EntranceStanzas of the night analysis. Comparative analysis of poems by I
. ZhTBZNEOFSH UFBFSHY
YooppleoFyk BooooLyk
ZhTBZNEOF LOYZY (ZMBChB II "DECHSFYUPFSHCHE ZPDSH", JЪ 6)
yUFPYUOIL FELUFB: vBECHULIK h.u. yUFPTYS TKHUULPK MYFETBFHTSCH XX CHELB. 2nd Y'DBOYE, RETETBV. Y DPR. n., SЪSCHLY UMBCHSOULPK LHMSHFKhTSH, 2003. 36, 43-48. (1st YЪDBOYE: n.:, сЪШЛИ ТХУУЛПК ЛХМШФХТШЧ, 1999).
36
l RPFYUUEULPNH RPLPMEOYA vTAUPCHB RTYOBDMETSBMY Y DTHZIE DELBDEOFSH - lPOUFBOFYO vBMSHNPOF, ZhЈDPT uPMPZHV, yoOPLEOFYK BOOOULYK, yOBYDB ZYRRRYKHU. chPKDS CH MYFETBFKHTH CH LPOGE XIX CHELB, SING RETETSYMY FChPTYUEULYK TBUGCHEF CH DCHHI RETCHSHI DEUSFYMEFYSI CHELB DCHBDGBFPZP.
43
L RPLPMEOYA DELBDEOFPCH Y RP CHPTBUFKH, Y RP PUOPCHOSCHN PUPVEOOPUFSN FCHPTYUEUFCHB RTYOBDMETSBM Y YOOPLEOFYK ZhЈDPTPCYU BOOOULYK (1856-1909)* . ynEOOP PO U RTEDEMSHOPK UYMPK Y RPMOPFPK CHSTBYM IHDPTSEUFCHOOPE NYTPCHPJTEOYE NPDETOYNB, PLBBM OBYUYFEMSHOPE, PE NOPZYI PFOPEYOSI TEYBAEE CHMYSOYE ABOUT RPYA XX H .
* KhDYCHMSEF, YuFP Y CH 1999 ZPDH ZPD TPTsDEOOYS boOOOOULZP PVPOBYUBEFUS RP OBDZTPVYA, B OE RP ZhBLFH.
yFP VShchM YUEMPCHEL ЪBNLOХФШЧК, UBNPKHZMHVMЈOOSHCHK, ЪBLMAYUЈOOSHCHK CH VTPOA IMPPDOPK REFETVHTSULPK LPTTELFOPUFY* . according to UMHTSYM RP CHEDPNUFCHH OBTPDOPZP RTPUCHEEEOYS, PDOP CHTENS VSCHM DYTELFPTPN gBTULPUEMSHULPK ZYNOBYY, ZDE KHYUMYUSH OEULPMSHLP VHDHEYI RPFPCH, CH FPN YUYUME OYLPMBK zKHNYM JCh.
* fP PDOPUFPTPOOSS IBTBLFETYUFYLB, OE UPZMBUKHAEBSUS UP UCHYDEFEMSHUFCHBNY UPCHTENOOYLPCH th. and. bOOOOULPZP. "pDOP READING" DBMEE - LFP RPYUFY 10 METHODS.
44
BOOOOULYK VSHHM OBFPLLPN Y RPLMPOOILPN BOFYUOPUFY, ACCORDING TO RETECHUYE FTBZEDYY CHEMYLPZP DTECHOEZTEYUULPZP DTBNBFKHTZB UCHTYRYDB Y UBN OBRYUBM ABOUT FENSH ZTEYUEULPK NYZHP MPZY YUEFSHTE FTBZEDYY, OP FBL, YuFP, RP EZP UMPCHBN, CH OYI "PFTBYMBUSH DHYB UPCHTENEOOPZP YUEMPCHELB". DMS CHPURTYSFYS ьCHTYRDB Y UPVUFCHOOOSCHI FTBZEDYK boOOULPZP OHTSOB CHUEPVYAENMAEBS LHMSHFKHTB, LPFPTPK PVMBDBAF MYYSH OENOPZIE. po y ch tsyoy vschm delbdeofpn* . pDOBTDSCH CH ZPUFYOPK iPDBUECHYU URTPUYM:
RTPUFYFE, yoOPLEOFYK zhЈDPTPPCHYU, S, LBCEPHUS, ЪBOSM CHBYE NEUFP?
- rPTsBMHKUFB, RPTsBMHKUFB, NPI NEUFP - ABOUT LMBDVIEE, - KHUMSCHIBM ON CH PFCHEF** .
* yTPOYUOP-ULERFYUEULPE PFOPEYOYE L DELBDEOFUFCHH UBNPZP y. and. bOOOOULPZP YJCHEUFOP.
** uN. Ch UPVTBOY UFBFSHA ch. iPDBUECHYUB"pV bOOOOULPN" . fTHDOP ULBUBFSH, CHUFTEYUBMUS MY PO U y. and. BOOOOULINE CHPPWEE. th DBMEE -
FTKhDOP OBCHBFSH TBUUKHTSDEOYE BChFPTB, U LPFPTSCHN WITH VSHCH Refinery UPZMBUYFSHUS.
bOOOOULYK UMPCHOP VSH OBTPYuOP PFZPTBTTSYCHBMUS PF UMHYUBKOPZP YUYFBFEMS; RPUMEDOSS EZP FTBZEDYS OBREYUBFBOB FYTBTSPN CH 100 LENRMSTPC. BY NOPZP Y CHEMYLPMEROP RETECHPDYM KHFPOYUЈOOOSHI ZHTBOGKHYULYI BCHFPTPCH LPOGB XIX Ch., LPFPTSCHI OBSCHCHBMY RTPLMSFSHNY RPFFBNY, LPFPTSCHE FPTSE OHTSOSCH Y YOFETEUOSCH VSHMY MYYSH JOBFPLBN. th PF CHUEI ULTSHCHBM, YFP RYYEF PTYZYOBMSHOSH MYTYUUEULYE UFYYY.
BOOOOULYK CHETCHCHSHCHUFHRIM U OYNYH REYUBFY CH CHPTBUFE 48 MEF - UMHYUBK OEVSHCHBMSHCHK DMS RETCHPLMBUUOPZP RPFB. ch 1904 Z. BY YJDBM "fYIYE REUOY" (U RTYMPTSEOYEN UCHPYI RETECHPDPCH YЪ ZHTBOGHYULPK RPYYY). y FERETSH PO OE RTYOBMUS CH UCHPEN BCHFPTUFCHE, ULTSHMUS ЪB RUECHDPOINPN. chNEUFP ZHBNYMYY BCHFPTB ABOUT LOYZA VSHMP OBREYUBFBOP: "OIL. f-P" (YUYFBEFUS "OILFP"). fBL (FPMSHLP RP-DTECHOEZTEYUEULY) OBCHBMUS IYFTPHNOSHCHK pDYUUEK CH REEETE rPMIZHENB. yNS BChFPTB "fYYYI REUEO" PUFBMPUSH OEY'CHEUFOP DBTSE CH UBNPN FEUOPN MYFETBFKHTOPN LTHZKH REFETVHTZB. h LFP CHTENS CH MYFETBFHTH CHIPDIM UFKhDEOF vMPL. h TEGEOYY BY YUHFSH-YUHFSH UCHSHCHUPLB, LBL OEPRSCHFOPZP DEVAFBOFB, RPICHBMYM OIL. f-P Y FHF CE RPREOSM ENKH ABOUT "VECHLHUYE OELPFPTSCHI UFTPL Y DELBDEOFULYE YJMYYEUFCHB".
