The last cloud of the scattered storm. Analysis of Pushkin's poem A. "Cloud". School analysis of the poem by A.S. Pushkin "Cloud"

Chapter 10

Make ends meet must be made.

Prince P. A. Vyazemsky

In 1838, the American opened the final stage of his life with a postal trip to the Tambov province. The long period of his relative seclusion, caused by Sarah's illness and his own ailment, is in the past. Count Fyodor Ivanovich Tolstoy, "a gray as a harrier old man", for several years again turned into a man deed, public and not always unambiguous.

A retired lieutenant colonel and avid gambler A. A. Alyabyev, who returned from exile, decided to marry. His chosen one was Ekaterina Alexandrovna Ofrosimova, a thirty-seven-year-old widow. The composer's wedding took place on August 20, 1840 in the village of Ryazantsy, Bogorodsk district, in the local church of the Holy Trinity. A corresponding entry has been preserved in the church register of births, thanks to which we now know that cornet N. I. Johimsen and ... “Colonel Count Fyodor Ivanovich Tolstoy” acted as guarantors on the part of the groom. It was by no means accidental that the American found himself in a rural church: he had long had a friendly acquaintance with the author of the famous Nightingale. In addition, our hero was, as they say, Alyabyev's "debtor": after all, Alexander Alexandrovich, who was going down the aisle, once composed the soulful romance "Rose" to the verses of Countess Sarah Tolstaya.

After the death of his daughter, the count generally frequented the temples. Grieving, he came even closer "to the conviction of Christianity." At the same time, like many gifted people, he sought the Deity mainly with the mind, with intellectual effort - and verified religious spontaneous impulses with philosophical skepticism, sophistication.

Characteristic confirmations of this are available, in particular, in the diary of V. A. Zhukovsky for 1841. So, on January 30, the poet, who was in Moscow, wrote: “I have almost all morning Tolstoy<…>. Tolstov's wonderful word: I understand how you can love your enemies, but I don't understand how you can love God. And on February 23, after a visit to the American, V. A. Zhukovsky recorded the following tirade of the inquisitive owner: “His explanations of the fall into sin: Adam had already fallen before the fall. The spectacle of the cows seduced him.

The churching of our hero did not hide from his contemporaries. The fact that Tolstoy the American turned into a “Christian” in his advanced years was written, in particular, by A. A. Stakhovich.

The memoirist M.F. Kamenskaya insisted: “Fyodor Ivanovich became not only devout, but simply a hypocrite.”

And Leo Tolstoy, in conversations with relatives, even claimed that his uncle “in old age prayed so much that he tore off his knees and hands.”

He lived mainly in the countryside, in Glebov, which did not bother him, but he regularly visited the ancient capital and stayed in the city for a long time. (Then the count lived in the Basmannaya part, not far from the Church of the Three Hierarchs, in his own house.)

In Moscow, the retired colonel visited not only relatives, theaters and the English Club, but also the home of the semi-disgraced P. Ya. Chaadaev on Staraya Basmannaya. The count highly valued the society of S. A. Sobolevsky, P. V. Nashchokin, A. P. Elagina, F. N. Glinka and M. S. Shchepkin; communicated with "representatives of Slavic theories", that is, with Slavophiles; more than once spoke in various audiences from the positions of an ardent apologist for the "Russian party". It was from these positions that our hero, in a message dated August 23, 1844, gently reproached his friend, Prince P. A. Vyazemsky, for epistolary tactlessness: “You convicted the Russian people of their imperfection, shortcomings: it hurt me.”

In public, he spoke, as if of old, cleverly, boldly and brightly - and often in a youthful way he was carried away, expressed controversial, and even extreme judgments. For example, S. T. Aksakov recalled: “I myself heard how the famous Count Tolstoy the American said at a crowded meeting in the house of the Perfilievs, who were ardent admirers of Gogol, that he was“ an enemy of Russia and that he should be sent in shackles to Siberia ”” .

Alexandra Osipovna Smirnova-Rosset turned out to be a witness to another speech by an American (partly supported by F. I. Tyutchev) against the author of Dead Souls. On November 3, 1844, she informed the writer: “At Rostopchina, under Vyazemsky, Samarin and Tolstoy, they started talking about the spirit in which your Dead Souls were written, and Tolstoy made the remark that you presented all Russians in a disgusting form, while you gave all Little Russians something inspiring participation, despite their funny sides; that even the funny sides have something naively pleasant; that you don't have a single Khokhol as vile as Nozdryov; that Korobochka is not ugly precisely because she is a Ukrainian. He, Tolstoy, even sees the non-brotherhood that involuntarily breaks out in the fact that when two peasants are talking and you say: “two Russian peasants”; Tolstoy and after him Tyutchev, a very intelligent person, also noticed that a Muscovite would no longer have said “two Russian peasants”. Both said that your whole Khokhlatsky soul poured out in Taras Bulba, where you put Taras, Andriy and Ostap with such love.

In the philippics of the American there was, apparently, a deeply hidden, "internal" dislike of the aristocrat for the scrawny, slovenly and snobbish scribbler. It seems that it turned out that Nikolai Yanovsky-Gogol, who came into fashion out of nowhere, became for Count Tolstoy one of the animated symbols of the cloudy times that have come - the century of triumphant boorishness, giggling at the saint and books from the market; century, which could not be compared with the noble and clear era of Tolstoy's youth. Hearing only Gogol's laughter at Russianness, The American was outraged to the core living soul, - and anger blinded Tolstoy. Usually, the astute count ignored the Khokhol's hint of "invisible, unknown to the world tears", and even his "brisk, irrepressible troika".

(Just in case, let's say that Count Fyodor Ivanovich was far from the only detractor of "Dead Souls" and other works of N.V. Gogol. In those years, N.I. Nadezhdin and others raised their voices against the Little Russian, resorting to various arguments. authority figures.)

The patriotic sentiments of our hero, however, did not prevent him from endlessly - and especially in correspondence - stigmatizing domestic vices and disorder.

By the forties, many friends of Fyodor Ivanovich Tolstoy left the earthly vale. Wine and cards then also almost disappeared from his life. Nevertheless, the last pages of the retired colonel's biography - the fourth age of a man, it's time to make ends meet - were, it seems to us, just as meaningful and dynamic as the initial ones.

According to F.V. Bulgarin, in 1840 the count and his family stayed in St. Petersburg for a long time. This memoir evidence has not yet been confirmed by other sources.

But it is known for certain that in the forties the count worked diligently on his memoirs, where he described his life and events, of which he happened to be a witness and participant.

"In the American<…>important human movement; it seems that he is resurrected or is resurrecting, ”V. A. Zhukovsky wrote in his diary on January 20, 1841. And the very next day, the poet was going to “sincerely criticize” a friend for something.

In the autumn of 1838, returning from an inspection trip to the Tambov province, Count Fyodor Ivanovich began to think about publishing Sarranka's writings and, for this purpose, began to analyze his daughter's papers.

Taking advantage of the recommendations of acquaintances, he invited the young teacher of the Moscow Agricultural School, Mikhail Nikolaevich Likhonin, to be handy. In metropolitan literary circles, he was known as a poet and translator; his verses, critical articles and translations were published from time to time in the Moscow Telegraph, Son of the Fatherland, Moscow Bulletin and other periodicals. Lichonin's talents were especially valued by the editors of the Moscow Observer; for this Slavophile journal, Mikhail Nikolaevich regularly translated, by his own admission, "all articles from English and some from German."

It was precisely such an assistant, who knew languages ​​and was not alien to poetry, that the American who signed up for publishers needed.

Count Fyodor Ivanovich strongly insisted that the German and English poems of Countess Sarah Tolstoy be translated into Russian not in any way, but literally, that is, word for word, with the preservation of all "poetic liberties", - and M. N. Likhonin, having discussed it for decency, yielded to the poet's father.

The competitors, who reached mutual understanding, acted rather quickly and harmoniously, and already in the spring of 1839, shortly after Easter, they completed the painstaking work on preparing the publication.

The study of the archive of the deceased daughter was for the American an occupation both gratifying and sad at the same time. The past, page after page, passed before him - and there, in the poeticized past, his dear black-browed Sarah was as if alive. Her feelings and thoughts, previously hidden, now came to light, became the feelings and thoughts of Count Fyodor Ivanovich himself. Imbued with them, our hero, not in the least ashamed of the employee, sobbed - and right there, before he had time to crumple and remove the wet handkerchief, he was touched and glowed with happiness.

