls are integral beings who never change their feelings, they do not talk about them, but surrender to their power, which brings them joy. Thus, young Tityr and Zoe, the characters of “Idyll” (1827), having fallen in love with each other, remained true to their feelings until their death, and over their common grave the same plane trees rustle on which they, having first known love, carved their names. Delvig's poems do not contain detailed psychological descriptions love, it is expressed through facial expressions, gestures, actions, that is, through action:
Antiquity for Delvig is romantic ideal, a dream of a beautiful, harmonious society, although the poet himself was clearly aware that such an ideal was not achievable in reality.
From Delvig’s point of view, what brings a real person closer to the ideal is his ability to feel: to sincerely love, to be faithful in friendship, to appreciate beauty. Relationships of love and friendship act in Delvig’s poetry as a measure of the value of a person and the whole society: in the world “Everything is passable - only friendship is not passable!” (“Cephisus”, 1814 - 1817), “The first feelings of love, I remember, are shy, timid: / You love and are afraid of being bored with your sweetheart and being too affectionate” (“Bathers”, 1824). In the idyll “The Invention of Sculpture” (1829), Delvig wrote that only such a harmonious reality could become the soil from which art and artistic creativity grew.
Despite the fact that the world of Delvig’s idylls is full of joy, light, and filled with truly beautiful feelings, one of its central images is the image of death, which expresses the poet’s genuine grief about the now lost harmony between people and the harmony of man with nature.
Delvig practically did not turn to such a popular genre in the literature of romanticism as elegy. There are only a few poems of this genre in his creative heritage. It was reflections on life and death, traditional for elegy, that were reflected in the poems “To Death *** (Rural Elegy)” (1821), “Elegy” (“When, soul. You woke up ...”) (1821 or 1822).
Delvig was a recognized master of the sonnet; he was one of the first to develop this genre in Russian literature of the 19th century. Delvig's sonnets (“Sonnet” (“Golden curls are pleasant carelessness…”), “Sonnet” (“I sailed alone with a beautiful woman in a gondola…”), etc.) embodied ideal ideas about this form: they are distinguished by clarity of composition and clarity of poetic language , harmonious harmony, grace, richness of thought and aphoristic refinement of style.
Last years life
The defeat of the uprising Senate Square became a personal drama for Delvig, although he was never a supporter of revolutionary ways to transform society. But among the Decembrists there were many friends of the poet, first of all I.I. Pushchin and V.K. Kuchelbecker. The fact that Delvig came to say goodbye to those sentenced to execution and hard labor testifies not only to loyalty to his friends, but also to the poet’s extraordinary civic courage.
After 1825, tragic notes increasingly sound in Delvig’s work. He does not write political poems, but even in such a genre as the idyll, significant changes are taking place. Thus, in the idyll with the “telling” name “The End of the Golden Age,” a symbolic picture of the destruction of a beautiful harmonious world under the onslaught of civilization appears:
Ah, traveler, how bitter! you are crying! run away from here!
Look for fun and happiness in other lands! Really?
There are none of them in the world, and the gods called them from us, from the last ones!
Delvig's house becomes a hotbed around which freedom-loving writers gather, dissatisfied with the situation in Russia. A.S. comes here all the time. Pushkin, P.A. Vyazemsky, A. Mitskevich... The best creations of modern Russian literature are published on the pages of the “Literary Gazette” and “Northern Flowers” published by Delvig; the works of the Decembrist poets are also published here anonymously.
Clouds are beginning to gather over Delvig: the all-powerful chief of the III department, A.Kh. Benckendorff calls the poet-publisher for a personal conversation, during which he directly accuses him of being an oppositionist and threatens him with reprisals. The publication of the Literary Gazette is suspended due to the publication of a quatrain dedicated to the revolutionary unrest in France. Many of Delvig's contemporaries were sure that all these events had completely undermined the poet's already poor health. On January 14, 1831, after several days of a cold, A.A. Delvig died.
The poet's death was a real shock to those around him. A.S. Pushkin noted bitterly: “Delvig’s death makes me sad. In addition to excellent talent, he had a perfectly formed head and a soul of extraordinary temperament. He was the best of us."
BARATYNSKY
(1800 – 1844)
The harmony of his poems, the freshness of his style, the liveliness and precision of expression should amaze anyone even somewhat gifted with taste and feeling.
Traveler
No, I'm not in Arcadia! The shepherd's mournful song
It should be heard in Egypt or Central Asia, where slavery
Sad song is used to amuse heavy materiality.
No, I'm not in Rhea's area! oh gods of fun and happiness!
Can there be a beginning in a heart filled with you?
The single sound of rebellious sorrow, the cry of misfortune?
Where and how did you, Arcadian shepherd, learn to chant?
A song contrary to your gods who send joy?
Shepherd
A song that is disgusting to our gods!
Traveler, you're right!
Exactly, we were happy, and the gods loved the happy:
I still remember that bright time! but happiness
(We later found out) a guest on earth, and not an ordinary resident.
I learned this song here, and with it for the first time
We heard the voice of misfortune, and, poor children,
We thought that the earth would fall apart from him and the sun,
The bright sun will go out! So the first grief is terrible!
Traveler
Gods, this is where mortals last found happiness!
Here his trace has not yet disappeared. The old man, this sad shepherd,
I was there to see off the guest I was looking for in vain
In marvelous Colchis, in the countries of the Atlantis, Hyperboreans,
Even at the ends of the earth, where summer is abundant with roses
Shorter than the African winter, where the sun appears in spring,
With autumn it goes out to sea, where people go to the dark winter
They fall asleep in a deep sleep, covered in animal furs.
How, tell me, shepherd, did you anger the god Zeus?
The grief section delights; tell me a sad story
Your mournful songs! Misfortune taught me
It is alive to sympathize with the misfortune of others. Cruel people
Since childhood, they have driven me far from my native city.
Shepherd
Eternal night consume the city! From your city
Trouble has come to our poor Arcadia! let's sit down
Here, on this bank, against the plane tree, whose branches
They cover the river with a long shadow and reach us. -
Listen, did my song seem dull to you?
Traveler
Sad as the night!
Shepherd
And her beautiful Amarilla sang.
The young man who came to us from the city, this song
I learned to sing Amarilla, and we, unfamiliar with grief,
The sounds of the unknown were joyfully and sweetly listened to. And who would
Didn’t he listen to her sweetly and cheerfully? Amarilla, shepherdess
Lush-haired, slender, the happiness of old parents,
The joy of the girlfriends, the love of the shepherds, was surprise
A rare creation of Zeus, a wonderful maiden, whom
Envy did not dare to touch me and anger, closing its eyes, fled.
The shepherdesses themselves were not equal to her and were inferior to her
First place with the most beautiful young man in evening dances.
But the Harit goddesses live inseparably with beauty -
And Amarilla always deviated from unnecessary honor.