b CH OEDTBI LFPC CHOEYOE URPLKOPK, PVTBEЈOOOPK CH ZMHVSH UEVS MYUOPUFY VKHYECHBM NPZKHYUK RPFYUEULYK FENRETBNEOF. еЪ ьФПЗП ОЭ NПЦEF ВШЧФШ РПьФБ. ch 1909 Z. DMS RTPDCHYTSEOYS CH RHVMYLKH OPCHSHHI IHDPTSEUFCHEOOSCHI RPOSFYK, CH YUBUFOPUFY OPChPK RPYYY, VSHM UPЪDBO TsKHTOBM "bRPMMPO". bOOOOULYK RPDZPFPCHYM DMS OEZP GYLM UFYIPFCHPTEOYK. TEDBLFPT OBREYUBFBM YI OE UTBH, B PFLMBDSCHBM PF OPNETL OPNETH: UMHYUBK PVSHYUOSCHK CH TSHTOBMSHOPK RTBLFYLE. BOOOOULYK OBUFBYCHBM, OETCHOYUBS, UFYIPFCHPTEOYS OE RPSCHMSMYUSH. th boOOULYK ULPTPRPUFYTSOP ULPOYUBMUS - ABOUT IPDH, X RPDYAEDDB gBTULPUEMSHULPZP CHPLЪBMB CH REFETVHTZE, CH LPOGE LPTPFLPZP JYNOEZP DOS.
BOOOOULYK UPЪDBM OPCHSHCHK SJSCHL RPYYY, CHULPTE YN ЪBZPCHPTYMY CHUE CHSHCHDBAEYEUS RPFSH UETEVTSOZP CHELB. RHYLYO Y DTHZIE RPFSCH-LMBUUYLY, PUPVEOOOP vBTBFSCHOULYK - VPMEE, YUEN LFP-MYVP vBTBFSCHOULYK, zBNMEF-vBTBFSCHOULYK, RP UMPCH rHYLYOB, - BNPGYY YUKHCHUFCHB RET EDBCHBMY RPUMEDPCHBFEMSHOP, BOBMYYYTPCHBMY YI U RPNPESH TBUUKHDLB. BOOOOULYK VPMEE TEYYFEMSHOP, YUEN EZP UPCHTENEOOILY, RPTCHBM U LFK FTBDYGYEK, PFCHETZ RPFYILH RPUMEDPCHBFEMSH-
45
OPZP RPCHEUFCHPCHBOYS PV BNPGYSI Y RETETSYCHBOYSI, ЪBNEOIM EЈ YTTBGYPOBMSHOPK RPFYLPK BUUPGYBGYK.
BUUPGYBGYY - LFP UCHSY, LPFPTSCHE OERTPYCHPMSHOP CHP'OILBAF CH RUYIYLE NETSDH OUEULPMSHLYNY RTEDUFBCHMEOYSNY, PVTBBBNY, NSHUMSNY. y ChPF BOOOOULYK RYYEF FBL, UMPCHOP ON OE TBNSCHYMSS UMEDHEF ЪB UCHPYNY OERTPYCHPMSHOSCHNY BUUPGYBGYSNY, ЪBOPUS ABOUT VKHNBZKH UMKHYUBKOSCHE YUKHCHUFCHB Y NSCHUMY CH UMKHYUBKOPN RPTSDLE.
UPRPUFBCHYN UFYIPFCHPTEOYE BOOOOULZP "UFBOUSCH OPYUY" UP UFYIPFCHPTEOYEN RHYLYOB "with RPNOA YUKHDOPE NZOPCHEOSHE...". RHYLYO RETEDBEF RETETSYCHBOYE NOPZYI Y TBOPPVTBOSCHI YUKHCHUFCH, YI YNEOYUYCHPUFSH, LPMEVBOYS. OP TBUULB P DCHYTSEOY YUKHCHUFCH RHYLYO UFTTPYF RPUMEDPCHBFEMSHOP, BY UFTPZP LPOFTPMYTHEF DCHYTSEOYE YUKHCHUFCH TBKHNPN. URETCHB BY HFCHETTSDBEF; RPFPN PFTYGBEF; OBLPOEG, PFTYGBEF FP, YuFP PFTYGBM, F.E. Chue FTY YUBUFY UFTPZP UPTBNETOSCH, UPDETSBF RP CHPUENSH UFYIPCH; CHUE FTY YUBUFY RTYVMYYFEMSHOP PDYOBLPCHP CHSHCHUFTPEOSCH.
with RPNOA YUKHDOPE NZOPCHEOSH:
reTEDP NOK SCHIMBUSH FSH,
lBL NYNPMIFOPE CHYDEOSHE,
lBL ZEOYK YUYUFPK LTBUPFSCH.
h FPNMEOSHSI ZTHUFI WEOBDETSOPK,
h FTECHPZBI YKHNOPK UHEFSHCH
ъChKHYUBM NOE DPMZP ZPMPU OETsOSCHK,
th UOYMYUSH NYMSCHE YETFSHCH.
fY CHPUENSH UFYIPCH PVMBDBAF UCHPEK CHOKHFTEOOEK MPZYLPK: CH RETCHPN UFYIE JPTNHMYTHEFUS UPPVEEOYE, CH UMEDHAEYI POP RPDTPVOP TBCHYCHBEFUS. rP FBLPK TSE UIENE CHCHUFTPEOSCH DCHE DTHZIE YUBUFY UFYIPFCHPTEOYS RHYLYOB.
FERETSH PVTBFYNUS L UFYIPFCHPTEOYA boOOOOULZP "UFBOUSCH OPYUY" (UFBOUSCH - LFP PFOPUYFEMSHOP UBNPUFPSFEMSHOSCHE UFTPZHSCH).
NETs FEOEK RPZBUMY UPMOGB RSFOB
ABOUT REUL CH OBZTEYCHYEN UBDH.
CHUЈ CH FEVE FBL UMBDLP-OERPOSPHOP,
OP FChPЈ ЪБРПНОМ С: "рТИДХ".
OE UYUEUFSH UFYIPFCHPTEOYK, LPFPTSCHE TBUULBYSCHCHBAF P FPN, YuFP POB OBOBYUMB ENKH UCHYDBOYE. nsch TsDEN: RTYYMB POB YMY OE RTYYMB?
yuToshchk DShchN, OP FSH ChP'DKHYOEK DShCHNB,
fsch OETSOEK RHYIOPL X MYUFB.
46
rPLB NSCH CHYDYN, YuFP PFCHEF PFLMBDSCHCHBEFUS. rP LBLPK-FP UMHYUBKOPK BUUPGYBGYY, YUYFBFEMA OERPOSFOPK, RPF CHURPNIOBEF YUTOSHCHK DSHCHN. YUIFBEN DBMSHYE.
with OE OBA LEN, OP FSH MAVYNB,
with OE ЪOBA, YUShS FSH, OP NEYUFB.
fY UFYY KHCHPDSF UPCHUEN CH UFPTPOH. h OBYUBME POB PVEEBMB RTYKFY ABOUT UCHYDBOYE, B FERETSH OEYCHEUFOP, PLBYSCHCHBEFUS, LFP EE MAVYF, LFP P OEK NEYUFBEF.