A quiet conversation with Sarranka sometimes led to “discoveries of at day." One can imagine how the heart of the American began to beat when, among other works of the Countess, there was suddenly found a poem in English dedicated to him, Count Fyodor Tolstoy:

You have often wept, my father, and grief has whitened your hair.

Often deep suffering tormented your chest;

Your noble heart has often broken.

I myself, your dear, dearly beloved child, cost you many tears,

inflicted many wounds on your heart, I, who is dearer to you,

than the blood circulating in your heart...

It was very much like an appeal from the other world - could it be that the time had come and the native voice called him there?

The verses and prose experiments of Sarah The American neatly divided into two volumes (or parts). The first contains translations of her daughter's completed works, and the other contains her unfinished poems and prose, letters and rough sketches. In fact, it was prepared for transfer to the printing house complete collected works of the Countess.

M. N. Likhonin wrote a short “Translator’s Preface” for the two-volume edition, where he subjected the work of Sarah Feodorovna Tolstoy to a thorough, very professional analysis. His criticism was as follows:

“But, in order to justify the shortcomings we noticed in the writings of our writer, let us recall that she was Russian, but she wrote in foreign languages, which she studied more from books than from the very life and way of life of those peoples, the sounds of which expressed her impressions and feelings, cherished in a dear homeland ... Moreover, while still so young, it never occurred to her that the poetic flowers of her soul would be fragrant over her timeless grave!

Censored permission to print volumes of the Works was given by the Moscow censor I. M. Snegirev on May 26 and June 6, 1839. On the half-titles of both parts of the book, the publisher placed verses by V. A. Zhukovsky addressed to him, the father of the deceased poetess. The first volume opened with the "Biography of Sarah", which was compiled, in all likelihood, also by Count Fyodor Tolstoy. At the end of the piercing biography, the author noted: "May 17, 1839." We believe that this is just the date of completion of the work on the essay, nothing more.

The American was then fifty-eight years old.

"Works in verse and prose<афини>S. F. Tolstoy” were quickly and elegantly printed in the Moscow printing house of S. Selivanovskiy. On the whole, the spoiled metropolitan public met the first volume favorably. Readers' interest was fueled by non-literary factors: tragic fate the author of the book and, of course, the fact that the father of the unfortunate dreamer was all right a famous person- immoral "night robber".

The second volume, printed in a very meager edition, went only to "a select circle of relatives and friends of gr<афа>F. I. Tolstoy ".

And then the unexpected happened: people who had the first part of the "Works" and wanted to get acquainted with the unfinished works of the young poetess began to contact the American. So did, say, Alexander Fomich Veltman (1800-1870), assistant director of the Armory and already very famous writer(author of The Wanderer, Koshchei the Immortal and other novels). On November 6, 1839, Count Fyodor Ivanovich, “shedding sweet tears”, answered his complimentary letter:

“Although the 2nd volume of my daughter’s works was printed solely for me, it is true for me alone and, perhaps, for several people of the closest relatives who loved her dearly, but your review, so flattering, eloquent in expressions and feelings, expressed to me in a letter yours at the expense of the melancholic dreams of my Sarah: gives me the right - allows, orders me to report this 2nd volume. There is nothing remarkable about him in terms of literature. There is nothing complete, finished. This entire volume in excerpts is, as it were, an emblem of her short span of life, imperfect, not complete. Death, with its sad torch, illuminated this work.

But here and there, in an incomplete phrase, you will meet a thought full of deep anguish, you will meet a sigh of a mourning soul - it<…>giver to poetic soul yours. In a word: forgive the blindness of the unfortunate father - there is no, however, parental pride - no; I was passionate about my daughter, but without blindness, it seems.

It seems to me that I will give you pleasure by informing you of this 2nd volume. If you were mistaken in this, then accept it as a sign of my special cordial respect for you - accept it as a challenge to a personal acquaintance, which you ardently desire, dear sovereign, your humble servant F.I. Tolstoy ".

Later, the American did make acquaintance with A.F. Veltman, who had won him over - and communicated with the writer in the forties.

The two-volume edition published by Count Fyodor Ivanovich received a high literary assessment of the employees of the St. Petersburg "Notes of the Fatherland". I. I. Panaev recalled that the whole circle was then delighted with the original works of Sarah Tolstoy. V. G. Belinsky himself called the Countess “especially remarkable” among women writers and thought to write a review of the Moscow edition, but he never carried out this intention. But in 1840, the magazine placed (in No. 10) a lengthy article by M. N. Katkov "Works in verse and prose by Countess S. F. Tolstoy." Here the author of the essay, reflecting (among other things) on the masculine and feminine principles of the vain world, came to the conclusion that the poems of the untimely departed girl should be taken as a model (!) purely feminine poetic creativity, the defining essence of which is the free outpouring of the soul.

The American, who was relentlessly pursued by "sadness for Sarah," was pleased to read this. He did not save his daughter, but did everything in his power to immortalize at least her name.

Yearning for Sarah, Fyodor Ivanovich at some point reached out to the one with whom his daughter had once become related in soul - to her village friend Anna Volchkova, who lived next door. “Under the influence of grief,” recalled P.F. Perfilieva, “he saw in her the second Rimma (that is, Sarah. - M. F.) and loved her so much that he almost forgot about my existence. He showered Tonya (that is, Aneta. - M. F.) caresses, money; I even wanted to give her the estate, and I don’t know how I resisted this injustice. It seems to me that the countess prevented this ... "

Yes, the countess, beloved and hated Dunyasha, day and night stood in the way of our hero ...

The death of Sarah only briefly reconciled the couple. Then, after the end of the mourning period, the clashes between the American and his wife resumed. And the elevation of the alien Aneta to the favorite, of course, added fuel to the fire.

And soon a new reason was found, and Count Fyodor Ivanovich and Countess Avdotya Maksimovna quarreled for the thousandth time - and in such a way that they had never quarreled before.

The head of the family failed to get along with Avdotya Maksimovna, to reason with his wife. Whatever measures of influence Count Fyodor Tolstoy resorted to, the gypsy woman “indulged in hypocrisy” lived according to her own understanding. “The morning passed with her visiting the highest clergy, and she treated ordinary monks with condescension and did not make acquaintances with them,” wrote P.F. completely unnecessary."

At the same time, things at the countess were always quoted much higher than people, domestic servants.

Avdotya Maksimovna's mockery of boors led to a scandal never seen before.

It was reported by P. F. Perfilieva in the chronicle “Several chapters from the life of Countess Inna”. There are grounds for believing that the daughter of the American did not hesitate to tell here about the incidents that actually shook Tolstoy's house. And for greater persuasiveness, she placed in the chronicle (in the chapter "My father and mother") genuine (or rather close to genuine) letters from her parents.

It is known that Leo Tolstoy, having read the autobiographical manuscript of Praskovya Feodorovna, "did not sleep all night." Afraid to print "a difficult thing" and the chronicler herself. The truth about the American family life was, what can I say, too depressing.

Once it was discovered that the countess systematically beats the yard girls with a “whip”. Count Kamsky was informed about this, as well as that Inna, who tried to intercede for the serfs, sometimes turned up under the hot hand of her mother. It turned out that Kamsky also had the notorious "whip". And then, according to Inna, the following happened:

“He, furious, grabbed a whip and a knife, which always lay on his table, and went out; for a minute I stood in a kind of stupor, but, hearing a scream, I ran after him ... I became scared! Mother stood at the door of her bedroom, thrown completely back, and defended herself from the knife. I threw myself between them, pushed the countess away, who fell to the floor, and the knife hit me in the left side and wounded me. When my father saw me, he came to his senses, put me on a chair and went to his room. I held on to my side and was in some kind of fog, not understanding anything. Mother was lifted up and carried to the bed, and Anna, our demoiselle de compagnie, whom I loved like a sister, took me to the study, where my father was sitting, covering his face with his hands, and weeping bitterly. When I saw him, I involuntarily let out a cry: “Lord, when will the end be!”, and with this word I completely lost consciousness. You will understand what was happening in the house at that time. In the hall people sat as if dead; the girls fussed, running from one patient to another ... "

After this shameful story, the angry countess set out to leave “where he took me from,” but eventually moved out of the house to the outbuilding: “She lived there for a month and at that time corresponded with me and her father, but did not want to see me.” Then Kamskaya Sr. returned to the house, allocated separate chambers for herself and began to live as a hermit. Her correspondence with the count continued; here is one of the countess's epistles - with a very unambiguous hint:

“For the last time I am writing to you and I do not dare to call you husband and friend. You cannot see me. God is with you; see you in that light. For three years now, I have been separated from you: it was not my body that loved you, but my soul, divine and worshiping you. I thought you didn't have anything new.