Instead of preference, modesty received love from everyone.
The elders cried with joy, admiring her, obediently
The young men were waiting to see who Amarilla would notice with her heart?
Which of the beautiful, young shepherds will be called lucky?
The choice did not fall on them! I swear by God Eros,
The young man who came to us from the city, gentle Meletius,
Sweet-tongued, like Ermius, he was like Phoebus in beauty,
In Pan's voice more skillfully! The shepherdess fell in love with him.
We didn't complain! We didn't blame her! we are in oblivion
They even thought, looking at them: “Here are Ares and Cypris
They walk through our fields and hills; he's wearing a shiny helmet,
In a purple robe, long, casually hanging down behind,
A dragim clutched like a stone on a snow-white shoulder. She's the same
In the light clothes of a shepherdess, simple, but not blood, but immortality,
Apparently, no less flows through the incorruptible members.”
Who among us would dare to think that he is treacherous in soul,
That in cities both the image is beautiful and the oaths are criminal.
I was a baby then. It happened, with arms around
White, tender legs of Meletius, I sit quietly,
Listening to his vows to Amarilla, terrible vows
By all the gods: to love Amarilla alone and with her
To live inseparably by our streams and in our valleys.
I was a witness to the oaths; Erotic sweet secrets
Hamadryads were present. But what? and he is spring
He didn’t live with her, he left forever! The heart is simple
It is impossible to comprehend black treason skillfully. Its Amarilla
A day, and another, and a third waits - all in vain! About everything to her
Sad thoughts come, besides betrayal: is it a boar,
How Adonis tore him to pieces; was he injured in the dispute?
Is he for the game, throwing heavy circles more skillfully than anyone else?
“I heard that there are diseases in the city! He is sick!"
On the fourth morning she cried out, shedding tears:
“Let’s run to the city to see him, my baby!”
And grabbed it hard
She jerked my hand, and with it we ran like a whirlwind.
I didn’t have time, it seemed to me, to breathe, and the city was already before us
Stone, diverse, with gardens, pillars opened:
So the clouds before tomorrow's storm in the evening sky
Different types with wonderful tints of colors are acceptable.
I've never seen such a diva! But with surprise
It was not the time. We ran into the city, and loud singing
We were amazed - we became. We see: a crowd in front of us
Slender wives pass in blankets as white as snow.
Mirror, golden bowls, ivory caskets
The women carry them decorously. And the young slaves
Frisky, loud-voiced, naked from the waist up,
Around them their wicked eyes shine in a merry dance,
They gallop, some with a tambourine, some with a thyrsus, one with a curly head
He carries a long vase and splashes plates to the song.
Ah, good traveler, what the slaves told us!
Slender wives led their young wife from the bathhouse
Evil Meletius. - Desires are gone, hopes are gone!
Amarilla looked into the crowd for a long time and suddenly, staggering,
Pala. Coldness in the arms and legs and chest without breathing!
Weak child, I didn’t know what to do. From a terrible thought
(It’s terrible to remember now) that Amarilla no longer exists, -
I didn’t cry, but I felt: tears, condensed into stone,
My eyes stung inside and hot head bent.
But life in Amarilla, unfortunately for her, was still on fire:
Her chest rose and began to pound, her face lit up.
With a dark blush, his eyes looked at me and became clouded.
So she jumped up, so she ran out of town, as if
The Eumenides, the harsh maidens of Aides, drove her away!
Was I, baby, able to catch up with the ill-fated maiden!
No... I already found her in this grove, across this river,
Where from time immemorial the altar to the god Eros has been erected,
Where the fragrant flower garden is planted for sacred wreaths
(Old times, happy couple!) and where are you more than once, Amarilla,
With the faith of an innocent heart, she listened to criminal oaths.
Zeus is merciful! with what a squeal and what a smile
She sang this song in the grove! how much with roots
I picked different flowers in the flower garden and how quickly I wove them!
Soon she made a strange outfit. Whole branches
Luxuriously covered in roses, as if horns were sticking out
A wildly multi-colored, wonderfully large wreath made of ligatures;
The ivy is wide in chains with a wreath on the shoulders and across the chest
The long one fell down and, making a noise, dragged along the ground behind her.
So dressed, important, with the gait of Ira the goddess,
Amarilla went to our huts. He comes, so what?
Her mother and father did not recognize her; began to sing, and in the old
Hearts began to beat with a new trembling, a harbinger of grief.
She fell silent - and ran into the hut with wild laughter, and with a look
The surprised mother began to ask sadly: “Dear,
Sing, if you love your daughter, and dance: I’m happy, happy!”
Mother and father, not understanding, but hearing her, burst into tears.
“Have you ever been unhappy, dear child?” -
The decrepit mother, having calmed her tears with tension, asked.
“My friend is healthy! I am a bride! They will come out of the magnificent city
Slender wives, frisky maidens to meet the bride!
Where he first said I love Amarilla the shepherdess,
There, from under the shadow of the treasured tree, lucky girl, I will cry out:
Here I am, here I am! You slender wives, you frisky maidens!
Sing: Hymen, Hymen! - and lead the bride to the bathhouse.
Why don’t you sing, why don’t you dance! Sing, dance!”
The mournful elders sat motionless, looking at their daughter,
Like marble, abundantly sprinkled with cold dew.
If not for his daughter, the Giver of Life had brought another shepherdess
To see and hear such, struck by heavenly punishment,
Even then the ill-fated ones would turn into languorous ones,
Tearful spring - now, quietly leaning towards each other,
They fell asleep last. Amarilla began to sing,
Having glanced at his outfit with a proud gaze, and to the tree of rendezvous,
I went to the tree of love that changed. Shepherds and shepherdesses,
Attracted by her song, they came running joyfully and noisily
With tender affection towards her, beloved, beloved friend.
But - her outfit, voice and look... Shepherds and shepherdesses
They timidly stepped back and silently fled into the bushes.
Our poor Arcadia! Did you change then?
Are our eyes, seeing misfortune up close for the first time,
Are you covered in a gloomy fog? Evergreen canopy,
The waters are crystal, all your beauties have faded terribly.
The gods value their gifts dearly! We can't see anymore
More fun! If only Rhea had the same mercy
If she came back to us, it would all be in vain! Fun and happiness
Similar to first love. Mortal once in a lifetime
He can revel in their full, virgin sweetness! Did you know
Happiness, love and fun? So I understand, and let’s shut up about it.
The terribly singing maiden was already standing by the plane tree,
I picked ivy and flowers from the outfit and diligently used them
She decorated her tree. When she bent down from the shore,
Boldly grasping the young rod, so that the flower chain
Tie this branch, which reaches us as a shadow,
The rod cracked and broke off, and she flew off the shore.