ъB FPVPK CH RHUFSCHOOOSHE RPLPI
OE UPKDHF BMNBOSCHE PZOY
<...>
NPTsOP RPOSFSH, YuFP POY CHUFTEFYMYUSH CHEYUETPN CH UBDH (RETCHPE YUEFCHETPUFYYSHE) Y POB PVEEBMB RPPTSE RTYKFY L OENKH CH DPN. FERETSH BY DBCE OE KHCHETEO, LFP EЈ RP-OBUFPSEENH MAVYF, BY PRBUBEFUS, YuFP POB OE RTYDF: RPFPNH Y RPLPY RKHUFSCHOOSHCH, Y BMNBЪOSCH PZOY OE UPKDHF. UBN PVTB BMNBOSHI PZOEK CHCHCHBO LBLYNY-FP UHVYAELFYCHOSCHNY BUUPGYBGYSNY; CHPNPTsOP, CHPPVTBTTSEOYE RPFB KHLTBUIMP YNY TSEOOEYOKH, B NPTsEF VSCHFSH, POB DEKUFCHYFEMSHOP OPUYMB VTYMMYBOFSCH.
DMS FEVS DKHYYUFSHCHE MECHLPY
ъDEUSH LPCHTPN TBULYOHMYUSH PODOY.
UOPChB OEPTSIDBOOSCHK ULBYUPL BUUPGYBGYK. lpChЈT SWORD... OBUYUIF, BY TsDF EЈ CHUЈ-FBLY OE CH RPLPSI, B CH UBDH? DEKUFCHYFEMSHOPUFSH TBBDCHBYCHBEFUS, UFBOPCHYFUS ЪSHCHVLPK, OEPRTEDEMOOOPK. lFP HER MAVYF, ZDE OBYUEOP UCHYDBOYE, RTYYMB POB YMY OE RTYYMB - OYUEZP OEYCHEUFOP.
bFH OPYUSH S RPNOA CH DBCHOEK ZTЈЪE,
oP OE S FPNYMUS Y CEMBM:
<...>
eUMY TsDBM EЈ OE S, RPYUENH S FBL ЪBRPNOYM BFH OPYUSH? x RKHYLYOB CHUJ SUOP: S RPNOA YUKHDOPE NZOPCHEOSH, RPFPNH YFP S EI KHCHYDEM, Y POB NEOS RMEOOMB, Y S ITS RPMAVYM. x bOOOOULZP OE SUOP OYUEZP. lPOGPCHLB UFYIPFCHPTEOYS FBL OYUEZP Y OE RTPSUOSEF:
ULChPЪSH ZHPOBTSH, ЪБВШЧФШЧК ABOUT VETIYE,
fBMSHCHK CHPUL Y RMBLBM Y RSHMBM.
NPTsEF VShchFSH, UCHYUB FBEF Y RSHMBEF, LBL UETDGE CHPMAVMEOOOPZP, OE DPTsDBCHYEZPUS CHUFTEYUY?
rPDPVOSHCHN PVTBBPN ABOUT CHPUUP'DBOY RPFPLB BUUPGYBGYK - RPFPLLB UPBOBOYS, LBL RPTSE UFBMB ZPCHPTYFSH LTYFYLB, - CHRPUMEDUFCHYY VHDEF RPUFTPEOB
47
OE FPMSHLP RPIYS, OP Y RTPUB b. VEMPZP, RPYYS bINBFPCHPK, nBODEMSHIFBNB, rBUFETOBLB... rPUME UNETFY boOOULPZP VSHMB YJDBOB RPDZPFPCHMEOOBS YN LOIZB UFYIPCH "LYRBTYUPCHSHCHK MBTEG" . nPTsOP VSHMP VSC UFTPYFSH TBOSCH DPZBDLY, PFLKHDB CHSMPUSH LFP ЪБЗМБЧе. lYRBTYU DMS ITYUFYBO VSHM UCHSEOOOSCHN DETECHPN, VSHFSH NPTsEF, DEMP CH LFPN? PLBBSCCHBEFUS, X BOOOOULPZP VSHM MBTEG YY LYRBTYUB, LHDB PO Y ULMBDSCHBM MYUFLY UP UCHPYNY UFYIPFCHPTEOYSNY. y ChPF RP LFK UHVYAELFYCHOPK BUUPGYBGYY, ЪBCHEDPNP OERPOSFOPK YUYFBFEMSN, RPF DBM OBCHBOYE UCHPEK VHDHEEK LOYSE.
OE UMEDHEF DKHNBFSH, YuFP OPCHSHCHK UFYMSH - RTYOBL OEVTETSOPUFY, OEKHNEOYS. lBL TB ЪB "UFBOUBNY OPYUY" UFPYF VPMSHYBS IHDPCEUFCHEOOBS Y RUYIPMPZYUEULBS RTBCHDB. BOOOOULYK VSHHM TSEOBF ABOUT CHDPCH, YNECHYEK DCHHI USCHOPCHEK PF RETCHPZP VTBLB, Y RPMAVYM TSEOH UFBTYEZP YY OYI. POB PFCHEFYMB ABOUT EZP YUKHCHUFCHP, OP BOOOOULYK TEYYFEMSHOPZP YBZB OE UDEMBM, UPCHEUFSH ENKH OE RPJCHPMYMB. lTPNE EZP Y EЈ, OILFP OYUEZP OE OBBM DP UBNPK EZP UNETFY. EC RPF Y RPUCHSFYM UCHPY "UFBOUSCH OPYUY", CH LPFPTSCHI OBNELOKHM ABOUT OEPRTEDEMIOOSHE PFOPYEOYS NETSDKH OYNY, ABOUT OEUVSCCHYEUS YUBUFSH.
ъDEUSH NSCH RETEYIDYN L DTHZPK CHBTsOPK PUPVEOOPUFY MYTYLY BOOOOULPZP. lFP - RPIYS OBNJLPCH. RHYLYO RTSNP OBSCCHBEF YUKHCHUFCHB, UPUFPSOYS DKHYY: CHDPIOPCHEOSH, MAVPCHSH. BOOOOULYK FPMSHLP OBNELBEF ABOUT RETECYCHBOYS.
fTEFSHS CHBTSOBS PUPVEOOPUFSH - YULHUUFCHP DEFBMY. h YULKHUUFCHE UMPCHB RPDTPVOPUFSH, DEFBMSH CHPPVEE YNEEF PZTPNOPE OBYEOYE. OP DEFBMSH BOOOOULZP PUPVEOOBS. POB RTYTBBUOB. EZP YULHUUFCHP - YULHUUFCHP RTYJTBUOPK DEFBMY. POB OEOBDTSOB, POB EUFSH Y EJ OEF.