Kamskaya.

From his corner, Count Kamsky sent messages back to the recluse. Let's give an example:

“Your last letter convinces me of my intention to never see you again. It proves to me that you absolutely do not understand me and cannot understand me. In addition, this letter contains nasty things, from which I, an old man, blush, and threw your letter into the fire. Your infernal temper separated us from you; maybe it’s my own fault, but for that I suffered a severe punishment and therefore I don’t reproach you, but I don’t have the strength to live together with you. The unfortunate in hard labor have hours of rest, but for about a year now I have not had a single moment of sweet peace. If to this day I have not died, then this must be attributed to my extraordinary health, and perhaps it is still pleasing to God to leave me for a while for my unfortunate daughter.

Do not bother to pray for me, pray for yourself, but pray with a contrite and contrite heart and a humble soul. Then only prayers are pleasing to God. To pray and harbor malice in the heart, even if it be towards one's servant, is a great insult to eternal love. The Savior on the cross prayed for the villains.

With all my heart I wish you peace.

Count Kamsky.

“There is no way for us to be together,” the count assured his wife in another letter. However, Kamsky did not go further than declarations: he also did not have the opportunity to part with the countess. And after some more time, the Kamsky-Tolstoys reconciled again. None of them ever waved the white flag. The boundary between the two halves of the house, the two warriors, disappeared again. "They went about everything is the same as before, with me too, that is, it’s very bad, ”concluded her story about the drama P. F. Perfileva. (She wrote to Leo Tolstoy in January 1864: “After reading Countess Inna, I thought you wouldn’t be surprised that my nerves and health are bad, and my head is working somehow painfully.”)

And to Prince P. A. Vyazemsky, the American, in almost every letter of the forties, repeated in plural: “My people bow to you very much”; "Thank you for your friendly accuracy." Or: "Wife and Fields<…>bow heartily and thank you for your remembrance of them.

About hopeless family everyday life, about all sorts of "whips" and "knives" in the correspondence of our hero there is not a single hint or mention.

Having lost sight of each other after the Battle of Borodino and a commemorative bottle of Madeira, I.P. Liprandi and Count F.I. Tolstoy again - after more than three decades! - agreed in the spring of 1844.

“I was again in Moscow and visited A.F. Veltman,” Ivan Petrovich told about an accidental meeting, “I met an unfamiliar old man with completely gray and thick hair. Although his physiognomy seemed not alien to me, I was far from thinking of guessing who he was. The conversation was general. Finally, the venerable host introduced us to one another. Almost in one voice we asked each other: are you, are you? and then it followed that in such a case it happens.<…>The count remarked to me that he still had the prince's spencer, that seeing him had often become a habit with him. The next day he took my word from him to dine; he invited another venerable veteran of our era, F. N. Glinka. The next day, Veltman and I stopped on the way to Fyodor Nikolaevich and went together to the count. I found him the same: he poured soup for everyone. Our conversation consisted in reminiscences about the prince, about his death ... "

To meet and resurrect the past in memory, to gossip about the noseless gray-haired soldiers fell over Tolstoy's never-cooling soup, in the house where their common shrine was kept - Dolgorukov's military coat with characteristic brown spots. Fate itself, the sophisticated writer of the novel of life and the organizer of its composition, rightly decided to pamper the retired colonel who is finishing his life with this date, bright and sad, in many respects final.

When the touching gathering of disabled people in a symbolic setting took place, another life story was rounded off - and, as a result, that purely earthly one that kept here American, noticeably diminished.

“I’m getting old, sick, stupid and unbearable to myself,” admitted Count Fyodor Ivanovich Tolstoy. This, however, did not prevent the American from performing a number of heroic deeds at that time and even finding himself "under criminal court." Moreover, the trial in the case of the retired colonel may not have been brought to any formal conclusion by the authorities.

Let's start with a rather ordinary "Tolstoy wildness."

In June 1844, the count went with his family to the then fashionable Reval waters. There, Tolstoy was accompanied by Countess E. P. Rostopchina and the Vyazemsky couple. Vera Fedorovna and Pyotr Andreevich left the resort earlier than the count, at the beginning of August, and, as the American later put it, "they took all the joy of Revel life with them." Count Fyodor Ivanovich, seeing off his friends, began to avoid the company of vacationers, bypassed the Zalon (local club), plunged "in some kind of sad stupefaction", with which, in addition, "longing for the homeland was intertwined".

Fyodor Tolstoy entertained himself only by the fact that he once drove into the face of the "Prussian barman Andersen" who did not please him. In a letter to Prince P. A. Vyazemsky dated August 23, 1844, our hero reported on the execution of the infidel in refined terms:

“The salon has become so disgusting to me that the buffet itself has lost its attractiveness; although the barman's unshaven upper lip had its charms. The observer can still see on this deeply wounded lip a sharp imprint of the patriarchal spirit of the Russian people.

The American's trick had no consequences for him, which cannot be said about another episode with his equally active participation.

That other story began long before the "barman's lip" and continued after the Reval incident - in a word, it stretched out for years.

The first stage of the Tolstoy criminal case coincided with the arrival in Moscow of V. A. Zhukovsky, who on February 10, 1841 recorded in his diary: “I have Count Tolstoy in the morning. His new story. Probably got caught again. No matter how the hand of Providence executes, you can’t change everything in nature. That and look what returns to the old.

The biographer now has three versions of what happened - these are the stories of A. I. Herzen in "The Past and Thoughts" (part two, chapter XIV), the actor A. A. Stakhovich in "Scraps of Memories" and Count Fyodor Ivanovich himself.

According to Iskander, who personally knew Fyodor Tolstoy, the “trick” of the American, which “almost brought him to Siberia again,” was as follows: “He was angry with some tradesman for a long time, somehow caught him in his house, tied him hand and foot and pulled out his tooth. The tradesman has submitted a request."

A. A. Stakhovich tried to clarify some details of the outlandish incident: “After the death of his passionately beloved daughter, a smart, educated girl full of talents, T<олстой>in her memory, he began to build a hospital, or almshouse, for peasants on his estate. The contractor built very badly. The volcano raged, the American had his own way with the fraudulent contractor, he ordered all his teeth to be pulled out ... "

Note that the servant of Melpomene did not (unlike A.I. Herzen) make an immaculate lamb out of the victim. It is also worth emphasizing: it would be nice if the tradesman deceived the count in trifles - no, he desecrated the memory of Countess Sarah Tolstoy. In the understanding of her parent, a more serious crime simply could not be.

From the note filed by F.I. Tolstoy in May 1845 addressed to the head of the III Department, Count A.F. Orlov (she is known to us in a copy), it is clear that the mentioned Moscow tradesman was called Peter Ivanovich Ignatiev. According to our hero, this type should have been publicly punished in the town square. About what punishment he, Tolstoy, arbitrarily (acting on the principle: “the state is me”) replaced the legal commercial execution, the American prudently kept silent in the document. I would still like to hope that the frantic count was satisfied with the removal one petty-bourgeois tooth.

Shcherbaty Ignatiev responded as best he could: he filed a petition to the highest name, in which he accused "the retired Colonel Count Tolstoy of torturing, mutilating, non-payment of his salary, even robbing his property, consisting of things and money."

And on February 3, 1841, an order was sent from St. Petersburg to Moscow "to carry out the strictest investigation."

In a note addressed to A. F. Orlov, the American gave a peculiar assessment of the decision made in the Northern Capital: his blood, with a tradesman who, for his deeds, should have shed his blood long ago on the marketplace.

The order of Emperor Nikolai Pavlovich was delivered to the Mother See, the American was acquainted with the formidable paper, and he, in turn, spoke about the trouble hanging over him, close to the Court, V. A. Zhukovsky. Their conversation took place, as can be seen from the above diary entry of the poet, on the morning of February 10, 1841. Obviously, Fyodor Ivanovich, who was in "anxiety", turned to him with a request for intercession, and the kindest Vasily Andreevich, having thoroughly scolded his old friend for yet another assault, promised to render all possible assistance to the count.

Having promised, V. A. Zhukovsky immediately fulfilled the promise. Three days later, on February 13, he paid a visit to the Moscow civil governor Ivan Grigoryevich Senyavin and discussed Tolstoy's collisions with him in his own way. The governor did not hold a grudge against Count Fyodor Ivanovich and "gave good hope" to the poet. He, inspired, hurried "with good news" to Tolstoy and from the threshold delighted the old rascal. “A successful day,” V. A. Zhukovsky noted in his diary.

