Phorum theme of creativity in literature. The theme of creativity in Russian literature. Artistic literary creativity. Problems of studying the theme of creativity in the science of literature The theme of love in Russian literature
The article presents a small selection of poems dedicated to the theme of poetry and the fate of the poet, and their brief analysis. This selection will help graduates taking the exam in literature when writing a detailed answer in task 16, where it is necessary to compare the given passage from the lyrical text with other poems with similar themes and quote them.
He is haunted by blasphemy:
He catches the sounds of approval
Not in the sweet murmur of praise,
And in the wild cries of anger ...
Nekrasov's poem is built on antithesis. The first part is devoted to poets who do not touch on topical, topical topics, do not use satire in their work and, thus, find a large number of admirers of their work: “And his contemporaries are preparing a monument to him during his lifetime ...”. The second part of the poem reflects the creative life of a rebel poet, one who writes sharply, sincerely, does not try to please. He remains honest with his readers and, above all, with himself, and in his works he shows the truth of life without embellishment. Despite the fact that such a poet does not find recognition during his lifetime (“And every sound of his speeches produces harsh enemies for him”), Nekrasov notes that after his death, great works will be understood and appreciated even by those who previously criticized them. Thus, the author of the poem reflects the following point of view: a brilliant poet is a person who is not afraid to express his civic position in poems, is not afraid of being misunderstood and does not strive for fame, and who sees the meaning of his life in the opportunity to speak through his creativity.
Mayakovsky "An Extraordinary Adventure ..."
I will pour my sun
and you are yours
poems.
The author depicts a dialogue between the poet and the sun, thereby, as it were, likening a person who creates poems to a luminary that sheds light on the earth. The poet, just like the star, dispels the darkness, but only does it in the soul of each individual reader. Mayakovsky's message is important: it is necessary to work hard and hard, and then the creations can become for people the same sunlight that warms and illuminates the life path:
Shine always, shine everywhere
until the days of the last bottom,
shine - and no nails!
Here is my slogan and the sun!
Tvardovsky "The whole essence is in one single testament ..."
I'm worried about one thing in life:
About what I know best in the world,
I want to say. And the way I want.
In most of his poems, Tvardovsky urges people to always be honest, to say only what they think. He portrayed contemporary life and a Russian man with an open soul. The lyrical work "The whole essence is in one single testament ..." was no exception, but here Tvardovsky draws attention to the special purpose of the poet. The only purpose of creativity for him is the expression of thoughts and feelings through his lines. The creator must speak openly and directly, without lies and falsehood - this is the only possible condition for the existence of art. The work is built as a monologue-declaration, that is, as a declaration of one's own truth, which for the lyrical hero is an indisputable truth.
Pushkin "Poet"
But only the divine word
It touches the sensitive ear,
The soul of the poet will tremble,
Like an awakened eagle.
In Pushkin's view, the poet is a sublime, heavenly creature - this is exactly how Alexander Sergeevich describes him in his works. Therefore, at the beginning of the poem, the life of the creator in the ordinary world is reflected, in which there is no place for lofty ideas and dreams. He suffocates and feels worthless, being part of this routine and prosaic life: "And among the children of the insignificant world, perhaps he is the most insignificant of all." The second half of the poem is devoted to the very moment of creativity, when the muse comes to the poet and he becomes not involved in the world. ordinary people. The author emphasizes that a creative person cannot live without inspiration, only in the presence of it does he become truly free and happy, the usual earthly life is alien to him. And it is at the moment of creating his works that he can be alone with his art.
Balmont "Higher, higher"
Higher, higher, all behind me
Enjoy the high
Get caught in my net
I sing, I sing, I sing.In the poem "Higher, Higher" Balmont described creative process. He portrays the poet as a creator, a creator who touches the soul of everyone who reads his poem: "I touched the souls of strangers, like strings, but my strings." Another image that Balmont's metaphor suggests us is the lyricist as a musician who, with the help of words, creates a work that plays on the strings of a person's soul. The poem can also be considered as a process of reading this work: “With the flutter of sonorous wings, it fogged, intoxicated.” Indeed, with each line you read, you become more and more immersed in the artistic world of Balmont and unconsciously become a part of it yourself.
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GOU secondary school with in-depth study of economics No. 1301
Exam topics in the form of an interview
on literature
2. The patriotic theme in the works of Russian literature (L. Tolstoy "War and Peace", M. Sholokhov "Quiet Flows the Don").
3. Gospel motifs in the works of Russian writers (F. Dostoevsky "Crime and Punishment", M. Bulgakov "The Master and Margarita", L. Andreev "Judas Iscariot").