UFYMSH BOOOOULZP NPTsOP OBCHBFSH YNRTEUUYPOYUFYUOSCHN (PF ZhT. impression "CHREYUBFMEOYE"). ON OBRTBCHMEO ABOUT FP, YUFPVSH RETEDBFSH NZOPCHEOOPE CHREYUBFMEOYE, KHMPCHIFSH NYNPMЈFOSHCHE BUUPGYBGYY, YЪ LPFPTSHCHY UPUFPYF, RP NOOOYA RPPFB, TSYЪOSH YuEMPCHYUEULZP DHIB. prtedemsaf EZP UFYMSH Y LBL UHZZEUFYCHOSCHK (PF BOZM. to suggest "CHOKHYBFSH"): ЪBDБУБ РПФБ - OE РПЧУФЧПЧБФШ, OE PRYUSCHBFSH, B RTETSDE CHUEZP CHOKHYBFSH. CHOKHYBFSH YUFBFEMA YUKHCHUFCHB, OBUFTPEOYS, RETECYCHBOYS. delBDEOFULPE NYTPPEHEEOYE, BUUPGYBFYCHOPUFSH,. RTYЪTBYUOPUFSH DEFBMEK, YNRTEUUYPOYUFYUOPUFSH U ЪBLPOYUEOOSCHN UPCHETYEOUFChPN CHSTBTSEOSCH CH UFYIPFCHPTEOYY "Ego" (RP-MBFSHHOY "S"):
s - UMBVShchK USCHO VPMSHOPZP RPLPMEOSHS,
th OE RPKDH YULBFSH BMSHRYKULYI TP,
OH TPRPF ChPMO, OH TPLPF TBOOYI ZTP
noE OE DBDHF PFTBDOPZP CHPMOEOSHS.
ABOUT TPIPCHPN UFELMA
bMNBОSCHE Y RMBUHEYE ZPTSH,
vKHLEFSH TP HCHSDYI ABOUT UFPME,
th RMBNEOY CHEWETOEZP HЪPTSH.
48
lPZDB CE UOPN PVYASFB ZPMPChB,
YuYFBA ZTЈЪ S RPCHEUFSH OEVSHCHMHA,
UZPTECHYI LOYZ ЪБВШЧФШШЧ УМПЧБ
h FKHNBOOPN UOE S FTEREFOP GEMHA.
lPZDB-FP METNPOFPCH CH "DHNE" CHUMED ЪB yuBBBDBECHSHCHN VTPUYM UCHPENKH RPLPMEOYA KHRTYOLY CH ЪBVCHOOY ZTBTSDBOULYI DPVMEUFEK, CH TBVPMERUFCHE Y TBCHOPDHYYY. FERETSH BOOOOULYK RYYYEF P UCHPEN RPLPMEOYY, EZP OBSHCHCHBEF VPMSHOSCHN, OP P EZP VPMEYOSI ZPCHPTYF UPCHETYEOOP YOBYUE. DELBDEOFKH OE OHTSOSCH ЪDPTPPCHSHCHE, EUFEUFCHEOOSCH RETECYCHBOYS, ZPTSHCH, CHPMOSCH, ZTPЪSHCH. CHEUSH LTKHZ CHREYUBFMEOYK ЪBNLOХФ UFEOBNY LPNOBFSCH, B UBNY CHREYUBFMEOYS NYNPMЈFOSHCH, DEFBMY RTYYTBYUOSCH: NPTPЪOSCHE KHPTSHCH ABOUT UFELMA, LPFPTSCHE FHF CE FBAF, YZTB RMBNEOY CH L BNYOE, KHCHSDYE GCHEFSH... with FTEREFOP GEMHA - OP PE UOE. GEMKHA UMPCHB - OP ЪБВШЧФШЧ. UMPCHB YI LOYZ - OP UZPTECHYI. UMPCHB LFY PVTBHAF RPCHEUFSH - OP OEVSHCHMHA, RPCHEUFSH ZTЈЪ.
METNPOFPCH OZPDPCHBM Y PVCHYOSM - BOOOOULYK CHOKHYBEF.
vMPL RMBLBM OBD UFYIBNY boOOULLPZP.
OYLPMBK ZKHNYMECH - NBUFET UFIIB
Zh TBZNEOFSH
yUFPYUOIL FELUFB: OYLPMBK zHNYMECH. yUUMEDPCHBOYS. nBFETYBMSH. vYVMYPZTBJYS. urV., "oBHLB", 1994. 75, 79-80, 92.
75
zKHNYMCH KHOBUMEDPCHBM CHSHUPYUBKYHA UFYIPCHHA LHMSHFKHTH ZHTBOGKHULPZP "rBTOBUB", ZHTBOGKHULYI Y TKHUULYI UYNCHPMYUFPCH. EZP OERPUTEDUFCHEOOSCH RPFYUUEULYE HYUFEMY BOOOULYK Y vTAUPCH VSHHMY ZMHVPLYNY, TBOPUFPTPOOYNY ZHYMPMPZBNY, LTHDYFBNY, OPUYFEMSNY MYFETBFHTOSHHI FTBDYGYK EDCHB MY OE CHUEI OBTPDCH Y LRPI. h PFOPEYOYY L UCHPENKH DEMKH zKHNYMЈCH VSHM VMYCE L vTAUPCHH, YUEN L bOOOOULPNKH.
79-80
UTBCHOYCHBS LFPF TERETFHBT U FChPTYUEUFChPN EZP<зХНЙМЈЧБ>UPCHTENEOOILPC, UTBH CE CHYDYN UHEEUFCHEOOSCH PFMYUYS. SNVSH, IPTEY, FTIIUMPTSOILY Y OELMBUYUYUEULYE TBNETSH, CH OBYUIFEMSHOPK UFEREOY CHPOYLYYE TBURPTPUFTBOYEUS CH OBYUBME XX CH. UPPPHOPUSFUS CH LFP CHTENS LBL 50: 20: 1 5: 15.* TBHNEEFUS, CH RTEDEMBI LFYI UTEDOYI Y RTYVMYYFEMSHOSHI DBOOSHI OBVMADBAFUS YODYCHYDHBMSHOSHE PFMYYUYS. fBL, DMS bOOOOULPZP OBIPYN UPPFOPEOYE 41.2: 21.7: 26.3: 10.8.** DMS vTAUPCHB 45.0: 20.6: 18.6: 15.8.*** lBL CHYDYN, IPTEC X PVPYI KHYFEMEK zKHNYMЈCHB TBURTPUFTBOЈO ABOUT UTEDOEN HTPCHOE DMS CHUEZP RETYPDB, SNVB X PVPYI OEULPMSHLP NEOSHYE. x vTAUPCHB RTPGEOF FTIIUMPTSOILPC Y OELMBUUYUEULYI NEFTPCH VMYJPL L UTEDOENKH. chYDOP, YuFP CHUS UYUFENB TBNETPCH LRPIY ULMBDSCHCHBMBUSH RPD UIMSHOSCHN CHMYSOYEN vTAUPCHB; PFUADB VMYJPUFSH DBOOSCHI RP NEFTYLE vTAUPCHB Y CHUEZP RETYPDB. x BOOOOULZP UKHEEUFCHEOOP VPMSHYE FTIIUMPTSOYLPCH Y NEOSHYE OELMBUUYUEULYI NEFTPCH: BY EEЈ UCHSBO U FTBDYGYEK CHFPTPK RPMPCHYOSCH XIX Part. PC RPFYLE.
x zKHNYMЈCHB UPPFOPEYEOYE NETSDKH SNVBNY, IPTESNY, FTIIUMPTSOSHNY NEFTBNY Y OELMBUUYUEULPK NEFTYLPK TBCHOP, RP OBYN RPDUDUJFBN, 33.3: 20.8: 25.1: 20.8. iPTEYYUEULYE TBNETSH ABOUT HTPCHOE UTEDOYI DBOOSHI RP RETYPDH, ABOUT HTPCHOE DBOOSCHI RP UFYIPUMPTSEOYA BOOOOULZP Y vTAUPCHB. fTIIUMPTSOIL TBURTPUFTBOESCH RTYVMYYFEMSHOP LBL KH BOOOOULPZP Y, UMEDPCHBFEMSHOP, OBYUYFEMSHOP RTECHPUIPDSF HTPCHEOSH YI KH vTAUPCHB Y UTEDOYK DMS CHUEZP RETYPDB. oBLPOEG, OPCHCHE OELMBUUYUEULYE NEFTSH TBURTPUFTBOESCH VPMSHYE, YUEN CH UTEDOEN X BOOOOULPZP Y X vTAUPCHB. yFP DPUFYZBEFUS ЪB UYuЈF SNVPCH<...>.