"Tolstoy lashed out at the police, thrashed the court, and the tradesman was jailed for false information." So, in one phrase, A. I. Herzen characterized the next stage of Tolstoy's case. In some ways, Iskander was remotely right: indeed, the American, as we now know, enlisted the support of influential people. However, the author of "The Past and Thoughts" very significantly distorted the course of the investigation.

It turns out that Pyotr Ignatiev was not sent to jail in 1841, and not at all for “taunting” Count Fyodor Tolstoy, as A. I. Herzen assured readers. Both in terms of timing and in terms of the procedure, everything was different.

In 1841, the tradesman "avoided investigation"; simply put, he, sensing unkindness, went on the run. In the absence of the plaintiff, proceedings to which Russian emperor gave a "legitimate direction", suspended. And the American, who was already ready (with the support of strong defenders) to justify himself, found himself in a dual position: the accusations made against him were neither proven nor refuted.

For about four years there was neither a rumor nor a spirit about the offended hodgepodge. “During this time, and without leaving his trade,” Count F.I. Tolstoy told A.F. Orlov in May 1845, “Ignatiev swindled some landowner of the Tver province, from where he was transferred to the Moscow prison. The imprisonment of Ignatiev finally made it possible to start an investigation. It took an active move: written replies were taken from Count Tolstoy; he only demanded a confrontation, which would fully prove the falsity of the denunciation.

This is where Nikolai Filippovich Pavlov (1803–1864), a man of dubious origin, intervened in the investigation, but a plenipotentiary official and a writer with a name.

Since 1842, he served in the office of the Moscow Governor-General and carried out "supervision over the course of arrest cases." Periodically going around the overcrowded capital jails, the collegiate secretary N.F. Pavlov, as it is said in a solid encyclopedia, "took care of the release of the innocent victims." Nikolai Filippovich also took care of the fate of Pyotr Ignatiev, began to patronize the oppressed innocence, and then shared his thoughts with A.I. Herzen.

In the Past and Thoughts, the oral story of the official was transformed into the following text:

“At this time, one Russian writer, N.F. Pavlov, served on the prison committee. The tradesman told him the case, the inexperienced official raised him. Tolstoy was terrified in earnest: the case was clearly leaning towards his condemnation. But the Russian God is great! Count Orlov wrote a secret letter to Prince Shcherbatov, in which he advised him to put out the matter in order to prevent such direct triumph of the lower class over the higher. Count Orlov advised N. F. Pavlov to be removed from such a place ... This is almost more unbelievable than a pulled out tooth. I was then in Moscow and knew the careless official very well.

A. A. Stakhovich's version is shorter in this paragraph; at the same time, it almost literally coincides with Iskander's: "Count Zakrevsky put out this case."

And here the democratic whistleblowers of the American and the top administration of the empire told the public, to put it mildly, not the whole truth.

In particular, they hid from readers that “a philanthropist and aristocrat of the 12th class” (as our hero N. F. Pavlova described) in the spring of 1845 did not limit himself to studying the case of a tradesman: he insisted on the release of Pyotr Ignatiev. And the tradesman, having left the prison, acted in his usual way - "immediately ran away."

The police, if they began to look for the fugitive, then very lazily, more for appearances.

“The investigation has again stopped, and Count Tolstoy is weighed down under the burden of it, not foreseeing its end; his family mourns, his freedom is constrained; he cannot even leave Moscow, which would be necessary for his seriously ill daughter, wrote the American to Count A. F. Orlov. “Is it really the indispensable fruit of that justice, which is so dear to the heart of our truthful Tsar!” But Tolstoy does not grumble, he only asks the authorities to pay attention to such a blatant deed, reverent for the will and good intentions of the Sovereign.

(As in the case of 1829 with Lieutenant Ermolaev, our hero allowed himself a veiled, spiced with subtle irony criticism of those whom it is not worth criticizing.)

Unfortunately, A. I. Herzen, and after him A. A. Stakhovich, kept silent not only about the second flight of the nimble tradesman, but at the same time about the fact that Tolstoy’s case had an amusing continuation that radically changed the situation.

The note quoted above, addressed to A. F. Orlov, was written by an American on May 22, 1845. The events of the following day forced Count Fyodor Ivanovich to make a very significant addition to the document. It can be assumed that our hero supplemented the note on the twentieth of the same month.

This addition is one of the pinnacles of Fyodor Ivanovich Tolstoy's epistolary work:

“This note was drawn up on May 22 and now takes some changes. Not in reproach to the Moscow police, which had clearly declared the impossibility of finding the fugitive tradesman Ignatiev, Count Tolstoy himself on May 23, in broad daylight, caught him in the streets of Moscow and put him under guard in a booth, from where he was delivered to the Moscow Chief Police Chief.

Count Tolstoy humbly asks the Higher Authorities, as a great favor, to put an end to gentle philanthropy.<осподина>Col<лежского>Secretary Pavlov, instructing the Moscow authorities to keep the tradesman Ignatiev, perhaps connected by ties of consanguinity or cordial friendship with the aforementioned Pavlov, under strict guard in order to end the almost five-year investigation and thereby alleviate the fate of Count Tolstoy and, moreover, fulfill the will of the Sovereign Emperor " .

We believe that the highest ranks of the secret police could not restrain themselves, burst out laughing, reading such lines.

Laughter with laughter, but how and when the police and other dignitaries managed to "put out the case" of the American, begun by order of the tsar, is still not clear.

Shortly after sending the note to A. F. Orlov, on June 23, 1845, our hero informed Prince P. A. Vyazemsky: “I received a letter from G<осподи>on Dubelt, on behalf of Count Orlov: it is very satisfactory for me<но>and I felt it necessary to inform you of this. The courtesy of Dubelt is absolutely remarkable, on occasion express my most sensitive gratitude to him - of which, of course, a good half belongs to you. (Apparently, the aforementioned Tolstoy note was delivered to the 111th Department through the mediation of the ubiquitous Prince Pyotr Andreevich.)

However, even twelve months later, in a letter dated June 19, 1846, Count Fyodor Ivanovich blamed a friend who called him back to Revel: “You forgot that my freedom is constrained, I am under a criminal court ...”

It was already the sixth year since Count Fyodor Tolstoy showed the tradesman where the crayfish hibernate...

In general, only A. I. Herzen and A. A. Stakhovich turned out smoothly and bitingly. The sources, on the other hand, recreate a different, more objective picture: six months before the death of the American, his case, despite behind-the-scenes maneuvers and the “ardent intercession” of the partisans, had not yet been closed and, accordingly, in the middle of 1846, there was no close triumph of the aristocratic party over the “lower class” expected.

"Hot life time<…>passed irrevocably", the decisive "change<…>hangs on the nose.

Such, judging by the letters, was the prevailing mood of Count Fyodor Ivanovich in 1845-1846. The capture of the scoundrel Pyotr Ignatiev - obviously last thing large-scale act of the American, his swan song.

It's no joke to say: he captivated an elusive mishmash at the age of sixty-three.

In the summer of the same 1845, the album of Polinka Tolstoy finally returned to our valiant hero from P. A. Vyazemsky. In the girl's magazine, the prince entered not a traditional madrigal, but a long philosophical poem. “The daughter was delighted with the Album and admired your<ми>poems," Count Fyodor Ivanovich answered the author on September 5, 1845.

From the album play of the prince, Count Tolstoy, of course, was delighted - and immediately became thoughtful:

Our life is a story or a novel;

It is written by blind fate

By feuilleton cover,

And there is no plan, and is there a plan,

Don't ask... The lesson is set

Make ends meet,

And read the novel to the end

Be it good or bad.

Another novel, another story,

Such a mess, such a gil

That you can't find meaning in it.

All P about went, crooked, without a soul -

Pages, days, empty numbers,

And at the end, write zero ...

Much in the masterful rhymes of a friend, the American could well accept - and, truly, he accepted - at a personal expense, but only not verse

All P about it went crookedly, without a soul ...

No, he lived his "not very comforting" life, and lived it out with taste, much more direct and sincere, in a word - without voids and not at all about went. And to leave the world with zero, where, as it gradually became clear, there is the Fatherland and its enemies, heaven and hell, the equator, the English Club and Kamchadals, crazy children and smart monkeys, cards invented by the greatest geniuses, pistols and wine; where love turns into hate, a bucket - a storm, a fact - a fable and vice versa; where people fly high and fall low, in any latitudes they devour their own kind, and roses and thorns have been and will be in best case equally, - he clearly did not want to.