4. The theme of the generation and the image of the "superfluous person" (A. Pushkin "Eugene Onegin", M. Lermontov "A Hero of Our Time", I. Goncharov "Oblomov", I. Turgenev "Fathers and Sons").
5. The image of Russia in the works of Russian poets (N. Nekrasov “Who should live well in Russia”, S. Yesenin, A. Blok).
6. Women's images in Russian literature of the 19th century (A. Ostrovsky "Thunderstorm". L. Tolstoy "War and Peace", "Oblomov", "Fathers and Sons").
7. The fate of a person in the context of the era (I. Bunin "The Gentleman from San Francisco", "Sunstroke", "Clean Monday", A. Kuprin "Garnet Bracelet", Sholokhov "The Fate of a Man").
8. The theme of the struggle between good and evil in the works of Russian literature (F. Dostoevsky, A. Pushkin, M. Bulgakov).
1. The theme of creativity in the lyrics of Russian poets of the 19th and 20th centuries. (A. S. Pushkin. M. Yu. Lermontov, B. L. Pasternak).
A.S. Pushkin
This issue is touched upon in his first published poem, "To a Poetic Friend" (1814). The poet speaks of the sorrows that befall the poets whom
Everyone praises, nourishes - only magazines;
Rolling past their Fortune wheel ...
Their life is a series of sorrows, thundering glory is a dream.
The author advises the beginning poet to be "calm". He sees the purpose of poetry in being useful to society. In his opinion, “good poems are not so easy to write,” but if you write, then only good ones.
In the 1824 poem "A Conversation between a Bookseller and a Poet," a judicious bookseller remarks:
Inspiration is not for sale
But you can sell the manuscript.
The poem ends with the poet's recognition of the correctness of the bookseller. The final lines of the poem are written in prose. This transition to prose speech takes the reader from the world of dreams of the sublime to the world of mundane reality. In this poem, Pushkin acted as an innovator: for the first time he expressed a realistic attitude towards the poet's activities.
The poem "Prophet" (1826) tells in allegorical form about the transformation of a common man into a poet-prophet. The “six-winged seraphim” endows a person with “prophetic eyes”, an unusual ear, the sting of a “wise snake”, instead of a heart, “pushes” into his chest “coal burning with fire”. But this complete transformation is not enough for a person to become a poet-prophet, this requires the will of God:
And God's voice called out to me:
“Arise, prophet, and see, and listen,
Fulfill my will
And, bypassing the seas and lands,
Burn people's hearts with the verb."
Thus, Pushkin in The Prophet sees the purpose of the poet and poetry in "burning people's hearts with the verb."
Two years later, the poem "The Poet and the Crowd" was written, exposing the attitude of the secular "rabble" towards the poet.
Why is he singing so loudly?
Like the wind his song is free,
But like the wind and barren:
What use is it to us?
However, the poet also expresses his attitude towards the "mob":
Go away - what's the matter
The peaceful poet is up to you!
In debauchery boldly stone,
The voice of the lyre will not revive you!
According to Pushkin, poets are born "for inspiration, for sweet sounds and prayers." The poet is a complex being, marked from above, endowed with a part of the creative power of the Lord God, but at the same time he is an ordinary living earthly person. God sends inspiration to the poet, and then -
The soul of the poet will tremble,
Like an awakened eagle.
Pushkin creates the image of a poet fighting for freedom of expression of his thoughts, for the truthfulness of poetry, for his independence from the power of money and the crowd. So, in the poem "To the Poet" (1830), the author refers to the poet:
Poet! do not value the love of the people.
Enthusiastic praise will pass a moment's noise;
You will hear the judgment of a fool and the laughter of the cold crowd:
But you remain firm, calm and gloomy.
At the same time, the fate of the poet is to be a lonely person. Pushkin calls on the poet to follow "the road of the free, where the free mind leads you." The theme of the relationship between the crowd and the artist Pushkin continues in the poem "Echo" (1831). The author compares the creative activity of the poet with the echo:
For every sound
Your response in the empty air
You suddenly give birth ...
You don't have a response ... Such
And you, poet!
A kind of poetic testament of Pushkin was the poem “I erected a monument to myself not made by hands” (1836), written six months before his death. It goes back to the ode of the Roman poet Horace "To Melpomene", the poems of Lomonosov, Derzhavin.
Pushkin singled out the essential quality of his work - serving the people, as well as the fact that he "awakened good feelings" with his poetic work:
And for a long time I will be kind to the people,
That I aroused good feelings with lyre,
That in my cruel age I glorified Freedom
And he called for mercy on the fallen.