* zBURBTPCH n. m. pYUETL YUFPTYY THUULPZP UFYIB. n.: 1984, U. 208.
** mPFNBO a. n. NEFTYUEULYK TERETFHBT y. bOOOOULPZP // fTHDSCH RP THUULPK Y UMBCHSOULPK ZHYMPMPZYY. fBTFKh, 1975, XXIV, p. 138.
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Poems, translations
From the book “The Cypress Casket”
Into the magic prism
My crystal is magical threefold.
Under the first abutment of the rib -
There the hands are unclenched with agony,
The flames of the fire are scattered.
But you won’t see the fire again,
You can barely move the pillar -
There pale hands stretched out
And the darkness embraces the empty.
Will you be the last one to press the foundation -
Neither clenched nor open hands,
But there is no more victorious rainbow,
What a rainbow of finished torment!..
Awakening
The bright spell has ended,
My heart woke up empty:
In the heart, as if after a fire,
There is choking smoke.
Is it over? Pathetic word
Don’t be afraid of a pitiful word:
Soon in the remnants of the past
I can figure it out even through the smoke.
What did not want to deceive -
Everything stays with me...
The sun behind the burning fog
Yellow, like a sick person who has gotten up.
The lot, oh heart, is understood by you -
Don't touch the old ashes...
No more damn fire
He won’t touch your black walls!
Stanzas of the night
O. P. Khmara-Barshchevskaya
Between the shadows the sun spots went out
On the sand in a polluted garden.
Everything about you is so sweet and incomprehensible,
But I remembered yours: “I will come.”
Black smoke, but you are airier than smoke,
You are more tender than the fluff of a leaf,
I don't know by whom, but you are loved,
I don't know whose you are, but it's a dream.
Follow you to the deserted chambers
Diamond lights won't go away
Fragrant gilly leaves for you
Here they are spread out like a carpet.
I remember this night in an old dream,
But it was not I who languished and wished:
Through a lantern forgotten on a birch tree,
The melted wax cried and glowed.
Nerves
(gramophone record)
Balcony under the roof. The wife is shaking the garus.
My husband sits like this. Behind them is a canvas like a sail.
Their balcony is located above the flowerbed itself.
“You think it’s not him... What if he is?
Everything is knitting, my God... Let’s judge at least a little...”
...Cloudberry, cloudberry!..
“Just to get the purple notebook down?”
“What, lady, should we take spinach?”
“Take it, Annushka!” -
“Yes, it’s still on the wall
I saw the note, so...”
...Good combs!
“Ah... the postman is coming... Are there any letters to the Petrovs?”
“Correspondence from one newspaper “Svet”.” -
"Well? did you arrange it? - “I burned it under the stove.” -
“What imprudence!.. Before that?
And then I decided: first I’ll figure it out,
And then I’ll tell you all the facts...
Don’t we have anything else to caulk?”
“I burned everything.” - Sighing, he silently counts the loops...
“Didn’t you notice: today we passed by
Is some gentleman passing by for the third time?”
“But there aren’t many of them walking around...” -
“But this one is searching, prowling,
And it’s clear from his eyes that he’s a detective!..”
“What are we looking for? My God!"
“Why can’t Vasya be found home?”
“There a janitor came to the master to get the patchports.”
“Won't you go out to him, my friend? I'm not well...
...Lilies of the valley, fresh lilies of the valley!
"Well? What about the janitor? He could at least do better!”
“What nonsense. For what?”
...Razors straighten...
“Sit down calmly! Pussy-pussy-pussy..."
“Oh, really, you should go walk on air!
Or did you imagine that it’s so sweet for me to suffer..."
Eggs are fresh, eggs!
Fresh eggs?..
But anger also poured out...
They sat in the corners and both cried...
How dusty and hot this street is!
What a sad, oh my God, pine tree!
Poems not included in the books
Love for the past
You love the past and I love it
But we love him differently from you,
God himself set the hours for surf and light,
He gave the flowers a bright moment and a dull age for the stem.
You will not add beauty to memories with a dream, -
They must suffer, and let them go,
So that they burn us from afar with a painful consciousness
The sloping ease of the further path.
Take your time, stay still in the deceptions of May,
While the trembling legs are sloping, carrying away,
It won’t lure you to the bench of the past to rest -
Our youngsters are not attracted to a rusty magnet...
In blooming lilacs
While the stuffy day languishes, burning out,
Without taking your eyes off the pink edge...
Stay sad with me, stay alone with me:
I have not yet drunk your longing to the dregs...
I need your strings: they tremble more sadly
And sweeter than the leaves on that distant birch tree...
What are you afraid of? I'm a ghost, I'm nobody's...
Oh, don't bring burning candles to me...
I know: butterflies with trembling wings
Unable to extinguish the painful flame,
And I know who fanned that mourning fire,
From which they, burned, will fall...
I'm scared that memories don't sleep with fire,
And the fluttering of dead butterflies scares me.
Poetic translations
Heinrich Heine (1797 - 1856)
Double
It’s night, and the nook has been sleeping for a long time:
This is her house - no changes,
Only the tenant is gone, and the echo
A silent step between stone walls.
Quiet. There's a shadow... wringing his hands,
The madmen keep their eyes on the sky...
The moon has crept up and is taking off its mask.
“It’s not me: you’re lying, sorcerer!
Pale comrade, why monkey?
Or with me and then at the same time
You came to tyrannize your heart
On a moonlit night under this window?
Happiness and unhappiness
Happiness to a virgin is like a timid one:
Doesn't know how to love and is loved,
Hastily throwing the lock of hair away from his forehead,
He touches with his lips and passes by.
And misfortune is a widow and squeezes
In my arms with a long kiss,
Are you sick, he takes off his gloves
And he sits down in bed with his knitting.
Charles Baudelaire (1821 - 1867)
Redemption
Melancholy, despondency, shame tormented your chest?
And at night pale fear... at least once someday
Has your heart been squeezed in the grip of cold steel?
Have you, angel of joy, ever suffered?
With the poison of burning tears and rage without strength?
The silent night brought you from the graves
Revenge, this black annoying guest?
Are you, angel of meekness, familiar with secret anger?
To you on a summer evening, in the sun near the hospitals,
Did those spots of yellow faces catch your eye,
Where the blue lips tremble in a painful fold?
Are you, angel of freshness, tormented by a fever?
Have you, angel of beauty, lost count of the wrinkles?
Have the threats of old age chilled you?
There in the tender depths of loving blue eyes
Haven't you read the indulgence for gray hairs?
Have you, angel of beauty, lost count of wrinkles?
O angel of happiness, and joy, and light!
The balm of gentle caresses and flames caress
I don’t ask you like the chilly David...
But if you can, pray for the poet
You, angel of happiness, joy, and light!
Old bell
I know the sweet poison when the moments melt away
And the blue flame creates a pattern of smoke,
And the shadows of the past fly by so quietly
To the languid waltz that the blizzard sings to them.