Unhappy waves. Are the nymphs of the waters, regretting the beauty
The young shepherdess, they thought to save her, if her dress was dry,
Covering the surface of the water in a wide circle, it did not give
Should she drown? I don’t know, but for a long time, like a naiad,
Visible only up to her chest, Amarilla rushed forward,
Singing your song, not feeling your near death,
As if born in moisture by the ancient father Ocean.
Without finishing her sad song, she drowned.
Ah, traveler, how bitter! you are crying! run away from here!
Look for fun and happiness in other lands! Really?
There are none of them in the world, and the gods called them from us, from the last ones!
Unlike Vyazemsky, Pushkin’s lyceum and post-lyceum comrade Anton Antonovich Delvig clothed his romanticism in classic genres. He stylized ancient, ancient Greek and ancient Roman poetic forms and meters and recreated in his lyrics the conventional world of antiquity, where harmony and beauty reigned. For his ancient sketches, Delvig 8 chose the genre of idylls and anthological poems. In these genres, Delvig discovered a historically and culturally specific type of feeling, thinking and behavior of a person of antiquity, which is an example of the harmony of body and spirit, physical and spiritual (“Swimsuits”, “Friends”). Delvig correlated the “ancient” type of person with the patriarchy and naivety of the ancient “natural” person, as Rousseau saw and understood him. At the same time, these features - naivety, patriarchy - are noticeably aestheticized in Delvig’s idylls and anthological poems. Delvig's heroes cannot imagine their lives without art, which acts as an organic side of their being, as a spontaneously manifested sphere of their activity (“The Invention of Sculpting”).
The action of Delvig's idylls usually unfolds under the canopy of trees, in cool silence, near a sparkling spring. The poet gives his paintings of nature bright colors, plasticity and picturesque forms. The state of nature is always peaceful, and this emphasizes the harmony outside and inside a person.
The heroes of Delvig's idylls and anthologies are integral beings who never betray their feelings. In one of the poet's best poems – “Idyll”(Once upon a time, Titir and Zoe were under the shadow of two young plane trees...) - it admiringly tells about the love of a young man and a girl, preserved by them forever. In a naive and pure plastic sketch, the poet managed to convey the nobility and sublimity of a tender and deep feeling. Both nature and the gods sympathize with lovers, protecting the unquenchable flame of love even after their death. Delvig's heroes do not talk about their feelings - they surrender to their power, and this brings them joy.
In another idyll - "Friends" - the whole people, young and old, live in harmony. Nothing disturbs his serene peace. After a day of work, when “the autumn evening descended on Arcadia,” “people gathered around two elders, famous friends” - Palemon and Damet - to once again admire their art of determining the taste of wines and enjoy the spectacle of true friendship. The affection of friends was born in labor. Relationships of love and friendship appear in Delvig's poetry as a measure of the value of a person and the whole society. It is not wealth, not nobility, not connections that determine a person’s dignity, but simple personal feelings, their integrity and purity.
Reading Delvig's idylls, one might think that he was a belated classicist in a romantic time. The very themes, style, genres, sizes - all this was taken from the classicists. And yet, it would be wrong to classify Delvig among the classicists or sentimentalists who also cultivated the genre of idylls (V.I. Panaev). Delvig, passed school Zhukovsky and Batyushkov, was also a romantic who yearned for lost antiquity, for patriarchy, for the “natural” man, for the conventional world of classical harmony and harmony. He was disappointed in modern society, where there is neither true friendship nor true love, where a person felt discord both with people and with himself. Behind the harmonious, beautiful and integral world of antiquity, which Delvig regrets, there is a person and poet devoid of integrity. He is concerned about disunity, fragmentation, internal disharmony of people and is afraid of the future.
From this point of view, Delvig's idylls and anthological poems opposed both classicistic and sentimental examples of these genres. They were considered the highest artistic achievements of the poetry of Russian romanticism and one of the best embodiments of the spirit of antiquity, ancient poetry, its, in the words of Pushkin, “luxury”, “bliss”, “charm more negative” than positive, “which does not allow anything tense in feelings ; subtle, confused in thoughts; unnecessary, unnatural in the descriptions! 9 .
Delvig introduced into the genres of idyll and anthological poem a content unusual for him - grief over the end of the “golden age”. The subtext of his delightful idylls, naive and touching in their cheerfulness, was rooted in a feeling of longing for the lost former harmony between people and man with nature. In the current world, chaos lurks under the cover of harmony, and therefore beauty is fragile and unreliable. But that’s why it’s especially expensive. This is how elegiac motifs and moods penetrate into the idyll. Its content becomes dramatic and sad. Delvig introduced a tragic conflict into the idyll - the collapse of the patriarchal-idyllic world under the influence of urban civilization - and thereby updated the genre.
In an idyll "The End of the Golden Age" The city youth Meletius fell in love with the beautiful shepherdess Amarilla, but did not keep his vows of fidelity. And then misfortune befell the whole country. The tragedy affected not only Amarilla, who lost her mind and then drowned, but the beauty of Arcadia faded because the harmony between people and between man and nature was destroyed. And the person whose consciousness has entered into selfishness and selfishness is to blame for this. The idyllic world is no longer in Arcadia. He disappeared. Moreover, he disappeared everywhere. The invasion of the idyll by romantic consciousness and its deepening meant the death of the idyll as a genre, since the meaningful core was lost - the harmonious relationships of people between themselves and the outside world.
Pushkin agreed with Delvig: the beautiful and harmonious are subject to destruction and death, they are transitory and perishable, but the feelings evoked by them are eternal and imperishable. This gives a person the strength to survive any loss. Besides, life does not stand still. In the course of the historical movement, the beautiful and harmonious return - even if in a different form, in a different guise. Tragic moments are just as temporary as beautiful ones. Sadness and despondency are not omnipotent. They are also guests on this earth.
To the same extent as in idylls, Delvig was a romantic in his folk songs. In the spirit of romanticism, he turned to folk origins and showed interest in ancient national culture. If to recreate the “ancient” type and worldview he chose the genre of idylls, but for the “Russian” type and worldview he chose the genre of Russian song.
Delvig's songs are filled with quiet complaints about life, which makes a person lonely and deprives him of his legal right to happiness. The songs captured the world of suffering of ordinary Russian people in sad and mournful melodies (“Ah, are you night…”, “My little head, my little head…”, “It’s boring, girls, living alone in the spring…”, “Sang, sang, little bird…” , “My nightingale, nightingale...”, “Like a little village stands behind the river...”, “And I’ll go out onto the porch...”, “I was walking in the garden in the evening, little one...”, “It’s not frequent autumn rain...”.
The content of Delvig's lyrical songs is always sad: the fate of the girl, yearning for her betrothed, did not work out, the young man has no will. Love never leads to happiness, but only brings inescapable grief. The Russian man in Delvig's songs complains about fate even when there is no specific reason. Sadness and sadness seem to be diffused in the air, and therefore a person inhales them and cannot avoid them, just as he cannot get rid of loneliness.