The poet, according to Pushkin, should not depend on anyone, “not bow his proud head” to anyone, but worthily fulfill his mission - “to burn the hearts of people with the verb”. At the age of fifteen, in the poem "To a Poet Friend," Pushkin declared:
And know that my lot has fallen, I choose the lyre.
Let him judge me as the whole world wants,
Get angry, shout, scold - but I'm still a poet.
Later, Pushkin would say: "The purpose of poetry is poetry," and he will remain true to this to the end.
1) The process of creativity, its purpose and meaning, the relationship of the poet with the reader;
2) The relationship of the poet with the authorities and himself.
All these aspects are presented by Pushkin and throughout his work the theme is evolving (developing)
The theme of the poet and poetry is traditional in Russian and European literature.
Turning to her, Pushkin conducts a dialogue with his predecessors:
- Horace (Dr. Rome)
- Ovid
- Lomonosov and Derzhavin
The theme runs through all of Pushkin's work. His first published poem was "To a friend of a poet" 1814. And the last poem to this theme was "I erected a monument to myself not made by hands" 1836.
In his work, Pushkin built a concept about the place of the poet in the world, about the relationship between the poet and society, about the creative process.
The theme of the poet and poetry is cross-cutting
The theme of the civil personality of the poet in the poem "Licinia"
The theme of the chosen circle of poets, opposition of the poet to the crowd Zhukovsky
Two images of the poet in Pushkin's late lyrics - Poet as a prophet - "Prophet", Poet as Priest - "The Poet and the Crowd".
The fate of the poet in Pushkin's work is a symbolically expressed thought about one fate of the poet - "Orion". Creativity expresses an ordinary person in life above others. Posthumous glory, which is identified with eternal life - "Monument».
Poet and King. The motive of the spiritual rivalry between the poet and the Tsar. Affirmation of the right to complete freedom of creativity. 1828 - "Friends".
On the way from Mikhailovsky to Moscow, where the disgraced Pushkin was going to meet the Tsar. In the view of the romantics, the poet and the prophet merged into one person, but Pushkin thinks otherwise. The poet and the prophet have much in common, since God calls both to service. However, in Pushkin's poems they do not merge into one being. Because the poet lives among people until he is captured by inspiration.
People expect fiery words from the poet-prophet. God sends a prophet into the world to "burn people's hearts with a verb." The prophet is the majestic offspring of God - the doer of the will of God. The most important thing for God is the main thing - his own will, he is not the executor of the will of God. God chooses him for creativity.
The prophet and the poet have in common the ability to see the world in such a way that a simple person will never see it: they both see hidden, secret sides. But the prophet does not use this omniscience for creativity. The prophet corrects the world, the poet colors it.
The prophet brings the word of God to people, the poet creates his own words, but both of them turn to people, revealing the truth about earth and sky.
"Monument" - 1836
The theme of the poet and poetry
The problem of poetic glory, poetic immortality.
Genre - "Ode" The specificity of the poem is dictated by tradition. The poems are written as a kind of imitation of Derzhavin's poem "Monument", which in turn is a remake of Horace's ode. The epigraph to his poem Pushkin borrowed from Horace. Pushkin is trying to show what his merit to Russia is: "And for a long time I will be so kind to the people." He knows that the uninitiated define the merits of his poetry in this way, and calls on the muse not to challenge the fool.
Means of poetic expression:
Metonymy - I awakened good feelings with lyre
Synecdoche - and every language that exists will call me.
Personification - be obedient to the command of God about the muse.
M.Yu.Lermontov
In the lyrics of Lermontov we find the main themes of Russian poetry of the 19th century. In the late lyrics of Lermontov, there is an insistent appeal addressed to the poet: do not write poetry! How to understand the rejection of poetic speech? After all lyrical hero Lermontov - a poet-prophet, it turns out that the poet is silent not because he is weak, but because the poet is too involved in heaven and the abyss.
The poem "Journalist, Reader and Writer" indicates two main sources of poetic inspiration. The bright beginning of creativity is from God, and the other is from the Demon.
But no matter what pole the poet strives for, he is still incompatible with the century, with today's crowd.
The poet could and should serve the people of the past - the heroes in comparison with our tribe - "Poet" 1838
But to make your divine gift a golden toy or to put it up for sale is not good for the chosen one of higher powers.
According to Lermontov, the poet has two options:
Peaceful departure from this world;
A hopeless war with a generation, society, the world of people. Reproof and revenge "by means of an iron verse, drenched in bitterness and anger" - "How often surrounded by a motley crowd."