Oh, I'm not the same, alas! over whom the years are powerless,
Whose copper throat holds a mighty howl
And, cutting through the silence of nature,
It disturbs the soldiers' sleep like an old sentry.
There's been a crack in my chest for a long time, I know
And if the darkness sometimes doesn't put me to sleep
And I begin to compose tender songs -
That’s it, mortally wounded, it’s like someone is wheezing,
The bloody mountain keeps growing above him,
And he dies, conscious and motionless.
Blind
Oh, behold, soul: all the horror of life is here
Acted out with puppets, but in real drama.
They walk like pale sleepwalkers
And they aim at the void with faded balls.
And it’s strange: hollows where there is no spark of life,
They always look up and seem to never let it slip
Ray of heaven's attentive lorgnette,
Or does the blind man not even think?
And to me, when they are the same today as yesterday,
Eternal silence sad sister,
Silent night leads through our noisy haystacks
With their lustful and insolent vanity, -
I want to shout to the madman to the madman:
“What can this empty vault give you, blind people?”
Paul Verlaine (1844 - 1896)
Sonnet
A strange vision tormented my soul,
I dream of a woman, unknown and sweet,
Always the same and in eternal change,
Oh, how she understood me deeply...
Everything, everything is open to her... Deceptions, suspicions,
And the secret of the heart is hers, only hers, alas! light.
To refresh the damp heat of my brow with a tear,
She gives birth to hot vapors.
Brunette? fair-haired? I don't know, but the hair
Didn't I caress her? And the name? It merged
With sonorous tender, blooming with faded;
The gaze, like that of a statue, is silent and deep,
And without vibration, calm, tired.
Song without Words
The heart comes out with tears,
Like a cold cloud...
Shackled by heavy dreams,
The heart comes out with tears.
The notes flow like melody
Rustle, noise, murmur,
In the heart under the yoke of slumber
Rainy notes are pouring...
Just don’t be tormented by grief
Crying, but bored with life,
The poison of betrayal is not vulnerable,
The measured beating is tormenting.
Isn't it worse than torment?
This melancholy without a name?
Live without struggle and desires
Isn't it worse than torment?
Sully Prudhomme (1839 - 1907)
Doubt
Truth turns white on the black bottom of failure.
Close your eyes, timid ones, and you blind ones, get away!
Crazy love bewitched me:
I want to go to her, there, in the silent night.
How long does it take to unwind this chain by falling...
Finally, the whole chain... And nothing... circles...
I stretched out my arms... In vain... With tension
We are circling painfully... Not a point and not a point...
Meanwhile, I feel the breath of Truth:
So the chains began to sway evenly,
But only the emptiness is pierced by my scope...
And the chains, I know, will not lengthen by an inch, -
The radiance is somewhere there, and here, around, is a dungeon,
I am only a pendulum, and in my heart there is only fear.
I asked the stars in the night:
“Is there no happiness in the life of a star?”
The gentle rays are so sad
In the midst of this terrible black abyss.
And it seems like a mountain path,
Bathed in pale rays,
There are maidens in white with candles
The sad ones move with their feet.
Or are your prayers still going on?
Or is one of you wounded in battle, -
But not the rays from your eyes,
And bright tears roll down.
Agony
A little music and I'll go quietly
There - where a person is calm.
All the charms of music, all the bliss because
That chains are just threads for her;
Lull the sadness, but nothing
You don't speak of sadness.
Enough words - I'm tired of listening to them,
To find out if their goals are pure:
I don't want what needs to be understood
I need sounds to sing...
Melodies so that from the same wave
Others poured and foamed...
So that dreams run away into agony,
Carried to the grave by agony...
Above the fading one in languid captivity
There is no need for words - their hum is unsettled,
But if I fall asleep to music,
I know: my sleep will be peaceful.
Find my old nanny:
She still has the strength to shepherd herds;
You tell her my whim on the edge
Of my gaping grave.
Let her amuse me by singing
That song that I sang for a long time;
Her simple melody touches my heart,
Even though there's not a lot of singing there.
Oh, you will find her - tenacious
That kind of people that reaps and sows,
And I’m one of those people who is a ray of sunshine
By the age of forty it doesn’t keep you warm.
You will leave us... The past will come to life,
Disregarding the foggy separation,
He will quietly place his hand on his damp forehead...
After all, it may be that out of all of them she is the only one
She really loved me...
And the soul will be taken away again
To the shores that the morning was golden.
So that your heart burns out like a lamp,
Or, like the clock, stop,
So that I could die so easily
How a person is born into the world.
Above the fading in languid delirium
There is no need for words - their hum is unstructured;
A little music and I'll leave
There - where a person is calm.
Maurice Rollin (1846 - 1903)
Library
I came there as if into a protected forest:
Thirteen old lamps, iron and oval,
There shed the brilliance of funeral glimmers
To the age-old dust of oblivion and miracles.
Secret anxieties haunted my poor mind,
It seemed the whole world fell asleep or was empty;
Thirteen dead bodies became chairs there.
Thirteen yellow faces were watching me from the walls.
From there, I remember, once in the window frame
I saw the devil's freakish flight,
He squirmed all over in useless efforts:
And the thought shuddered, sensing a heavy captivity, -
And the iron clock struck thirteen times
Among the desolation of these damned walls.
Silence
(Thirteen lines)
Silence is the soul of things
To whom their primordial secret is sacred,
It runs from the golden rays,
But the roses of the evening call him out of captivity;
With him, madness and melancholy are forgotten,
It is the balm of my painful nights,
Silence is the soul of things
To whom their primordial secret is sacred.
Let the evening roses live and hot, -
The shelter of the hidden oak grove is dearer to him,
Where is the sad companion of the nights
The sacred dream guards nature for a long time...
Silence is the soul of things.
Buddy
Dressed in black, his face was pale,
And his speeches crackled like firewood between his lips,
There's a cold glint of steel in his eyes
Sometimes it was replaced by an ominous purple.
We read dark dramas with him in the evening,
We bowed together over the yellow corpse,
The arrogance of smile and sadness
They bound us together with a mysterious ring.
But this is a black and flexible creature
In the end it makes me shudder.
“You are the devil,” I thought on my lips.
He guessed instantly: “God is dearer to you,
So goodbye, live more fun!
And the devil gives you Incurable Fear.”
Innokenty Annensky, 1898 - 1910.
45th parallel, 2017.
Stanzas of the night
Coming late XIX century. The artist’s worldview changes, the classical clarity and clarity of ideas about the world disappears. Symbolism comes.
Let us turn to the poem “Stanzas of the Night” by the Young Symbolist I. Annensky. The trochaic pentameter was chosen for him - the asymmetrical emotional meter of romanticism and neo-romanticism. The thesis is put forward:
Between the shadows the sun spots went out
On the sand in a polluted garden.
Everything about you is so sweet and incomprehensible,
But I remembered yours: “I’ll come.”
Please note that the message (actually the thesis) is given only in the last verse of the quatrain; before that there was an exhibition related to the description of the place and time of action. There are countless poems that begin with the fact that she made a date with him. We are waiting: what, did she come or not?
^ Black smoke, but you are airier than smoke,
You are more tender than the fluff of a leaf.
Brought up on classical poetry, we expect an antithesis, but these lines lead somewhere to the side. These verses, highlighted in brown, can be perceived as retardation - slowing down the action in order to increase the tension of anticipation. We are waiting, what will happen next?