Unlike his predecessors, Delvig did not process folk songs, turning them into literary ones, but composed his own, original ones, recreating the forms of thinking and poetics of authentic folklore samples. Delvig filled his songs with new, most often dramatic, content (separation, unhappy love, betrayal).
Russian songs were created by analogy with the anthological genre and were distinguished by the same severity, consistency and restraint poetic speech. And although Delvig aestheticized the language of songs in accordance with the norms of the poetic language of the 1820s, he managed to capture many specific features of the poetics of Russian folklore, in particular, the principles of composition, creating an atmosphere, negative principles, symbolism, etc. Among Russian poets, he was one of the best experts and interpreters of folk songs. His services in the song genre were appreciated by Pushkin and A. Bestuzhev.
From others genre forms The sonnet and romance genres were productive in Delvig's work.
The attraction to strict classic forms can apparently explain Delvig’s appeal to the solid genre-strophic form of the sonnet, of which the poet’s sonnet is a high example "Inspiration" 10 .
Romances Delviga (“Yesterday of Bacchic friends...”, “Friends, friends! I am Nestor between you...”, “Don’t say: love will pass...”, “The lonely month floated, swaying in the fog...”, “Beautiful day, happy day...”, “Wake up, knight, the path is long...”, “Today I feast with you, friends...”, “I just recognized you...”) were first written in a sentimental spirit. They imitated the signs of folk genres, but then Delvig eliminated in them the touch of sensitivity, somewhat salon sophistication and artificial poetry. Of the few elegies by Delvig, set to music and close to romance, the best known is “When, soul, did you ask...”
In the mid-1820s, Delvig was already a recognized master who had taken a strong position in the literary community. In 1826, he published the famous almanac “Northern Flowers for 1825,” which was a great success. A total of seven books were published, to which the almanac “Snowdrop” was added in 1829. “Northern Flowers” published writers close to Delvig, Pushkin and the entire Pushkin circle - Vyazemsky, Baratynsky, Pletnev, I. Krylov, Dashkov, Voeikov, V. Perovsky, Somov, Gnedich, F. Glinka, D. Venevitinov, A. Khomyakov, V. Tumansky, I. Kozlov, Senkovsky, V. Odoevsky, Z. Volkonskaya, N. Gogol and others.
At the end of 1829, Pushkin, Vyazemsky, Zhukovsky decided to publish a newspaper and make it the organ of their literary group. Delvig became its editor and publisher (the first 10 issues were edited by Pushkin together with O. Somov). In it, Delvig showed himself not only as a publisher and editor, but also as a prominent literary critic, distinguished by his taste and broad knowledge. He criticized Bulgarin's novels for their ahistorical and anti-artistic nature, and opposed the “trade” trend in literature and “frantic literature.” It was these trends in literature that were rejected by Pushkin’s circle of writers. The cessation of the Literary Gazette had a hard effect on Delvig, and he soon died. In favor of the Delvig brothers, Pushkin collected the last book of the almanac, “Northern Flowers for 1832.”
Delvig was one of Pushkin's friends with whom he was friends at the Lyceum. These two were united by an incredible craving and love for poetry. He, like Pushkin, read a lot of books and was interested in literature. While still studying, he published his first poems.
His poem “To Delvig” is a friendly message that is filled with love and affection for his friend. Pushkin says that they seem to have been born by the same star, which indicates the similarity of friends. Delivig was the first of the lyceum students who began to publish their works in newspapers and magazines. Therefore, she and Pushkin are engaged in one common cause. In addition, their similarity lies in the same lifestyle.
As Pushkin writes in his poem, fame bowed their heads very early, so they used it ineptly and eccentrically. They did not care about their future, lived for the moment and spent their days having fun and partying.
Pushkin and Delvig began their poetic careers in the same way; both joined the Green Lamp association at the same time. They were not always published there; often the censorship did not allow the works of young poets to pass through. But both friends still loved fame very much and enjoyed every ray of it.
Delvig was a very talented person, his poems were supreme example art. He applied various literary means to them in connection, thanks to which they became amazingly beautiful and at the same time correct. Pushkin, as a true friend, did not envy Delvig’s successes; on the contrary, in his poem he praises his talent and wishes his art to grow.
Delvig also dedicated a poem to Pushkin, even during their studies at the lyceum. His poem “To Pushkin” is the first positive review of the work of the young poet. Delvig already predicted Pushkin's fame and immortality in this world. They helped each other in creating poems and often had hour-long conversations on various topics.
Analysis of Nikolai Gumilyov's poem "Evening" Gumilyov's poem "Evening" was written around 1908. That period of life turned out to be very difficult for the young poet. Symbolism was at a turning point; his work was overshadowed by the poet’s personal problems. Then he suffers another refusal from Akhmatova, he again asked her for her hand and heart, but she still for a long time will remain impregnable.
The title of the poem symbolizes not only the evening time of day, but also psychological condition lyrical hero. He is in search of his happiness. Each line of the poem is a specific symbol that reveals the entire meaning and intention of the author.
The lyrical hero asks the night to wrap him in its magical sleep, because only there he feels truly happy. He exalts the night, thanks her for saving him from suffering. Temporarily immerses you in an unreal atmosphere of happiness. This is a very beautiful poem that uses a lot of symbols and metaphors. It's very emotional, very sad. After all, the lyrical hero is not able to find happiness in real life, so he has to stay alone and ask the night to help him.
In reality, he simply falls asleep and the happiness in which he remains for a while is just a dream that quickly ends. But, despite this, the hero still begs the night to come and give his gift, it doesn’t matter to him that all this is not true, at a certain point in life a person just wants to believe in his existence.
The poem "Evening" is sad story about the search for happiness. After getting acquainted with Gumilyov’s work, you involuntarily begin to wonder whether happiness really exists. Or is it our fate, like the hero of the poem “Night,” to find him only in a dream, where we cannot enjoy his gifts.
We are born, my named brother,
Under the same star.
Cypris, Phoebus and Bacchus ruddy
They played with our fate.
We both showed up early
To the hippodrome, not to the market,
Near Derzhavin's coffin,
And noisy delight greeted us.
The beginning spoiled us.
And in his proud laziness
We both cared little
The fate of walking children.
But you, son of Phoebus, carefree,
Of your sublime ideas
Didn’t betray with a calculated hand
Evaluating cunning traders.
Some magazines scolded us,
We hear the same reproaches:
We love fame and in a glass
Drown wild minds.
Your syllable is powerful and winged
Some parodist is teasing,
And a verse, rich in hopes,
A toothless journalist is chewing.
Reproduced from the edition: A. S. Pushkin. Collected works in 10 volumes. M. GIHL, 1959-1962. Volume 2. Poems 1823–1836.