"The Prophet" - 1841
We are talking about the familiarization of a person with secret beings - the poem continues Pushkin's "Prophet", but is not similar either in content or in style. "I began to proclaim love."
People do not talk to him, they drive him away, the stars in the desert listen to him praying, where the earthly creature is also obedient to him.
Lermontov entered literature with the words "Slave of honor" - "Death of a poet", and passed away with the words "Evil rulers of the prophet, how everyone despise him." God also does not speak to him, but he did not leave a prophet, but people persecuting him.
However, a prophet remains a prophet when he remains a prophet, when no one believes him, because he believes in himself.
B.L. Pasternak
In the 20th century, the motif of uselessness and incomprehensibility continues. Pasternak "Being famous is ugly."
The poet's view of the relationship between lyrical creativity and reality is peculiar. According to B. Pasternak's deep conviction, the true creator is not man, but nature. And therefore poetry is not the creation of a particular person, but a direct consequence of life. The artist is the one who helps the creativity of nature, without inventing anything, without bringing anything from himself:
It used to be that the snow is hard-boiled,
Whatever comes to mind.
I I prime it with dusk
Your home, and canvas, and everyday life.
All winter he writes sketches,
And in front of passers-by
I take them from there
I melt, I copy, I steal.
Many poems by B. Pasternak were written about the fact that art is born in the bowels of nature. Nature is poetic from the very beginning, but the poet is only a co-author, an accomplice, he only clarifies this poetry. The consequence of this clarification is that B. Pasternak constantly applies literary terms to natural phenomena:
For this book on the epigraph of the Desert Siple...
The sprouts of the shower are dirty in clusters And share, share, until dawn, Drip their acrostic from the roofs, Blowing bubbles into rhyme.
The identification of the poet and nature, the transfer of copyright to the landscape - all this, in essence, serves one single purpose. Poems composed by nature itself cannot be a fake. So the author confirms the authenticity of what is written. Authenticity, reliability, according to B. Pasternak, is the main feature of true art. How is this authenticity achieved? The most important thing here is "not to distort the voice of life that sounds in us." Therefore, heightened impressionability, increased susceptibility to all sensations, to all movements of the surrounding world, is the main feature of genuine poetry. This is how the image of “poetry-sponge” appears in B. Pasternak, deployed in one of his early poems:
Poetry! Greek sponge in suction cups
Be you, and between the sticky greens
I would put you on a wet board
Green garden bench.
Grow yourself lush mesentery and figs,
Take in the clouds and ravines,
And at night, poetry, I'll squeeze you out
To the health of greedy paper.
Art in this sense implies a renewed view of the world, which, as it were, was first seen by the artist. B. Pasternak believed that the creative process begins when "we stopped recognizing reality", when the poet begins to talk about it, like Adam, as if not a word had been said about it before. Therefore, B. Pasternak in his lyrics constantly emphasizes the unusualness of the most ordinary phenomena, preferring it to any kind of exotic and fantasy. A simple morning awakening is fraught with a new way of looking at the world. ("I I wake up. I am embraced by what has been revealed.") The poet feels the original novelty of everything that happens around ("The whole steppe, as before the fall...").
The late lyrics of B. Pasternak add important points to the understanding of poetic creativity. The idea of moral service here prevails over everything, and if earlier poetry was defined as a sponge, now, without canceling the past, a different motive dominates: The goal of creativity is self-giving, Not hype, not success. It's shameful, meaning nothing, To be a parable on everyone's lips. Poetry in his understanding is the incessant work of the soul, a movement in which the main thing is not results, but discoveries. Making discoveries, the poet shares them with other people, does his best, strains all his mental strength in order to be understood. And this is much more important for the poet than fame and success, because the poet, first of all, testifies with each of his works about the greatness of life, about the immeasurable value of human existence.
2. The patriotic theme in the works of Russian literature (L. Tolstoy "War and Peace", M. Sholokhov "Quiet Flows the Don").
L. Tolstoy "War and Peace"
Leo Tolstoy begins the story of the war of 1812 with harsh and solemn words: “On June 12, the forces of Western Europe crossed the borders of Russia, and the war began, that is, an event contrary to human reason and all human nature took place.” Tolstoy glorifies the great feat of the Russian people, shows the full strength of their patriotism. He says that in the Patriotic War of 1812 "the goal of the people was one: to clear their land from invasion." The thoughts of all true patriots were directed towards the realization of this goal - from the commander-in-chief Kutuzov to the ordinary soldier.