^ I don't know by whom, but you are loved,
I don't know whose you are, but it's a dream.
But these verses immediately lead to one side, and it’s not entirely clear which direction. It seems that at the beginning it was definitely said that she promised him a date, but now it is still unknown who loves her, who dreams of her. The train of associations that led to these two verses cannot be reconstructed unequivocally. There is no talk of antithesis here: there is no correspondence to what is said in the thesis. Let's see, what's next?
^ Follow you to the deserted chambers
Diamond lights won't go away...
Apparently they met in the garden (first quatrain), and she promised to come to his house later. She fears that she will not come, that is why the chambers are deserted and the diamond lights will not come down. The very image of diamond lights is caused by some subjective associations; this is a symbol: the poet’s imagination adorned with sparkling diamonds a woman who will not come and is loved by someone unknown.
^ Fragrant gilly leaves for you
Here they are spread out like a carpet.
Again an unexpected jump in associations. So, the date is still scheduled in the garden? Reality bifurcates, becomes unsteady and uncertain. Who loves her is unknown, where the meeting will take place is also unclear.
^ I remember this night in an old dream,
But it was not I who languished and wished:
"I remember wonderful moment" “I remember this night in an old dream.” As clear and definite are the memories in Pushkin’s poem, so vague and indefinite are they in Annensky’s poem. In Pushkin, thought unfolds sequentially, one follows from the other; in Annensky, jumps in associations do not allow us to establish a connection between the subsequent thought and the previous one. Moreover, the last verse cited states that it was not the character of this poem who was pining and wishing for a date. It is generally unknown to whom the date was scheduled, to whom she whispered: “I’ll come.” However, after the blue lines there is a colon. Maybe further, in the final couplet of the entire poem, something will become clearer?
^ Through a lantern forgotten on a birch tree,
The melted wax cried and glowed.
Why is there a colon before this couplet? What does it explain? Perhaps the candle melts and burns, just as the heart of a lover who does not wait for his beloved melts and burns? A candle in a lantern is also a symbol, a symbol of the heart of the lyrical hero of the poem, a symbol tragic love.
We have before us a wonderful poem. Its logical inconsistencies are not shortcomings, but advantages. It’s just a completely different poetic school, a different style, a new worldview.
This poem by Annensky is dedicated to O.P. Khmara-Barshchevskaya. I. Annensky was married to N.V. Khmara-Barshchevskaya, a widow who had two sons from her first marriage. Innokenty Fedorovich Annensky was 14 years younger than his wife. Olga Petrovna Khmara-Barshchevskaya, the addressee of “Stances of the Night,” was the wife of Annensky’s eldest stepson, Plato. 8 years after Annensky’s death, she wrote a letter that became known to literary historians only recently. “Are you asking if I loved In.Fed? God! Of course, I loved, I love... Was I his “wife”? Unfortunately no! You see, I sincerely say “alas”, p.ch. I’m not proud of this for a moment: the connection that the “Snake-Angel” patronizes did not exist between us. And not because I was afraid of sin, or didn’t dare, or didn’t want to, or lulled myself with false assurances that “you can love with two halves of your heart” - no, a thousand times no! Understand, dear, he didn’t want this, although, perhaps, he loved only me... But he could not step over... he was killed by the thought: What am I? First I took my mother away (from my stepson), and then I will take my wife? Where can I hide from my conscience?”
Now it becomes clear why everything is so unsteady and uncertain in “Stances of the Night” from the event side, why at the beginning she tells him: “I will come,” and at the end it is not he who is waiting for her. It becomes clear what great psychological truth lies behind this poem.
In this analysis of the poems of Pushkin and Annensky, materials from the wonderful book by V.S. Baevsky “History of Russian poetry 1730 - 1980”, M., Interprax, 1994.
Stanzas are a genre of medieval poetry that remained popular in the poetry of later eras. Various writers created stanzas, and Russian poets often turned to this poetic form.
How did stanzas appear?
Italy is considered the birthplace of stanzas. The word “stanza” itself is translated from Italian as “room” or “stop”. Stanza in Italian architecture Renaissance period is a room in which papers were signed or important meetings were held, for example, the Stanza della Segnatura. The famous Rafael Santi took part in the creation and decoration of this room.
In literature, stanzas are stanzas, each of which has its own special meaning, that is, each new stanza does not continue the previous one, but is a complete whole. One stanza expresses any one idea, but in the whole poem the stanzas are organically connected with each other and together they create an artistic whole.
Stanzas in medieval literature
So, Italy was the birthplace of stanzas, and there they were most often used to glorify members of the nobility. The stanzas were first written by Angelo Poliziano, an Italian poet who lived in the 15th century, and they were dedicated to Giuliano de' Medici. A stanza is a poem consisting of eight stanzas that rhyme.
Byron's Stanzas
George Gordon Byron is a great British poet who was a contemporary of Pushkin. Byron's poetry was dedicated to the pride of the human spirit, the beauty of love. Byron took part in the revolt of the Carbonari and the Greeks, and wrote his Stanzas in 1820.
There are also Byron's stanzas dedicated to Greece and beautiful places Greek nature. The main theme of his stanzas is his love for a beautiful Greek woman and Greece’s struggle for freedom and independence. Byron's poetry had a great influence on Pushkin's work.
Stanzas in Russian poetry
Stanzas are a genre that began to actively develop in Russian poetry in the eighteenth century. In Russian literature, this is a small poem that consists of quatrains, and most often its size is Stanzas in Russian literature, most often dedicated to the love of the lyrical hero for a young girl, but sometimes they were associated with socio-cultural breakthroughs in the life of the country, such as, Pushkin's stanzas.
Stanzas of Pushkin
Alexander Sergeevich Pushkin wrote his famous “Stanzas” in the fall of 1827. In this work, which has been discussed many times, the image of Peter the Great, the famous Russian emperor, appears.
The appearance of this poem is associated with the beginning of the reign of Nicholas the First. Pushkin, whose Stanzas became a praise of imperial power, hoped that this monarch would change the lives of ordinary people for the better. For his part, Nicholas the First hoped that Pushkin would help him calm the mood of young people. He offered to help Pushkin change the system of upbringing and education.
"Stanzas" compare two monarchs: Peter the Great and his great-grandson Nicholas the First. The ideal for Pushkin is Peter the Great. This king was a real worker who did not shy away from any occupation. He was a navigator, an academician, and a carpenter. The days in which Peter the Great ruled, according to Pushkin, made Russia great power. Although this tsar darkened the beginning of his existence with the executions of undesirables, later with his help Russia was able to become great. Peter the Great constantly studied and forced others to study, he worked hard for the glory of his country.
Alexander Sergeevich Pushkin, whose “Stanzas” became famous work in Russian literature, calls on Emperor Nicholas the First to repeat the feat of Peter the Great and raise Russia to a new level of development.
In addition to “Stanzas,” at about the same time, the poet also wrote the poems “To Friends” and “Prophet.” It was assumed that all three of these poems would form a single cycle and would be published in 1828 in the Moskovsky Vestnik magazine. But Pushkin’s hopes were not justified: the emperor banned the publication of his poems, which was reported to Pushkin by the head of the Russian police, Benckendorff.
Stanzas of Lermontov
Mikhail Yuryevich Lermontov is one of the most outstanding creators in Russian poetry. Lermontov learned what stanzas were after reading English poetry, in particular, with the work of Byron.