Anton Antonovich Delvig was born in Moscow, in the family of a major general who came from an impoverished family of Baltic German barons. The family was so Russified that Delvig did not even know German. Father, Anton Antonovich Delvig (17.6.1773 - 8.7.1828) - officer, major of the Astrakhan regiment, major general (1816). Mother - Lyubov Matveevna Krasilnikova was the granddaughter of a Russian astronomer.
In 1811 Delvig entered the Tsarskoye Selo Lyceum; He studied lazily, but began to write poetry early, and already in 1814 they appeared in print, in the “Bulletin of Europe” (“On the capture of Paris” - signed by Russian).
He graduated from the course with the first graduating class of the Lyceum in 1817, and for graduation he wrote the poem “Six Years,” which was published, set to music, and repeatedly sung by the Lyceum students. He served in the Department of Mining and Salt Affairs, from there he moved to the office of the Ministry of Finance; from 1821 to 1825 he was an assistant librarian (I. A. Krylov) at the Imperial public library. Then until his death he served in the Ministry of Internal Affairs. He died of typhus (“rotten fever”) at the age of 32. He was buried at the necropolis of masters of art of the Alexander Nevsky Lavra.
Alexander Sergeevich Pushkin dedicated a poem to Delvig.
Blessed is he who from a young age saw before him
Dark twists two-hills high,
Who lives on a secret path with an innocent soul
Set off as a prisoner of a dream!
The confidant of the gods knows no evil storms,
Their craft is over him, silently at times
Young Kamens lull him to sleep
And with a finger on their lips they keep the singer in peace.
He listens to the advice of shy Grace
And, feeling the fire in my chest while still young,
The ecstatic one sings on a golden lyre.
Oh Delvig! happy poets!
My friend and I am a singer! and my humble way
The goddess of chants decorated with flowers,
And in my god's youth
Influenced by the flame of inspiration.
In my infancy I knew how to feel,
Everything around me breathed life,
Everything fascinated the quick mind.
And I quickly flew past the first line.
With what quiet beauty
The minutes of childhood passed;
Praise, oh gods! to you, you with a powerful hand
Innocence was taken away from the ardent thunderstorms of the world.
But everything passed - and disappeared into the darkness
Freedom, joy, admiration;
For others, youth is a delight:
She is a gloomy sadness to me!
It's so early for envy to see the bloody specter
And low slander hides poison in the darkness.
No no! neither happiness nor glory
I won't be blinded. Let them beckon
To the brink of destruction the favorites of the seduced.
The sacred heat has disappeared!
Gift of sweet songs to oblivion
And the voice of animated strings!
To dust and lyre and crown!
Let them not know that he was once a singer,
Doomed to sacrifice by enmity and envy,
Died in the morning.
Like an early flower in a clearing,
Oblique, untimely slain.
And I will live quietly in unknown silence;
The terrible posterity will not remember me,
And the coffin of the unfortunate man, in the dark, wild desert,
Oblivion will be overgrown with creeping dodder!
Analysis of the poem by A. S. Pushkin “To Delvig”
1. Semantic analysis
1) There are two main images in this poem - the image of the author (Pushkin) and his friend Anton Antonovich Delvig. These images are named directly, so there is no need to identify them from the subtext. The author turns to his friend, trusting him with his most intimate thoughts, experiences, and feelings. Alexander Sergeevich tells a friend about the life of the poet (or rather, Pushkin himself), describes his feelings and sensations that he experiences when he writes poems.
2) The two main characters are connected by a strong friendship that began in their lyceum years. Delvig is also a poet, and Pushkin may have wanted to explain something to his friend through this poem.
3) Associated images in this poem are images of other people, outside of their friendship, union. These are also images of the temptations of the big world - fame, slanderers who could destroy their friendship. In the work, Pushkin describes his opposition to these forces.
4) The author talks about the muse, about her elusiveness in the poetic world. When reading the poem, a feeling of beauty, lightness and something beautiful arises thanks to Pushkin’s competent alignment of associative rows.
2. Analysis of visual media
...He listens to shy Grace's advice...
“Delvig (Love, friendship and laziness...)” A. Pushkin
"Delvig" Alexander Pushkin
Love, friendship and laziness
Sheltered from worries and troubles,
Live under their reliable canopy;
In solitude you are happy: you are a poet.
The confidante of the gods is not afraid of evil storms:
Above him their providence is high and holy;
He is lulled by young stones
And with a finger on their lips they keep his peace.
O dear friend, and to me the goddesses of chant
Still in the infant's chest
Influenced by a spark of inspiration
And they showed the secret way:
I am the lyre sounds of pleasure
As a baby I knew how to feel,
And the lyre became my destiny.
But where are your moments of rapture,
Inexplicable heat of the heart,
Inspired work and tears of inspiration!
My light gift disappeared like smoke.
How early I attracted the bloody gaze of envy
And an invisible dagger of evil slander!
No, no, neither happiness nor glory,
Nor a proud thirst for praise
I won't be carried away! In happy inaction,
I will forget my dear muses, my tormentors;
But maybe I’ll sigh in silent delight,
Listening to the sound of your strings.
Analysis of Pushkin's poem "Delvigu"
A poetic text dating back to 1817 was included in the number of lyceum works redone by the author 8-9 years after they were written. Poem, genre features which are defined by the framework of the comradely message, is typical example early Pushkin lyrics. Its addressees are fellow lyceum students.
The lyrical subject of the work is confident in the creative role of his classmate, expressed short formula"You are a poet". The hero calls on his friend, the “confidant of the gods,” to protect and develop his high gift artistic word, raising him “in solitude”, away from bustle and anxiety. The sources of inspiration are the eternal feelings of love and friendship, to which is added an unexpected component - “laziness”. With help the last poet humorously characterizes not only his own mood, but also the poetic image of Delvig, the enthusiastic “son of laziness.”
The poetic text declares “holy”, divine origin creativity, which are presented to the “goddess of chants,” the patroness of art. Beautiful unearthly maidens bestowed a mysterious “spark of inspiration” on both the lyrical subject and the recipient of his work. “Lyre is my destiny,” this is how the hero sums up his destiny, having experienced the “heat of the heart” in ecstatic moments of creative impulse.
The final episode is devoted to the well-known romantic theme of disappointment caused by the slander of envious people and slanderers. Designating himself as a victim of intrigue, the poet resorts to the metaphors “bloody gaze” and “invisible dagger.” The offended and despairing hero wants to forget himself in “happy inaction,” leaving the “tormentor” muses. The path that the lyrical subject has chosen is his own choice, forced decision tragic romantic. It is contrasted with the fate of the addressee, who remains faithful to the harmonious “sounds of strings” of high poetry, capable of calming the restless soul of the lyrical “I”.
The youthful poem anticipates the main motives of the key theme of the poet’s destiny: the divine sources of creativity, its humanistic essence and indifference to earthly unrest are proclaimed.
An attempt to model one’s own destiny is depicted in the youthful work “To Comrades.” The hero does not want to become famous on the military or civil path. Attributing the characteristic “son of laziness” to his own person, he chooses peace of mind and the “red cap,” a symbol of freedom.