The main characters of the novel, Andrei Bolkonsky and Pierre Bezukhov, strive for the same goal. For this great goal young Petya Rostov gives his life. Victory over the enemy is passionately desired by Natasha Rostova and Marya Bolkonskaya.
Prince Andrey found the news of the invasion of enemy troops in Russia in the Moldavian army. He immediately asked Field Marshal Kutuzov to transfer him to the Western Army. Here he was offered to stay with the person of the sovereign, but he refused and demanded an assignment to the regiment, which "lost himself forever in the court world." But this was of little concern to Prince Andrei. Even his personal experiences - Natasha's betrayal and break with her - faded into the background: "A new sense of anger against the enemy made him forget his grief." The feeling of hatred for the enemy merged with him with another - a "pleasant, reassuring feeling" of closeness to real heroes - soldiers and military commanders. The Battle of Borodino was the last in the life of Prince Andrei. Pierre Bezukhov in the first weeks of the war was so engrossed in his personal feelings related to the feeling for Natasha Rostova that gripped him that everything that happened around him seemed unimportant and uninteresting to him. But when the news of the impending catastrophe reached his mind, he caught fire with the idea that he was destined to "put the limit of the power of the beast," and decided to kill Napoleon. Meeting with soldiers and militias in Mozhaisk, as well as being present at the Battle of Borodino, led to profound changes in his mind.
Pierre wanted to break out of the usual circle of life and give up his wealth. He realized that "all this, if it's worth anything, it's only because of the pleasure with which you can throw it all." He was seized by the desire to become a soldier: “Enter this common life with all his being, imbued with what makes them so.” The question arose before him: “How to throw off all this superfluous, diabolical, all the burden of this external person?” Pierre decided to connect his fate with the fate of his people. And when he was captured, the consciousness of the correctness of the path he had chosen helped him endure the most difficult moral and physical suffering.
On the eve of the war, Natasha Rostova experienced a personal tragedy - a break with her loved one. It seemed to her that her life was over and "that state of freedom and openness to all joys will never return again." Natasha was seriously ill, and it seemed that there was not even hope for her recovery. But, despite this, she took the people's disaster very close to her heart. Her sense of patriotism was most vividly manifested in the scene of preparations for her departure from Moscow. She was shocked to learn that while they were busy with their things carts, the wounded were ordered to leave in Moscow. “With a face mutilated with anger,” she burst into the room to her parents and literally ordered them to give carts for the wounded. Her nature woke up in her - impulsive and fiery. Thus, Natasha returned to life, as if her second birth.
With what selflessness she cared for the wounded Prince Andrei! Fate has prepared for her new difficult trials - the loss of a loved one (now forever), and soon the death of her younger and beloved brother Petya. But even in a moment of terrible grief and despair, Natasha cannot think only of herself. She day and night takes care of her mother, who fell ill after receiving the news of the death of her son.
We can safely say that the war turned out to be a severe test for all the heroes of the novel. Tolstoy, putting them in the face of mortal danger, gave them the opportunity to show all those human qualities that they are capable of. And Prince Andrei, and Pierre, and Natasha passed the test, which made the readers feel even greater sympathy for them, bow before their stamina and courage.
M. Sholokhov "Quiet Flows the Don"
After the Pugachev rebellion, attracted by large benefits, the Cossacks became
support for the Russian tsars, fought for them and for the glory of Russia.
The end of this life is described in the first books of The Quiet Flows the Don by Sholokhov.
Cheerful, joyful, full of work and pleasant worries, the life of the Cossacks is interrupted by
World War I. And with it, the age-old way of life irrevocably collapses. Gloomy
winds blew over the Don steppes.
Cossacks walk on the battlefield, and desolation, like a thief, creeps into
farms. And yet, fighting is a common thing for the Cossacks, but the revolution ...
February 1917... The tsar to whom they swore allegiance was overthrown. And
Cossacks who served in the army rushed about: who to believe, who to obey?
It was especially difficult to decide in the days of the Kornilov rebellion. commander in chief
Kornilov calls for the overthrow of the revolutionary power of the Provisional Government. AT
in the end, the Cossacks turn back from Petrograd. And here's a new one
October Revolution. And again, confusion in the soul of the Don. Which side to take?
What do the Bolsheviks promise? Earth? So they have enough. World? Yes, war
tired...
The protagonist of the novel "Quiet Flows the Don" Grigory Melekhov suffers from the same
doubts that the rest of the Cossacks. At first, it seems to him that Izvarin is right,
who says: “We need our own, and above all, the deliverance of the Cossacks from
all guardians - be it Kornilov, or Kerensky, or Lenin. Let's get by on
own field and without these figures. Deliver, God, from friends, and with enemies we ourselves
we'll manage."