Performed in those months by the artist Karl Yakovlevich Reichel (who painted, by the way, Prince P. A. Vyazemsky), the portrait of Count Fyodor Ivanovich Tolstoy later became the most famous, “canonical” image of the American.

This is a portrait of an old, tired and sick, but by no means apathetic person who has lost interest in life.

Count Tolstoy is depicted on the canvas in almost the same position as in the portrait of 1803 by an unknown artist. (Then, as we remember, the young Preobrazhensky officer had just entered life, received his first ranks and fines, and was preparing for a round-the-world trip.)

His left hand(with a miniature ring on her little finger) is also laid on the back of an armchair, the frock coat is just as refined and Tolstoy's gray-haired couafure is well-groomed. The count's still not extinct eyes are wide, as of old, open and inexplicably attractive. It may seem to someone that the source of light illuminating Tolstoy's high forehead and his face, emaciated and intelligent, are precisely these eyes, at the same time drilling the viewer who has stopped at the picture.

The pipe, firmly held in his right hand, and the dog frozen by the armchair, give the observer some idea of ​​our hero's predilections.

Comparing portraits created by artists with an interval of forty-three years, one cannot fail to notice the difference between them. Two differences between Reichel's creation and the image of Count Fyodor Tolstoy in his youth are especially significant and eloquent.

First of all, in the painting of 1846, the scenery is changed: here the background of the painting is twilight and even, calm, without the former fiery reflections - hints of coming storms.

A metamorphosis also took place with the tie of the count: at the beginning of the century it was white, and now, in 1846, it has been replaced with a dark one.

So dark that from a distance it can be mistaken for black.

Portrait of the work of K. Ya. Reichel - the penultimate page of the biography of Count F. I. Tolstoy. Turning it over, our hero, without delay, moved to the final prepared for each ...

A few months after the romantic meeting with the American IP Liprandi again came to Moscow. And the old friends got back together. “The same dates, the same memories; he promised me in the summer, in the village, to show his notes, as it turned out, true with my story, ”said Ivan Petrovich in his memoirs.

However, in the summer of 1845, the major general, burdened with the affairs of an important service, did not reach the Mother See and the village of Glebov. Later, I.P. Liprandi regretted this very much.

In the autumn of 1845, Count Fyodor Ivanovich resumed attacks of an old illness, which quickly brought him "to extreme exhaustion." In winter, the retired colonel still somehow held on, sporadically swaggered, even posed for a German artist, but by spring the illness nevertheless “knocked” him off his feet.

The American went to bed and for four months "almost did not leave a painful bed." “According to the participation that you take in me,” the count wrote, having gathered the rest of his strength, to P. A. Vyazemsky on June 19, 1846, “reassuringly, you will also want to know about the property of the disease: according to the assurance of my doctor (albeit a first-class one, but who I do not believe), my illness consists in rheumatic affection of the digestive organ» .

For the summer, the Tolstoy family moved to the suburbs, to the fresh forest air. However, there, in the village of Glebov, the American was getting worse and worse. His hands did not obey him, work on the notes froze. Soon he stopped getting up, constantly lay on the balcony, staring into the distance without looking up. His wife and daughter did not leave him around the clock.

“The count was melting by leaps and bounds; his strength has completely deserted him."

At the end of the summer, the long-reluctant family gave in to the insistence of the doctors. Count Fyodor Ivanovich was transported, observing all kinds of precautions, to the capital. In the chronicle “Several Chapters from the Life of Countess Inna”, the following is written about this time:

“The count was brought to Moscow in the most miserable situation. He could no longer sit, spoke somehow abruptly, was choking with a cough, became terribly thin, and completely lost heart.<…>Those who saw father a month ago did not recognize him after his arrival in Moscow. It was a skeleton in which life was maintained only by a feverish state. His eyes glittered unnaturally, his half-open mouth, with parched lips, asked for something so indistinctly that there was absolutely no way to understand. This proud head fell on his chest, not from heavy thoughts, but from suffering, and the majestic posture hunched over. Looking at him, I accustomed myself to the idea that he must die soon ... "

Only Tolstoy's eyes did not give up yet ...

Secretly from her mother, Polinka summoned Countess Praskovya Vasilyevna Tolstaya by letter from Tsarskoye Selo, and she was not slow to come to her dying friend.

Now the three closest people to him were on duty at the bedside of the American in turn.

The hours of the night usually fell to the earl's daughter. "I<…>I watched him sleep, only he slept not with the sleep that restores a person, but with the one that takes away the last strength, dulling the senses and mind, Praskovya Fedorovna recalled. - His chest rarely rose, and this movement was accompanied each time by a deaf, painful groan. My God, I thought, how suffering had changed him; Where is this courage, moral and physical strength? And he succumbed to the disease!

If the count did not sleep, then he fervently and silently prayed. “Until the last minute, he did not stop praying,” Avdotya Maksimovna Tolstaya informed Prince P. A. Vyazemsky in a letter dated February 3, 1847, and added: “I have spiritual joy that he died such a Christian.”

In late autumn, the American decided to confess and take communion. In the memoirs of A. A. Stakhovich, it is said on this occasion: “I heard that the priest, who confessed the dying, said that the confession lasted a very long time and rarely did he meet such repentance and such deep faith in God's mercy.”

Everything was done, the line was drawn.

The sixty-four-year-old retired colonel Tolstoy did not live up to the end of the Filippovsky fast and to the great holiday.

On the night of Tuesday, December 24, Count Fyodor Ivanovich began to retreat. “By 10 o'clock in the morning,” the daughter wrote, “the father began to wheeze and turn yellow; his eyes opened and had a kind of glassy appearance, and his hands turned blue.

And an hour later, the tattooed count, who closed his eyelids, was transferred to the table.

The paper of the Moscow Ecclesiastical Consistory stated: Count Fyodor Ivanovich Tolstoy "died on December 24, 1846, he was buried in the Church of the Three Saints at the Red Gate".

Our hero was buried on Vagankovsky, - as expected, on the third day, after Christmas. “The one who happened to bury people dear to him will understand that terrible feeling of loneliness, the emptiness of the heart that you experience at the entrance to the house, having arrived from the cemetery; as if you are looking for someone, everything is heard, as if he is calling you. But then everything will suddenly disappear, and, having come to your senses, you will understand your grief, ”Polinka shared her memories.

Some people in those sad days stopped by the widow and daughter "with secular participation", but in general there was little talk about Tolstoy's death in the city, and they talked in every way.

But when the news of the death of the American reached V. A. Zhukovsky, he managed to find the right words and wrote to A. Ya. Bulgakov:

“There were many good qualities in him, only these good qualities were known to me personally; everything else was known only by tradition; and I have always had a heart for him; and he was always a good friend of his friends.

It is a pity that the lines of Vasily Andreevich have forever remained a fragment of a private, little-known and influencing letter.

This text is an introductory piece.

Absent-minded and timid Absent-minded and timid Don't go here. On our mountain paths, look under your feet. You must have fallen asleep, fell asleep on the go. Gap-grass touched, Touched for trouble. Now he's bewitched, Downcast eyes, And he can't find the way Along that path

Chapter two. ON THE EVE OF THE STORM - So, Wolfgang, I suppose we will start in the same spirit as I wrote with Oscar ... “I would like to express general considerations about the principles underlying the description of atomic phenomena. I hope these considerations will help bring the various, obviously

Chapter XIX. After the storm 1It was winter in Paris... There was a smell of roasted chestnuts and embers in the braziers... A blind musician stood in front of the Café de la Paix and sang a cheerful, tabloid song in a trembling voice: Madeleine, fill the glasses And sing along with the soldiers. We have won the war. Do you believe

CHAPTER XIX After the storm It was winter in Paris... There was a smell of roasted chestnuts and embers in the braziers... A blind musician stood in front of the Café de la Paix and sang in a trembling voice a cheerful, tabloid song: Madelon, fill the glasses And sing along with the soldiers. We have won the war. Do you believe

CHAPTER V The Beginning of the Storm Monday, April 16, 1945 In the middle of the night we are awakened by a roar. We're under heavy fire. We grab things. I quickly put on my boots, take my overcoat and duffel bag and dive straight into the night. The earth trembles, the night is full of lightning and roars. Heavy shells are flying at us, and every time

Chapter 73 However, Shakespeare probably had one or the other literary basis for its drama, because the extremely old-fashioned and naive play of the German Jacob Airer "The Comedy of the Beautiful Side" is built on a plot,

Chapter XIX. After the storm 1. It was winter in Paris ... There was a smell of roasted chestnuts and embers in the braziers ... A blind musician stood in front of the Café de la Paix and sang a cheerful, tabloid song in a trembling voice: Madeleine, fill the glasses And sing along with the soldiers. We have won the war. Do you believe

So who will pay? [A cloud marked "secret"] Deputy Chairman of the Council of Ministers of the USSR, Chairman of the Bureau for the Fuel and Energy Complex Shcherbina Boris Yevdokimovich, Minister of Atomic Energy Lukonin Nikolai Fedorovich I'll start with

The poem "The Cloud" was written on April 13, 1835. And a month later it was published in the Moscow Observer. This magazine began to be published in 1835, existed for 4 years, and Pushkin was among its first authors.