Friendship in the lyrics of A.S. Pushkin
"Ust-Udinskaya Secondary School No. 2"
P. Ust-Uda, Irkutsk region, Ust-Udinsky district
Razvozzhaeva Ksenia Sergeevna
Scientific work on the topic “Friendship in Pushkin’s lyrics”
Purpose of the study. find out what place the theme of friendship occupies in Pushkin’s life and lyrics, and whether Pushkin’s attitude towards the lyceum brotherhood has changed over the years.
Tasks: 1. Show how friendship warmed Pushkin, brought him incomparable joy, inspired him to create beautiful poems
2. Surprise with the power and expressiveness of poetic lines dedicated to friendship.
Hypothesis: Has Pushkin's friendship, born within the walls of the Tsarskoye Selo Lyceum, stood the test of time?
Object of study- Pushkin's lyrics.
Subject of study- the theme of friendship in Pushkin's lyrics.
The main research method: analysis, questionnaires, study of literature on this topic.
Conclusion: Having studied the poems of A.S. Pushkin, we realized that friendship for the poet is one of the most important values in life. It was she who helped him not to lose heart even in the most difficult moments, and she also inspired him to create magnificent poems. The poems of A.S. Pushkin remind us that friendship is the greatest value in a person’s life, and true friends will always come to the rescue in difficult times. life situation and help you get on the right path. And in the 21st century we are the same as the Tsarskoe Selo lyceum students were. We want our school friendship to continue throughout our lives. We realized that a true friend will be with you not only in joy, but also in sorrow. Friendship is what will protect us from the vicissitudes of fate. Having true friends is a great happiness. And to be friends means not so much to take as to give, to help, to remain faithful and devoted to friends. The lyrics of A.S. Pushkin teach us this. God help you, my friends...
I. Friendship in Pushkin's lyrics
1.1What does friendship mean to A.S. Pushkin
With the whole life and work of A.S. Pushkin claimed this noble feeling like friendship. Friendship for A.S. Pushkin’s “pleasant star”, “holy brotherhood” of like-minded people, for whom love for comrades was inseparable from love for the Fatherland.
In almost all the poems that are classified as friendship lyrics, you can see images of Pushkin’s friends who remained faithful to him and did not forget about him throughout his life. This is I.I. Pushchin, A.A. Delvig and V.K. Kuchelbecker.
The theme of friendship in Pushkin's lyrics has autobiographical origins. In the study of the poet’s lyrical heritage, the chronological principle is optimal, according to which each topic is considered in logical development, in order to recreate the spiritual biography of the great poet.
1.2 Lyceum period (1811-1817) (Appendix 1)
Pushkin spent six years at the Tsarskoye Selo Lyceum, opened on October 19, 1811. Here young poet survived the events of the Patriotic War of 1812. Here his poetic gift was first discovered and highly appreciated. Memories of the years spent at the Lyceum, about Lyceum brotherhood remained forever in the poet's soul.
During the Lyceum period, Pushkin created many poetic works. He was inspired French poets XVII-XVIII centuries, whose works he became acquainted with as a child, reading books from his father’s library. Favorite authors young Pushkin there were Voltaire and the Guys. In his early lyrics the traditions of French and Russian classicism merged. The teachers of Pushkin the poet were Batyushkov, a recognized master of “light poetry,” and Zhukovsky, the head of Russian romanticism. Pushkin's lyrics of the period 1813-1815 are permeated with motifs of the transience of life, which dictated a thirst for enjoying the joys of life. Since 1816, following Zhukovsky, he turned to elegies, where he developed the motifs characteristic of this genre: unrequited love, the passing of youth, the fading of the soul. Pushkin's lyrics are still imitative, full of literary conventions and cliches, nevertheless, even then the aspiring poet chooses his own, special path
1.3 Genre of the message (Appendix 2)
Message genre known since antiquity (Quintus, Horace, Ovid).
IN ancient Russian literature the message genre was used to address figures on political or social issues.
In Russian poetry early XIX century, a friendly message was a very common genre (messages by V.A. Zhukovsky, N.M. Karamzin, I.I. Dmitriev, K.N. Batyushkov, A.S. Pushkin, A.A. Fet). Its popularity was largely due to the low level of canonization of the genre, its fundamental instability, and freedom of expression. A friendly message resembles a casual conversation, often a conversation “as equals.” The addressee could be very different: a real person close to the author, a person with whom the author was not personally acquainted, an imaginary person.
The formal genre feature of a message is that it imitates a letter to a greater or lesser extent, that is, the main feature of this genre is an appeal to a specific person, as well as the presence of such elements as wishes, requests, exhortations. The authors of the messages soon abandoned the original poetic meter - hexameter. A friendly message is created with the goal of finding a like-minded person and ally.
Pushkin the Lyceum student uses various genres: from ode to romance, elegy and fairy tale. But the most favorite genre of early Lyceum period A.S. Pushkin - a friendly message (“To Natalya” is the poet’s first poem, “To a friend the poet” is the first printed work). Many of Pushkin’s messages take Batyushkov’s “My Penates” as a model. These include numerous messages to poets, teachers and friends. In addresses to friends (“Comrades.” “To Pushchin’s album.” “Kuchelbecker”) the theme of the Lyceum arises, which is also found in the poet’s later poems.
Pushkin attaches special importance to the genre of the message, since it opens the path of freedom for the poet. In this genre, literary influences and traditions are the least active. And that’s why it was easiest for Pushkin to go here in my own way. Pushkin's message is not only a free genre, but also the most lyrical: it is full of sincere confessions - confessions of the soul. One of the examples of such confessions can be considered the letter “To Chaadaev”.
Pushkin would turn to Chaadaev more than once with friendly messages: in 1821 - “In a country where I forgot the worries of previous years.”, in 1824
IN last time, in the shadow of solitude,
Our penate listens to my poems.
Lyceum life dear brother,
I share with you last moments.
The summers of connection have passed;
It is broken, our faithful circle.
Sorry! Protected by the sky
Don't be separated, dear friend,
With freedom and Phoebus!
Find out the love unknown to me,
Love of hopes, delights, rapture:
And your days are the flight of dreams
May they fly by in happy silence!
I am faithful to the Holy Brotherhood.
And let (will fate hear my prayers?),
May everyone, all your friends, be happy!
The forest drops its crimson robe,
Frost will silver the withered field,
The day will appear as if involuntarily
And it will disappear beyond the edge of the surrounding mountains.
Burn, fireplace, in my deserted cell;
And you, wine, autumn cold Friend,
I'm sad: my friend No,
Around me comrades calling;
The familiar approach is not heard,
And my soul is not waiting for a sweetheart.
I drink alone, and on the banks of the Neva
I'm friends today they call it.
But how many of you feast there too?