Lermontov's stanzas appear as short poems in which genre characteristics are not defined. In 1830-1831, Lermontov wrote six poems, which in form can be defined as stanzas. Their main theme is romantic love, in poems a young man turns to his beloved. Lermontov, whose stanzas were influenced by John Byron's work “Stanzas to Augusta,” influenced the literary tradition of writing similar works after him.
Lermontov's poems are filled with the sadness of the main character, who sees the vanity and misfortune of his earthly life and dreams of a different life. The poet writes about his loneliness in this world, compares himself to a cliff that can withstand the onslaught of wind and storm, but cannot protect the flowers growing on the rock from them. Mikhail Lermontov, whose stanzas fully express the poet’s worldview, became a model for many other creators of Russian literature.
Annensky Stanzas
Innokenty Fedorovich Annensky is considered the “swan of Russian literature.” Having discovered his poetic talent at the age of 48, Innokenty Annensky became an outstanding literary creator. His poem “Stances of the Night” became a notable phenomenon in the literature of that time. Its content is the expectation of a meeting with the beloved, who should come in the darkness of the night. Many researchers believe that his poetry has common features with the poetry of the Impressionists, in particular with paintings
Yesenin's Stanzas
Sergei Aleksandrovich Yesenin became a representative of the new Russian literature, which took the side of Soviet power. He fully supported October Revolution, and all his works are aimed at supporting the then emerging Soviet system, at supporting the actions of the Communist Party. But at the same time, they also have their own characteristics.
While in Baku, Azerbaijan, the poet began writing Stanzas. Yesenin himself mentions this in the poem: he chose to leave Moscow due to misunderstandings with the police. But, admitting his shortcomings (“even if sometimes I am drunk”), Yesenin also writes that his mission is not to glorify girls, stars and the moon, but the name of Lenin and Marx. He denies the influence of heavenly forces on human society. People must build everything on the earth themselves, the poet believes, and for this they need to apply all their industrial power.
It was not by chance that Yesenin gave his work the name “Stanzas”; this poem clearly echoes Pushkin’s “Stanzas”. Yesenin was a fan of Pushkin’s work and laid flowers at his monument. But Yesenin believed that stanzas are not a form love lyrics, but a way to express one’s civic position.
Yesenin’s “stanzas” did not arouse the approval of party leaders, who wanted to see in Yesenin a completely party poet, dedicated to the ideals of the revolution. But this poem marks the poet’s turn from “Moscow Tavern” to the new Soviet reality. Many critics thought so. This work was enthusiastically received by the employees of the magazine “Krasnaya Nov”, who believed that Yesenin was finally becoming truly his own. The correct direction of the poet’s work was considered a consequence of the beneficial influence of the climate of the city of Baku, where he then lived, and friendship with Pyotr Ivanovich Chagin.
Brodsky's Stanzas
Joseph Alexandrovich Brodsky was an outstanding Russian poet who was equally fluent in Russian and English languages. He became at a relatively young age - at 47 years old.
A native of St. Petersburg, he lived first in Russia, then in the United States of America. Petersburg appears in all his poems; this city is mentioned especially often in the famous work “Stances to the City.”
Numerous studies of the book “New Stanzas for Augusta” show that in this work such lexical units as the names Marie and Telemachus, as well as the words “madam”, “dear”, “friend” are often used. The main addressee of “New Stanzas for Augusta” is who is waiting for her friend. All the poet’s tender calls are addressed to her. From Brodsky's poems one can judge what stanzas are in literature. Brodsky's central character is lyrical hero, the motif of exile is also important for his poetry.
The collection “New Stanzas for Augusta” was dedicated to Maria Basmanova. It features not only images of lyrical heroes, but also objects. They have symbolic meaning. The lyrical hero gives his girlfriend a ring with turquoise. Turquoise is a stone made from human bones. The hero asks his beloved to wear this stone on her ring finger.
In the poem “Honeymoon Slice,” the author explores maritime vocabulary. His beloved name is Marina, so he pays special attention to the marine theme.
The poem "Night Flight" is dedicated to traveling in the belly of an airplane, and the poet admits that he always wanted to go to Central Asia. Traveling on an airplane has a double meaning for him - it is both a flight to another life and a journey to resurrection. The poet strives for another reality, where there will be no misfortune and torment.
Poems by A. Akhmatova “Imitation of I.F. Annesky" and I. Annesky's "Stances of the Night" are both strikingly similar and dissimilar to each other.
Annesky's work “Stanzas of the Night” is written in a sensual and heartfelt language of associations.
The title of the poem already suggests that its parts will not be logically connected, because “stanzas” are stanzas independent of each other.
The trochaic pentameter was chosen for him - a melodious and smooth poetic meter, evoking romantic and sad memories.
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The rhyme is cross.
The poem begins with exposition - a description of place and time. Next we talk about the appointment of the beloved of the lyrical hero on a date. And this thought does not continue, but goes somewhere to the side, and a number of associations that are incomprehensible to the reader arise with black smoke (smoke also correlates with air and fire), with leaf fluffs.
Afterwards we understand that the girl mentioned in the work is not the hero’s beloved, and is not even familiar with him: “I don’t know by whom, but you are loved, I don’t know whose you are, but a dream.”
The “deserted” chambers are intended for a stranger: fragrant gillyflowers are laid out for her as a carpet, and diamond lights should follow her. However, she belongs to someone else, which is confirmed by the lines: “but it was not I who languished and desired.” And then a new association arises with the wax in the lantern, which “cries and sobs.” Here the candle is also a symbol, a symbol of the heart of the lyrical hero of the poem, a symbol of tragic love. And again it correlates with fire.
This poem is irrational; Annesky seems to be putting down on paper feelings and thoughts that arise under the influence of random associations. And the jumps of these associations do not allow us to establish a connection between the subsequent thought and the previous one.
Now let us turn to Akhmatova’s work “Imitation of I.F. Annesky."
It is written in three-foot anapest. This flexible meter, capable of conveying different intonations and moods, is very suitable for this poem.
The entire intonation structure of the poem, the construction of sentences, the brevity of thoughts, the presence of verbs - all this is not Annensky at all, it is character traits in Akhmatova's lyrics.
The meaning of this work is diametrically opposed to Anne's. If in the latter the lyrical hero suffered from unhappy and non-reciprocal love, then in the former he was rather an object of suffering.
This poem, like the Stanzas of the Night, is undoubtedly filled with symbols (the east is a symbol of the sun, the book and its pages symbolize life) and associations (farewell - the east turns blue - “I will not forget” - changing faces - the folded corner of the book - the same page - a heart of fire - “is she close to me or did she just love me?”). But unlike the associations of Annev’s poem, these associations are orderly and logical.
There is a striking similarity between these poems: the image of fire is very strong in both of them. A fiery heart, the east, a candle burning in a lantern - here fire is a symbol of love.
The poem "Imitation of I.F. Annesky" was written from male, and this is unusual for Akhmatova’s lyrics.
Both poets were adherents of different literary movements. Annesky is a convinced symbolist, Akhmatova is a prominent representative of the Acmeists. And, probably, the meaning of Anna Akhmatova’s appeal to the form of imitation is explained by her attempt to write a poem in the spirit of symbolism. But even after filling it with symbols, associations and allegories, Anna Andreevna did not change her style - it remained as clear and understandable as all her lyrics.
Updated: 2018-01-25
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