Some literary critics saw in the masterfully written, colorful poem "The Cloud" an allusion to the Decembrist uprising that took place 10 years ago. Others believe that the poet compares himself with this cloud, they see a hint that he must leave, making way for the young.

The next day, after writing the poem, Pushkin was supposed to meet with the chief of the gendarmes, Alexander Benkendorf, to get an answer to a request to publish his own newspaper. Some biographers of Pushkin are trying to connect this event with a poem written the day before. Although it is difficult to see any connection in this.

It is impossible not to agree with Belinsky, who believed that the poem "Cloud" is an example of "Pushkin's contemplation of nature." Once, after a torrential, refreshing rain, the poet saw a cloud lingering in the sky. This picture served as a theme for creating a lyrical sketch.

The last cloud of the scattered storm!
Alone you rush through the clear azure.
You alone cast a sad shadow,
You alone grieve the jubilant day.

You recently circled the sky,
And lightning wrapped around you menacingly;
And you made a mysterious thunder
And watered the greedy earth with rain.

That's enough, hide! The time has passed
The earth was refreshed and the storm passed
And the wind, caressing the leaves of the trees,
Drives you from the calm heavens.

A.S. Pushkin "Cloud". The last cloud of the scattered storm! You alone rush through the clear azure, You alone cast a gloomy shadow, You alone grieve the jubilant day. You recently covered the sky all around, And the lightning wrapped around you menacingly, And you emitted a mysterious thunder, And watered the greedy earth with rain. That's enough, hide! The time has passed, the Earth has refreshed itself, and the storm has rushed by, And the wind, caressing the leaves of the trees, drives you from the calm skies. Olympiad task Conduct a linguistic analysis of the text. Give detailed answers to the following questions: 1. What feeling is the poem imbued with? How the construction of a poem helps to define the mood lyrical hero ? 2. Find in the poem: - stylistic figures and paths; - categorical difference and similarity of tenses of the verb; - individual-author's combination of words. 3. Explain what is the role of these artistic and linguistic means in the text. 4. Give a linguistic commentary on the words: "azure, greedy, passed away, hide, tree." What “meanings” does the use of these words bring to the poem? 5. Is the image of a cloud in this poem traditional for the poetic language of the first half of the 19th century? Explain your point of view. Pushkin's poem "Cloud" is imbued with the freshness of a summer day after a thunderstorm, penetrated by sunlight, only a cloud that lingers, for some reason, in the sky "casts a dull shadow." The poem is "impatient": both the poet and nature, as if waiting for the sky to become clear, the cloud to hide behind the horizon. Interesting structure of the poem. In the first quatrain, the poet reproaches the cloud for not hiding yet, evoking melancholy and memories of the past downpour. In the second quatrain, the author recalls the past thunderstorm, when the earth greedily swallowed life-giving moisture, when lightning flashed blindingly, thunder rumbled ... When this cloud was at the height of its power. In the last four lines, the poet turns to the cloud, says that its time has passed and urges to hide from sight as soon as possible. It is no coincidence that the poem is so constructed. I quatrain tells us about the cloud, the main character, this is a kind of "introductory" quatrain. Here the author regrets that the cloud still darkens the "clear azure" of the sky. I quatrain - apotheosis, the climax of the poem. Memories of inspire the poet, he paints a picture of her with bright juicy colors. We can say that these four lines are the most aggressive in the entire poem. The last, III quatrain is filled with appeasement. The author no longer threatens anyone, but only persuades the cloud to hide. This is a fitting end to the poem. In the poem we see a variety of stylistic figures and tropes. Despite the fact that the theme and idea of ​​the poem is the same, each quatrain has its own style. I quatrain - a little dull; the stylistic images created by the poet help to feel his mood: “a “dull shadow”, for example, or the whole line “You alone sadden a jubilant day”. On the other hand, this quatrain seems to be preparing us for the next, more "militant" one. Here one can feel the poet's annoyance at the recalcitrant cloud. This makes us understand both the appeal to the cloud and the threefold repetition of “one you”. Style II quatrain - aggressive "combat". This is also evidenced by some phrases: “she wrapped around you menacingly”, “published a mysterious thunder”, “greedy earth”. They help us better perceive the mood of the quatrain and the repeated “growling” consonants in the words “around”, “terrible”, “thunder”. It should be noted that they are absent in the last line, which is the main transition to the third quatrain. His style and keyword is appeasement. The author does not demand, but asks for a cloud: "Enough." The stylistic images here are also calm. We seem to imagine “leaves of trees” and “calm skies”. Characteristic words are also used here with phrases: “passed by”, “refreshed”, “caressing the leaves of trees”. All this helps us to better feel the freshness and style of the final quatrain. In the poem, one can note the categorical difference and similarity of the verb tenses of the verb. The present tense of the verb is used in both I and III quatrains. It should be noted that they are similar in style: the poet now demands, then asks the cloud not to overshadow a sunny day. In quatrain II, the author used the past tense of the verb, recalling the past thunderstorm. By this, he, as it were, emphasized the difference between the calm I, III and “warlike” II quatrains. In a lyrical miniature by A.S. Pushkin's "Cloud" we can also note the individual-author's combination of words. The poet used here a lot of bright epithets, except for him, not peculiar to anyone else. Among them, the following combinations stand out: “scattered storm”, “clear azure”, “dull shadow”, “jubilant day”. Note: not a joyful, not cheerful, but a “rejoicing” (!) day. “It wrapped menacingly”, “greedy earth”, “mysterious thunder”, “calm heavens”. These artistic means play a huge role: they help us understand and feel the mood of the poem. They make it richer and brighter, If it weren't for them, would there be a poem? Let's conduct a small experiment: we will remove only epithets from quatrain I. What will happen? The last cloud of ... storms! One you rush through the sky, One you direct ... a shadow, One you grieve ... the day. Well, is this a poem? Of course not. We must not forget that we have removed only epithets, but what will happen if we leave the poem without metaphors, inversions, comparisons, hyperbole?! Now, I think, it is clear that without artistic and linguistic means in a poem (and even prose!) It is absolutely impossible! 4. Azure - the word means bright, pure blue. This is a very important word in the poem. Compare: “by clear azure” and “by clear blue”. Greedy means "greedy", this word is no less important in the poem. Passed - that is, passed, passed. This word is obsolete and no longer used. Hide - hide, get away, this word is also outdated. Dreves - trees, this word is not used in modern Russian. These words, it seems to me, set the reader in a solemn mood, serve to more fully reveal the meaning of the poem. 5. I think yes, it is. It was at the beginning of the XIX century. flourishing of romanticism. It was marked by enthusiasm, impetuosity. The poem, as they say, corresponds. It is imbued with delight from a clear "jubilant" day, from "clear azure", the poet is in admiration for nature. Yes, and he describes the recent thunderstorm brightly, colorfully, which is no less characteristic of romanticism. A poem by A.S. Pushkin's "Cloud" is imbued with a sense of hope for the best. We see the victory of good over evil. The mood of the lyrical hero changes in the course of the poem. At first it is gloomy, and dull, and sad, but as nature “reborns” after rain and thunder: “the earth is refreshed” and the wind “caresses the leaves of trees”, so the poet’s soul becomes clear and bright. The first line of the poem "The last cloud of the scattered storm!" the lyrical hero-author shows that the whole main storm is already behind, thunder, lightning - everything has already passed. This means that in the composition of the poem there is as if there is no peak moment - the climax. The last cloud is only a remnant of the raging elements. So we can call the whole poem “Cloud” the denouement of some action: the hero is already calming down, his mood is improving, his soul becomes light and free, and nature is gradually recovering from the storm. In a poem by A.S. Pushkin's "Cloud" we see the artistic image of the cloud. It is a combination of all the negative emotions of the author, but at the same time, nature needs a cloud, grass and trees need rain. A cloud is the personification of something fickle: here it “makes a mysterious thunder”, and now it is already rushing across the sky, driven by the wind. So, a cloud is a symbol of impermanence, sad and dull, but very necessary for nature. There are many interesting tropes in the poem. For example, the epithets “scattered storm”, “mysterious thunder”, “greedy land”, “jubilant day”, etc. In the first stanza of the poem there is an anaphora - unity of command: You alone rush through clear azure, You alone cast a dull shadow, You alone grieve jubilant day. In the second stanza, we can notice the intentional repetition of vowel sounds by the author - assonance. In this case, the repetition of the vowel sound “O” creates the sound image of a storm. We seem to hear thunder, we are scared, and the sounds of fear and delight involuntarily break out - the interjection "O" and "A". You recently lightened the sky all around, And the lightning wrapped around you menacingly, And you emitted a mysterious thunder. Describing a recently raging storm, the author uses assonance. The author seems to participate in the action of his poem. In the third stanza, one can see an individual-author's combination of words: “Enough, hide!” So the author seemed to imagine himself the master of storms, ordering the cloud to rush away as soon as possible. The poem also has a linguistic means - a categorical difference in tenses of verbs. The author describes two actions in the poem: the past storm and the remaining cloud. Consequently, the storm that ruled a few minutes ago has already ended, which means that the author uses the past tense for verbs associated with the elements (fitted, wrapped around, published, went). But now a new, quiet and calm time has come, when the cloud is left alone and carries out its last actions (rushing, inducing, saddening). The poem "Cloud" refers to the last stage of A.S. Pushkin. The poem depicts a landscape picture, very dynamic. Movement, development is given through the antithesis, which is transmitted by the present and past tenses of verbs. The poem consists of three stanzas. In the first stanza, the image of the lyrical hero is imbued with a feeling of loneliness. The repetition of the word "one" and the anaphora of stylistic figures ("a sad shadow" - "a jubilant day") once again emphasize the feelings of the lyrical hero. In the second stanza, the lyrical hero is immersed in thoughts about the past. This is conveyed by the use of past tense verbs (“fitted”, “published”, “wrapped”, “went”). To give eccentricity, high spirits, the author uses lexical anaphora (and ..., and ...) and the frequent repetition of the word "you". We can also observe exclamations in stanzas 1 and 3. In the third stanza, the lyrical hero addresses the cloud (“Enough, hide!” This request seems illogical in the light of the events that have taken place. But further this is explained by the use of the past tense of the verbs ("passed", "rushed"). The vocabulary of the poem is very interesting. The word "azure" is used in the meaning of a bright, blue sky. "Greedy" - thirsty, asking for moisture. When combined with a noun, it becomes a personification. The words "passed", "hide", "tree" are archaisms. They are used to keep the rhythm and rhyme of the poem. The poem is written in four-foot amphibrach using paired rhyme (male and female). The images in the poem are not only symbolic, but also allegorical. Perhaps the storm means some kind of stormy feeling that left a mark in the soul of the poet. Or is it a kind of appeal to the king. Alexander Sergeevich reminds him of the Decembrist uprising. He hopes for the release of the exiled Decembrists. If so, then the image of the cloud in this poem is unconventional for the poetic language of the first half of the 19th century. The cloud meant danger ("The Tale of Igor's Campaign", "Ruslan and Lyudmila"). I believe that A.S. Pushkin found a new sound and expanded the meaning of the word "cloud". Conduct a linguistic analysis of A.A. Feta "Learn from them - from the oak, from the birch." Learn from them - from the oak, from the birch. Around winter. Tough time! In vain, tears froze on them, And the bark cracked, shrinking. The blizzard is getting worse, and with every minute the heart tears the last sheets, and a fierce cold grabs at the heart; They stand silent; shut up and you! But believe in spring. Her genius will rush, Again breathing warmth and life. For clear days, for new revelations A grieving soul will hurt. A poem by A.A. Feta "Learn from them - from the oak, from the birch" was written in the early 80s. Already in the 50s, Fet's romantic poetics was formed, in which the poet reflects on the connection between man and nature. He creates whole cycles: "Spring", "Summer", "Autumn", "Evenings and Nights", "Sea", in which, through pictures of nature, the reader and the lyrical hero comprehend the truth about man. In this sense, the poem "Learn from them - from the oak, from the birch" is very characteristic. The discreet picture of Russian nature is reflected in poetry in a peculiar way. The poet notices her elusive transitional states and how the artist “draws”, finding ever new shades and colors. The term "poetry of the impressionists", applied to the lyrics of Fet, perfectly reflects the search for poets-thinkers, poets-artists. Even Fet's contemporaries, especially Saltykov-Shchedrin, emphasized the complete fusion of man with nature in his lyrics. In the voice of Fet, the voice of a living being is heard, such as grass, trees, animals. The poet can "be silent" in their language, plunging into statistical contemplation. And after the poet, before the reader there are severe pictures of disharmony in nature, and in Fetov's way, in the human soul. They cause a number of associations: trouble, disorder, anxiety, worry. This is facilitated by metaphorical images: “tears froze in vain”, “a fierce cold grabs the heart”; negatively emotionally colored epithets: “fierce cold”, “cruel time”, “mourning soul”, inversion “tears in vain froze on them” The culmination of bad weather in nature is associated with spiritual sensations. In the first and third stanzas, mostly simple and simple complicated sentences are used (complication with adverbial phrases, homogeneous definitions). The second stanza has a different syntactic structure: a complex unionless proposal. Short, informative and rich sentences give the poem dynamics. The second stanza stops the dynamics of the poem, slows it down, in the third stanza the dynamics is restored. Motivating sentences set the tone for the entire poem, forms of verbs in the imperative mood give elements of didactic instruction, outdated forms of the words “shrinking”, “life” give the solemnity of speech. At first, the poem is imbued with pessimistic moods. The injection of tragic motives is especially noticeable in the second stanza, where the author allowed himself to use lexical repetitions: “the heart breaks” - “grabs the heart”, “they are silent; shut up and you. Such a technique reinforces the expectation of a denouement, which is why the third stanza begins with the opposing union “but” (“But believe in spring”). The union “but” invades the last stanza, contradicts the world of disorder and discord. carries a bright image of beauty, harmony. Now the figurative system serves to create feelings of a different kind - faith in the triumph of goodness, beauty, harmony. Perhaps Fet saw in nature what he so lacked in life, in the sphere of human relations (many years were spent on restoring the noble title, tragic love for Maria Lazich). I think this poem is a prime example the fact that Fet did not stop re-reading the great and sublime book of nature all his life, remaining her faithful and attentive student. And after the poet, the reader should also learn about nature, because in it is the key to all the secrets of human existence. Nature - the best teacher and mentor of man. We have a metaphor in front of us. The philosophical and psychological subtext of the poem is obvious. Oak is a symbol of perseverance, strength, strength. Birch is a symbol of vitality, resistance to adversity, flexibility, love of life. The key words are winter - adversity, spring - a full-blooded free life. The point in the poem, therefore, is that a person must courageously endure the blows of fate and believe in the inevitability of change. The poem breathes movement, but there is not a single word that directly expresses movement in it. To a greater extent, the poem is unique in that two very different series of events converge in one aesthetic reality. The ending is the strongest emotionally; all the power of the poem is concentrated in it. The artistic world is created by a variety of rhythms, sounds and a special syntax, i.e. chant style. In the first stanza, nominative incentive sentences are used, since Fet sought to express the complexity of the spiritual life of man and nature. The second stanza closes the climax in the soul and in nature. In the third stanza, the antagonistic union changes the mood of the lyrical hero, and behind the pictures of a cruel winter, one feels a revival of hope. The poem is written in three-syllable amphibrach with cross w/m rhyme. The poet liberated the word and increased the load on it - grammatical, emotional, semantic. At the same time, the semantic unit of a poetic text is not a single word and not even individual words and expressions, but the entire near and far context. The poem itself is a vivid lyrical experience, an instant lyrical flash. Also in the poem, outdated forms are used: “life”, “shrinking”. The author's presence is felt: "tears froze on them in vain", "a grieving soul". Fet is perceived as a symbolist poet who, as a sage, transforms tragedy, pain, compassion into beauty. It is in the indestructible ability to pass everything through the heart that his work is perceived. Expressively read the poem by I. Severyanin "Two Quiet". Conduct a linguistic analysis of the poem. Quiet double High is the moon. The frosts are high. Distant carts creak. And it seems that we can hear the Arkhangelsk silence. She is heard, she is visible: There are sobs of cranberry bog in her. There are crunches of snowy canvas in it, In it of quiet wings is the whiteness of Arkhangelsk silence. Igor Severyanin chose an unusual name for the poem - "Tish double." On the one hand, the reader can hear it, the silence is described in such a "detailed way", it contains a lot of things, from the "sobs of the cranberry bog" to the "crunches of the snow canvas". It would seem, well, what can be special in silence? But only at first glance it may seem that silence is lifeless and dull, not for nothing that Igor Severyanin belonged to the poets of the “Silver Age”, because he was able to make the reader not only hear the silence, but also “see”, feel it ... The moon is high. The frosts are high. Anaphora "high" is rather unusual for the first lines. I want to raise my head and see this moon, feel such a frost. The poem is written in iambic tetrameter using a ring composition. This helps the author to reveal the idea: to describe silence in such a way that every sound is distinguishable in it. The alliteration of the sounds "sh", "zh", "x" creates the effect of a crunch, rustle, sobs. If you read the poem aloud, you can really hear it. Incomplete sentences with missing predicates also help create an image of silence. The poet repeats the word "heard" to once again draw the attention of readers: so quiet that silence can be heard. and this all-consuming silence allows you to hear the "distant creak of carts." The dash sums up everything that “is in the Arkhangelsk Silence”. It is interesting to compare snow with "snow canvas", that is, snow is white, like the sail of a ship at sea. It is complex, it is visible: There are sobs of cranberry bog in it. The colon proves that it is indeed visible from what is happening around. The epithet "quiet" emphasizes that even the wings try not to disturb this peace. It is difficult to talk about silence, if most often it is associated with deadness, eternal peace. But the silence, "overheard" by the poet is different - this is a leisurely course of life, sleep and awakening, the absence of an alarming, tense flow of everyday affairs. The techniques and figures used complement the image of this complex phenomenon called silence. The poem by I. Severyanin “The double silence is built on a system of interconnected echoing images. It is not so much individual words or phrases that are important, but the associations that they generate in the reader. It is as if we are plunging into another world, we find ourselves in the snowy Russian outback, where we peer and listen to the silence, “twofold silence”. "Speaking" is the very title of the poem. What does "double silence" mean? And in general, how can you hear silence, because silence is the absence of any sounds?! But for Severyanin, this very silence is made up of “sobs of a cranberry quagmire”, from the creak of carts and “crunch of snow canvas”, i.e. In other words, the crunch of snow underfoot. Severyaninskaya silence is "visible"; this is not silence and not just a combination of sounds, this is a special feeling, a special atmosphere hovering over the expanses of Arkhangelsk. Talking" are epithets used later to describe the picture he presents: "high moon" - this is because the moon in the north seems far away, located high, high in the sky; “High frosts” means severe frosts; "sobbing cranberry bog" - this phrase tells a lot. Firstly, about the fact that cranberries grow in the swamps in the Arkhangelsk hinterland in the summer, that the bog makes strange sounds, similar to sobs, evoking melancholy. “Quiet wings of whiteness” - this is probably said about angels looking from ancient Arkhangelsk icons. From all this, the “twofold silence”, “Arkhangelsk silence”, the Arkhangelsk spirit, incomparable with anything, is formed. The poem is written at such a pace, using such techniques for constructing phrases and sentences, that the reader has a feeling of a leisurely flow of time, peace. Short, complete sentences give definiteness to everything said by the poet. A technique is used when several lines begin with the same phrase (one word), which emphasizes the features of the described object (or phenomenon), and, in addition, gives the poem some resemblance to a simple, soulful song. Analyze the poem based on the questions. Wonderful hail will sometimes merge From flying clouds; But as soon as the wind touches him, He will disappear without a trace; Thus the instantaneous creations of a poetic dream Disappear from the breath of extraneous fuss. E. Baratynsky 1. What is this poem about (specify the topic), 2 b. its main idea (formulate yourself or find a poem in the lines). 2 b. 2. What semantic parts can this poem be divided into? 2 b. On what basis is it built? 2 b. 3. What "extraneous fuss" is referred to in the last line? 2 b. 4. What, according to the author, is the death of poetry? 2 b. 5. Try to define in one word what "disappears." 1 b. 6. What means of expression help the author convey his thought? From 1 b. 7. Determine the poetic size. 2 b.