Are you sitting with your friends? friends,
Restless lover of foreign skies?
My friends. our union is wonderful!
He, like a soul, is indivisible and eternal -
Unwavering, free and carefree
From end to end we are pursued by thunderstorms,
Entangled in the nets of a harsh fate,
I'm in trepidation at the bosom friendship new,
Tired, he clung to his caressing head.
With my sad and rebellious prayer,
With the trusting hope of the first years,
Friends others gave themselves up to a tender soul;
But their greeting was bitter and unbrotherly.
And now here, in this forgotten wilderness,
In the abode of desert blizzards and cold,
A sweet consolation was prepared for me:
Three of you friends my soul
Here I hugged. The poet's house is disgraced,
Oh my Pushchin, you were the first to visit;
You sweetened the sad day of exile,
You turned his lyceum into a day.
You are still the same for honor and friends.
Us different path destined to be strict;
Stepping into life, we quickly parted ways:
But by chance on a country road
We met and hugged brotherly.
We look back, not seeing any traces there.
Is my brother related by muse, by destiny?
It's time, it's time! our mental anguish
The world is not worth it; Let's leave the misconceptions behind!
Let's hide life under the shadow of solitude!
I'm waiting for you, my belated friend -
Come; fire magic story
Revive heartfelt legends;
Let's talk about the stormy days of the Caucasus,
About Schiller, about fame, about love.
It's time for me too. feast oh friends!
I anticipate a pleasant meeting;
Remember the poet's prediction:
A year will fly by, and I will be with you again,
The covenant of my dreams will come true;
A year will fly by and I will come to you!
Oh, how many tears and how many exclamations,
And how many cups raised to heaven!
And the first one is fuller , Friends, fuller!
1825
1.5 Poem by A.S. Pushkin’s “Feasting Students” (Appendix 3)
Friends! the leisure time has come;
Everything is quiet, everything is at peace;
Rather, a tablecloth and a glass!
Here, golden wine!
Champagne, champagne, in glass.
Friends, what about Kant?
Seneca, Tacitus on the table,
Folio above folio?
Under the table of cold sages,
We will take possession of the field;
Under the table of learned fools!
We can drink without them.
Will we find someone sober?
Behind the student's tablecloth?
Just in case, we'll choose
More like the president.
As a reward for the drunk, he will pour
And punch and fragrant grog,
And he will bring it to you, Spartans
The water in the glass is clean!
Apostle of bliss and coolness,
My good Galich, vale!
Give me your hand, Delvig! what are you sleeping?
Wake up, sleepy sloth!
You are not sitting under the pulpit,
Put to sleep by Latin.
Look: here is your circle of friends;
The bottle is filled with wine,
Drink to the health of our muse,
Parnassian red tape.
Dear wit, hands down!
Have a full glass of leisure!
And pour out a hundred epigrams
For foe and friend.
And you, handsome young man,
Illustrious rake!
You will be a dashing priest of Bacchus,
For everything else - a veil!
Although I am a student, although I am drunk,
But I respect modesty;
Pull over the foamy glass
I bless you for battle.
Dear comrade, straight friend,
Let's shake our hand,
Leave a circle in the bowl
Pedants are akin to boredom:
This is not the first time we drink together,
We often fight,
But let's pour the cup of friendship -
And we will make peace immediately.
And you, who since childhood
You breathe only joy,
Funny, really, you're a poet,
Even if you write fables poorly;
I shuffle with you without rank,
I love you with my soul
Fill the mug to the brim—
Reason! God be with you!
And you, the rake of the rake,
Born of pranks,
Daring grip, thug,
A sincere friend,
We'll break bottles and glasses
For Platov's health,
Let's pour punch into the Cossack hat -
And let's drink again.
Come closer, our dear singer,
Beloved by Apollo!
Sing to the ruler of hearts
The guitars are quietly ringing.
How sweet it is in a tight chest
The languor of sounds flows.
But should I breathe with passion?
No! drunk just laughs!
Isn’t it better, Rode’s note,
In honor of the Bacchus village
Now I'll hide you with a string
An upset violinist?
Sing in chorus, gentlemen,
There is no need for it to be awkward;
Are you hoarse? - it’s not a problem:
For drunks, everything is fine!
But what. I see everything together;
Double damask with arrack;
The whole room went around;
The eyes were covered with darkness.
Where are you, comrades? Where I am?
Tell me, for Bacchus' sake.
You are dozing, my friends,
Bent over the notebook.
Writer for his sins!
You seem to be more sober than everyone else;
Wilhelm, read your poems,
So that I can fall asleep faster.
1.6 (From a letter to Ya.Ya. Tolstoy, 1821) (Appendix 3)
Burning with envious desire,
I fly to you with memories,
I imagine I see you...
Are you burning, is our lamp,
Friend of vigils and feasts?
Are you boiling, golden cup,
In the hands of funny wits?
(From a letter to Ya.Ya. Tolstoy, 1821)
1.7 Message “To Chaadaev” (Appendix 3)
And true friendship, and lovely objects,
Captivated me in infant years,
In those days when, unknown to anyone,
Knowing no worries, no goals, no systems,
I was singing the sound of a haven of fun and laziness
And the Tsarskoye Selo security canopy.
But there is no friendship with me. Sad, I see
No muses, no labors, no joys of leisure -
You were the healer of my spiritual strength;
O constant friend, I dedicated to you
AND brief century already tested by fate,
And feelings - maybe saved by you!
You knew my heart in the bloom of my young days;
You saw how then, in the excitement of passions
I was secretly pining, a tired sufferer;
At the moment of death over the hidden abyss
You supported me with your watchful hand;
You replaced hope and peace for a friend;
Peering into the depths of the soul with a stern gaze,
You revived her with advice or reproach;
Your heat ignited high love;
Bold patience was born again in me;
The voice of slander could not offend me,
I knew how to despise, I knew how to hate.
What need did I have of a solemn trial?
The servant of the noble, the ignorant under the star,
Or a philosopher who in previous years
1.8 Message to “Delvig” 1821 (Appendix 3)
Friend Delvig, my Parnassian brother,
I was consoled by your prose,
But I confess, Baron, I am a sinner:
I would be more pleased with poetry.
You know yourself: in past years
I'm on the shore of Parnassus waters
Loved to dirty poems, odes,
And even the people saw me
At the fashion puppet theater.
It happened that no matter what I write,
For some, everything does not smell like Russia;
Whatever I ask the censor for,
Timkovsky will gasp at everything.
Now I can barely, barely breathe!
1.9 D to friends" Alexander Pushkin(Appendix 3)
Yesterday there was a riotous feast of Bacchus,
At the cries of mad youth,
With the thunder of the bowls, with the sound of the lyres.
So! The muses have blessed you,
Wreaths above autumn,
When you, friends, distinguished
I have a cup of honor.