But after meeting with Podtelkov, Grigory leans towards the Reds, fights on them
side, although the soul still does not stick to any shore. After
wounded under the village of Glubokaya, he goes to his native farm. And heavy in the chest
contradictory. It was difficult to find the right path; as in a swampy gati,
the soil broke out under their feet, the path was crushed, and there was no certainty - along that
whether, on which it is necessary, goes.
Particularly painful are the memories of the execution of officers by the Red Army,
started at the command of Podtelkov. Thus began the great extermination
Cossacks by the Soviet authorities, which was called "decossackization".
They say that Ya. M. Sverdlov, with the consent of the Central Committee, gave the order to take hostages and
to shoot everyone who in one way or another opposed the new government.
Melekhov did not find his place among those who wanted to establish an alien
donts order. And now he, along with other fellow villagers, is performing
fight with Podtelkov.
Tragically, the writer draws the capture of the Podtelkov detachment. Meet suddenly
classmates, godfathers, just people who believe in one God, who used to
could call each other countrymen. Joyful exclamations, memories. BUT
the next day, the captured Cossacks are put up against the wall ... A bloody river spills over
Don land. In a deadly fight, brother goes to brother, son to father. Forgotten
valor and honor, traditions, laws, the life that has been adjusted for centuries is crumbling. And
now Gregory, who had previously internally opposed bloodshed, easily himself
decides someone else's fate.
And the time began when power was changing, and yesterday's winners, not having time to
execute opponents, become defeated and persecuted. Everything is cruel
even women. Let's remember a very strong scene when Daria kills Kotlyarov,
believing him to be the murderer of her husband Peter.
But still Soviet authority seems alien to the majority of the Cossacks, although
those like Mikhail Koshevoy were loyal to her from the very beginning. Finally,
begins a broad insurrection against her. proficient in
politics Osip Shtokman sees the main reason for the anti-Soviet uprisings on the Don
in kulaks, atamans, officers, rich people. And does not want to understand that no one
given the right to break someone else's life with impunity, to impose a new order by force.
Gregory becomes one of the major military leaders of the rebels, showing
himself as a skilled and experienced commander. But something is already breaking in his soul from
many years of military assassination: more and more often he gets drunk and confuses with
women, forgetting about the family, become more and more indifferent to themselves.
The uprising is crushed. And again, fate makes a coup with Melekhov.
He is forcibly mobilized into the Red Army, where he fights with Wrangel.
The man is tired of the seven-year war. And I wanted to live a peaceful peasant
work with family. He returns to his native place. Not left in the farm
Tatar family, which would not be deprived of fratricidal war. In
the words of one of the heroes turned out to be true in many respects, that “there are no more Cossacks
life, and there are no Cossacks!
On the ashes, Gregory tries to revive life, but does not give him this
Soviet authority. Threatens with prison (and maybe execution, if it came to
until the wrong and speedy judgment) for having previously fought against her. And
this authority acts on behalf of a relative of Grigory - Koshevoy. And here
the surplus arrived. And the dissatisfied united again in Fomin's detachment.
Gregory left. However, the Cossacks were already tired of the war, and the authorities promised
not interfere with their work and farming. (Deceived, as it turned out later,
giving peace for only a few years!)
And Fomin has a dead end. The great tragedy of Grigory Melekhov is that in
everything disappeared in a bloody whirlwind: parents, wife, daughter, brother, beloved
woman. At the very end of the novel, through the mouth of Aksinya, explaining to Mishatka who
father, the writer says: “He is not a bandit, your father. He's so...
unfortunate person." And how much sympathy in these words.
With the death of Aksinya, Grigory loses his last hope. He goes to his native
house where he is no longer the owner. The last scene is filled with faith and love of life
novel. Grigory at the threshold of his native home, in his arms he has a son, the last thing
left over from a past life.
But life goes on.
The revolution caused a lot of grief to Grigory Melekhov and all the Cossacks. And
it was only the beginning of the trials that befell this part of our
people. But the Cossacks did not die. alive and reborn. Happy to see everything
more often on the screens blue Cossack uniforms, brave faces.
3. Gospel motifs in the works of Russian writers (F. Dostoevsky "Crime and Punishment", M. Bulgakov "The Master and Margarita", L. Andreev "Judas Iscariot").
F. Dostoevsky "Crime and Punishment"
Dostoevsky in the notes of the last edition of the novel "Crime and Punishment" formulates its main idea in this way: the idea of the novel is the Orthodox view, in which there is Orthodoxy. There is no happiness in comfort, buy happiness with suffering. This is the law of our planet, but this direct creation, felt by the life process, is such a great joy that you can pay for years of suffering.