This page features:

• full text of the poem by A.S. Pushkin "Cloud"
• school analysis of A.S. Pushkin "Cloud".

Pushkin A.S. "Cloud"

The last cloud of the scattered storm!
Alone you rush through the clear azure,
You alone cast a sad shadow,

And watered the greedy earth with rain.

School analysis of the poem by A.S. Pushkin "Cloud"

The poem "Cloud" was written in one thousand eight hundred and thirty-five. The great Russian poet Alexander Sergeevich Pushkin dedicated it to the cloud.

You alone cast a sad shadow,
You alone grieve the jubilant day.

Vague feelings visit the poet. He observes dissonance. The storm is over, and the sky is again lit up with azure, pure washed nature - in anticipation of bright colors and sunlight. Now it seems that everything around is calling the sun. The poet joins the voice of nature and helps the cloud find its place.

Turning to the cloud, the poet is looking for an explanation of his feelings. He seems to be judging the cloud, offering his vision. In the second quatrain, the author draws a thunderstorm.

You recently circled the sky,
And lightning wrapped around you menacingly;
And you made a mysterious thunder
And watered the greedy earth with rain.

That's enough, hide! The time has passed
The earth was refreshed and the storm passed
And the wind, caressing the leaves of the trees,
Drives you from the calm heavens.

The poem is filled with means of artistic representation.

• Epithets: a gloomy shadow, a jubilant day, a mysterious thunder, a greedy earth, calm skies.
• Personifications: “you alone grieve the jubilant day”, “lightning wrapped around you menacingly”, “it watered the greedy earth with rain”. the wind caresses the leaves of the trees.

This work is an example of allegory - the author reveals his feelings through an appeal to natural phenomena.

The work of Alexander Sergeevich Pushkin is picturesque and multifaceted. Along with the dull and gloomy image of a cloud, there is a bright and beautiful image of a "jubilant day" in the poem. The poet in his message helps to understand that everything in nature has its place.

The poem "Cloud" refers to the landscape and philosophical lyrics of Alexander Sergeevich Pushkin, and although at that time the poet had already begun to move away from romanticism, this work is fully sustained in this direction. It is necessary to read the verse "Cloud" by Pushkin Alexander Sergeevich carefully, because this work is not accidental. It was written on April 13, 1835. The next day, the poet was supposed to get an appointment with the head of the Third Department, A.K. Benkendorf, to whom he filed a petition to publish his own newspaper. The poet hoped that the thunderclouds above his head would finally dissipate and life would return to normal. The image of a cloud is a classic for romantic works. It is a symbol of sadness, anxiety, danger. The poet, as it were, describes everything that happens in his life, revealing to the reader his fears and hopes. In the first part of the poem, the cloud is just approaching, bringing fear and despondency to the poet, in the second part the storm has already broken out and the long-awaited rain has poured on the ground, but in the third the cloud has gone, fears and anxieties have dissipated. The poet, with the help of symbols, images and allegories, tries to convey to the reader the idea that worldly storms are a temporary, passing phenomenon.

The poem also carries a different meaning. Pushkin, using the antithesis, paints the storm and the calm after it with watercolor accuracy, as if saying that the time for his fame has passed, that it is necessary to leave the “poetic stage”, to give way to young talents. At this time, the poet was really experiencing a certain creative crisis, he and his works were no longer so admired by readers, and critics directly said that "Pushkin is not the same." Some researchers believe that "The Cloud" is a poem dedicated to the decade that has passed since the Decembrist uprising. The poet in his work, as it were, says that the time for storms, when his poems were really needed, has passed. In this poem, Pushkin uses many different epithets that enhance the “picture” of the narrative, convey the mood of the initial house and the ensuing peace, the personifications enliven nature and the main “hero” of the narrative - the cloud. The poet resorts to the technique of alternating female and male rhymes, atypical for landscape works. The rhythm of the work is very even, soothing, measured. Learning this piece by heart is easy. This work was recognized as the best landscape poem by Pushkin. The richness and beauty of artistic images impress readers today. They usually disassemble it at literature lessons in grade 9.

The text of Pushkin's poem "The Cloud" can be downloaded from our website or read completely online.