Ambitious gilding
Without blinding our eyes,
She doesn't do vain work,
It was not the carving that captivated us;
But there was only one difference,
What, I thirst for Scythian singing,
The bottle was full
Into its wide edges.
I drank - and in my heartfelt thoughts
In days gone by I flew
And the grief of a fleeting life,
And I remembered dreams of love;
Their betrayal made me laugh:
And sorrow disappeared before me
How foam disappears in bowls
Under the hissing stream.
1.10 Poem “In the depths of Siberian ores. »
Keep your proud patience,
Your sorrowful work will not be wasted
And I think about high aspiration.
Unluckily faithful sister,
Hope in a dark dungeon
Will awaken vigor and joy,
The desired time will come:
Love and friendship up to you
Like in your convict holes
My free voice comes through.
The heavy shackles will fall,
The dungeons will collapse and there will be freedom
You will be greeted joyfully at the entrance,
And the brothers will give you the sword.
Municipal budget educational institution
"Ust-Udinskaya Secondary School No. 2"
P. Ust-Uda, Irkutsk region, Ust-Udinsky district.
Razvozzhaeva Ksenia Sergeevna
Having analyzed the poems of A.S. Pushkin, dedicated to the theme of “friendship” in Pushkin’s lyrics, we found out that this Pushkin theme has autobiographical origins. In the study of the poet’s lyrical heritage, the chronological principle is optimal, according to which each topic is considered in logical development in order to recreate the spiritual biography of the great poet.
II. The spirit of creativity and freedom in the Lyceum
2.1 History lyceum years A.S. Pushkin. The spirit of creativity and freedom was encouraged at the Lyceum by the authorities. Friendly relationships reigned between teachers and lyceum students, which were built on the principles of respect, and not discipline.
2.2 Analysis of the poem by A.S. Pushkin's "Separation", 1817
Prevailing lyrical genre- message. In Pushkin’s lyrics, the motif of brotherhood appears, which runs through all his work:
Sorry! Wherever I am: whether in the fire of mortal battle,
On the peaceful banks of the native stream,
I am faithful to the Holy Brotherhood.
Pushkin carries his devotion to friends throughout his life. This motif appears again and again in poems dedicated to Lyceum anniversaries:
Tell me, Wilhelm, is that not what happened to us?
Is my brother related by muse, by destiny?
2.4 Analysis of the poem by A.S. Pushkin ("Feasting Students")
Friendship is associated with feasts and fun (“Feasting Students”, “My Testament to Friends”)
Do you remember, my brother in the cup,
Like in a gratifying silence
We drowned our grief
In pure, foamy wine?
(“Memories” (To Pushchin), 1815)
The poet is haunted by memories of his beloved friends, from whom he is doomed to be separated:
In boring exile, every hour
Burning with envious desire,
I fly to you with memories,
I imagine I see you...
2.6 Petersburg (1831-1833)
Memories of the time spent in St. Petersburg among friends associated with the Decembrist society:
Are you burning, is our lamp,
Friend of vigils and feasts?
Are you boiling, golden cup,
In the hands of funny wits?
(From a letter to Ya.Ya. Tolstoy, 1821)
2.7 Analysis of A. S. Pushkin’s poem “To Chaadaev”
Friendship is understood by Pushkin as the highest value:
But there is no friendship with me: sad, I see
The azure of foreign skies, midday regions;
No muses, no labors, no joys of leisure,
Nothing can replace your only friend.
(“Chaadaevu”, 1821)
2.8 Analysis of A. S. Pushkin’s poem “Delvigu”
Friendly correspondence is not interrupted throughout the exile: Friend Delvig, my Parnassian brother, I was consoled by your prose, But I confess, Baron, I am a sinner: I would be more happy with poetry. (“Delvigu”, 1821)
2.9. Analysis of the poem “To Friends” by A. S. Pushkin, 1822.
A feast of friends is a feast of life, a feast of youth that passes.
Yesterday was a day of noisy separation,
Yesterday there was a riotous feast of Bacchus,
At the cries of mad youth,
With the thunder of the bowls, with the sound of the lyres.
2.10 Analysis of the poem by A. S. Pushkin (“The more often the Lyceum celebrates” 1831)
"1. The pathos of friendly lyrics is changing: there are more and more losses in a close friendly circle, the main motives are being transformed.
2. Over time individual images merge into a generalized image of a family of friends. A family of friends is opposed to the world...
(“The More Often the Lyceum Celebrates” 1831)
2.11 Analysis of the poem by A. S. Pushkin “In the depths of the Siberian ores...”
Civic motives in friendly lyrics there are both early work, and in mature creativity. “In the depths of the Siberian ores...” is a civil message in form, in keeping with the traditions of Decembrist aesthetics, but in essence it is a friendly message: trying to emphasize his sympathy for the situation of the Decembrists, the poet speaks to his friends in their language. The theme of friendship, hope is the main one in this poem , contributes to the emergence of civic motives in it: 3. Civil motives in friendly lyrics are present both in early work and in mature work. “In the depths of the Siberian ores...” is a civil message in form, in keeping with the traditions of Decembrist aesthetics, but in essence it is a friendly message: trying to emphasize his sympathy for the situation of the Decembrists, the poet speaks to his friends in their language. The theme of friendship, hope is the main one in this poem , contributes to the emergence of civic motives in him:
Love and friendship up to you
They will reach through the dark gates,
Like in your convict holes
My free voice comes through.
2.12 Poem by V. Kuchelbecker.
After Pushkin’s death, Kuchelbecker wrote:
And here again the Lyceum is a sacred day;
But there is no Pushkin among you!
He will not bring you new songs,
And from them your hearts will not tremble.
2.13 Questionnaire (Appendix 4)
Of the 49 ninth-graders surveyed, they found that 46% have a best friend, 16% have 2 friends,
38% have 3 or more friends.
Of the 60 people I interviewed on the street: 68% managed to maintain friendship after a year.
Pushkin's lyricism of friendship, despite the centuries separating us, continues to excite us living in the 21st century, and his life example, the inner strength with which Pushkin resisted the blows of fate, are one of the best role models for every new generation. Having studied the poems of A.S. Pushkin, we realized that friendship for the poet is one of the most important values in life. It was she who helped him not to lose heart even in the most difficult moments, and she also inspired him to create magnificent poems. The poems of A.S. Pushkin remind us that friendship is the greatest value in a person’s life, and true friends will always come to the rescue in a difficult life situation and help get on the right path. And in the 21st century we are the same as the Tsarskoe Selo lyceum students were. We want our school friendship to continue throughout our lives. We realized that a true friend will be with you not only in joy, but also in sorrow. Friendship is what will protect us from the vicissitudes of fate. Having true friends is a great happiness. And to be friends means not so much to take as to give, to help, to remain faithful and devoted to friends. The lyrics of A.S. Pushkin teach us this.
God help you, my friends...
Listen to Pushkin's poem to Delvig