Man is not born to be happy. A person always deserves his happiness by suffering, because the knowledge of life and consciousness is acquired by the experience of pro and control (pros and cons), which must be dragged through.
The main character of the novel, R-va, the murderer of Alena Ivanovna and her sister Elizabeth, after he left the people closest to him, is drawn to Sonya, who lives on a yellow ticket, a sinner like him.
“We are cursed together, we will go together. Didn't you do that? You also crossed over, you were able to cross over.
Forced to leave the university, brought to the last degree of humiliation, suffering from insulted pride, compassionate for the degraded official Marmeladov, his consumptive wife, and children, he comes to the conclusion that the rich, disgusting, useless old woman must be destroyed.
On the one hand, driven to despair, he dares to change the entire system of values, to get away from the established social hierarchy, where the lower rungs are occupied by the poor inhabitants of the St. Petersburg corners, and the upper rungs by the powerful. R-v is convinced that there is a different scale of reference: those who have the right and trembling creatures.
R-va's great pride, great love make the motives for the murder mutually exclusive. R-v did not prove to himself that he great person did not become Napoleon for himself. The conscience that lives in him and endlessly makes him tormented by the memory of the spilled blood brings the understanding that his terrible life before the crime was a paradise compared to what he experienced after the murder. So, R-v creates his own theory on the basis of which all people are divided into two categories: trembling creatures and those who have the right.
For Dostoevsky, a deeply religious man, the meaning of human life lies in the comprehension of the Christian ideals of love for one's neighbor. Considering Raskolnikov's crime from this point of view, he singles out in it, first of all, the fact of the crime of moral laws, and not legal ones. Rodion Raskolnikov is a man who, according to Christian concepts, is deeply sinful. This does not mean the sin of murder, but pride, dislike for people, the idea that everyone is "trembling creatures", and he, perhaps, "has the right." "The right has" to use others as material to achieve their goals.
When a conversation begins about R-va’s article, about the ideas expressed in it, investigator Porfiry Petrovich turns to conscience and R-v, so afraid to let it out, unexpectedly let it out when he thoughtfully, not even in tone, says: “Suffering and pain are always indispensable for a wide consciousness and deep heart. Truly great people, it seems to me, must feel great sadness in the world.
No rational constructions carried out by crime destroy what is indestructible in the soul of R-va, so you can believe the hero when he tells Porfiry that he believes in God, in the resurrection of Lazarus. The question of whether R. believes in the resurrection of Lazarus is of great importance in the plot of the novel and in the development of the character of the hero.
On the 4th day after the murder of the old pawnbroker, R-v went to the house on the ditch where Sonya lived. He is driven by the desire to follow the same path with the "great sinner" and the premonition that thanks to her, he will be saved for a new, happy life.
Dostoevsky's favorite heroes, who do good, renounce themselves for the sake of their neighbor, reproach themselves for the fact that they still do little good, firmly believe that compassion and self-denial is the manifestation of God's will.
It is no coincidence that when asked by R-va if she prays to God, Sonya replies: “What would I be without God?”
Her appearance, weak, sickly, with meek eyes that sparkled when it came to the innermost things for her, makes an unexpected impression on R-va. Falling down at Sonya's feet, he bows to all human tradition. Reading R-vu about the resurrection of Lazarus, Sonya hopes to change his mind, that he will believe.
Dostoevsky, of course, does not agree with Raskolnikov's philosophy, and forces him to abandon it himself. We can say that the plot has a mirror character: first, the crime of Christian commandments, then the murder; first, the recognition of the murder, then the comprehension of the ideal of love for one's neighbor, true repentance, purification, resurrection to a new life.
R-va's "resurrection" did not become a miracle like the miraculous resurrection of Lazarus. The hero must still go through a tortuous, painful path, must go through an unsuccessful repentance on the square, through a confession in the quarter of a double murder, a recognition that he, R-v, is not a great person, and only after that, having parted with pride in agony, " rises" R-v. For the hero of Dostoevsky, this was the beginning, where instead of dialectics life came and something completely different had to be developed in the mind. This is how the novel ends for the hero, but according to Dostoevsky, the resurrection of humanity is far ahead.
M. Bulgakov "The Master and Margarita"
The events described in the Gospels continue to remain a mystery for many hundreds of years. Until now, disputes about their reality and, above all, about the reality of the person of Jesus, do not stop. M. A. Bulgakov tried to portray these events in a new way in the novel "The Master and Margarita", presenting to us, the readers, a kind of "Gospel according to Bulgakov".
In the novel The Master and Margarita, the writer's attention is directed to just one episode of Christ's earthly path: the clash with Pontius Pilate. Bulgakov is not interested in the depths of Christian metaphysics. Painful personal relationships with the authorities, rudely intruding into his work and life, force the writer to choose in the gospel plot those episodes that make him experience his own era most profoundly: persecution, betrayal, an unjust trial ...
Evangelical Pilate also did not find fault with Jesus and "sought to let him go", i.e. Bulgakov retained the meaning of the events. But unlike the canonical texts in the novel written by the Master, Pontius Pilate is one of the main characters. Shades of his mood, hesitations, emotions, the course of his thoughts, conversations with Yeshua, the process of making a final decision, received a vivid artistic embodiment in the novel.
The only thing we learn about Pilate from the Gospel is that he was sure of the innocence of Jesus and "washed his hands before the people and said: I am innocent of the blood of this righteous man." From the novel "The Master and Margarita" we learn many details about Pilate. We learn that he suffers from hemicrania, that he does not like the smell of rose oil, and that the only creature he is attached to and cannot live without is
this is his dog.
Yeshua attracts Pilate not as a healer (although with his appearance headache Pilate passed), but as a man: Pilate saw in him a real human soul. He is amazed at Yeshua's inability to tell lies. Pilate especially remembers the phrase "cowardice is one of the main vices of mankind." Later, Pilate himself would say that "cowardice is the most important vice of mankind."
Probably, according to Bulgakov, the sin of Pilate - the sin of fear, fear to openly and boldly express one's thoughts, defend one's convictions, friends - was especially understandable to people of an era that frightened rudely and sophisticatedly. And in order to better reveal the image of Pilate, the Master sometimes allows himself to deviate from the gospel interpretation of events.
Another difference is the fate of Judas. In M. A. Bulgakov, Judas is a handsome young man (by the way, it is interesting how differently different authors draw the same image: in L. Andreev, Judas, on the contrary, is extremely ugly). He betrays Yeshua because it is considered the norm, because everyone does it and not doing it means not fulfilling his duty. He betrays
Yeshua for thirty pieces of silver, just like the gospel Judas, but, unlike the Gospel, in The Master and Margarita Judas is not tormented by repentance. And after the betrayal, he goes on a date with a calm soul. Further, the plot of the novel differs even more from the gospel plot: Judas is killed on the orders of Pontius Pilate, who thus wants to at least somehow atone for his guilt before Yeshua.
Pilate was punished with the most terrible punishment - immortality (remember Gorky's Larra). And none other than Yeshua asks to be released (which once again proves that he cannot work miracles).
The question immediately arises: why is Bulgakov's interpretation of the gospel events so different from the gospel? Of course, one cannot refer to the fact that M. A. Bulgakov knew the Gospel poorly: being the son of a professor at the Theological Academy, the future writer was familiar with the canon like no one else. The reason for this interpretation is that Bulgakov draws a parallel between the ancient Yershalaim and contemporary Moscow. The writer shows that after almost two thousand years, the psychology of people has not changed. Indeed, if you take a closer look at Judas by M.A. Bulgakov, then you can see in him a typical Soviet layman of the twenties and thirties of the last century, for whom betraying his friend, neighbor or even relative is a common thing. And the phrase about cowardice applies not only to Pilate, it is timeless.
L. Andreev "Judas Iscariot"
Judas Iscariot is not only a version of the Gospel, but also a story about people's passions, about love and betrayal. Evangelical Judas is almost devoid of specific human traits.
“This is a traitor in the absolute who found himself in a narrow circle of people who understood the messiah, but betrayed him.”
The crowd does not know what he is doing, but Judas knows, and therefore he is a real criminal, justly cursed by the entire Christian world.
He has no forgiveness, tk. he does evil knowingly.
Andreev's Judas is not a symbol, but a living person.
A lot of passions and feelings intertwined in it. He loves Christ and is offended by him, because John, and not he, is the beloved disciple of Jesus.
It turns out from jealousy to crime is one step. Judas does not commit his crime for the sake of money, as in the Gospel, he is driven by offended love.
Andreev's main idea is that love should not be offended, it should be noble.
Not only out of resentment and love does Judas do his deed.
Unlike other disciples, he wants to love Christ with an active love, not only to listen to him, to believe in him, but to make sure that all Jews follow Christ.
Judas commits his betrayal, because counts on the fact that, having seen the suffering of Christ, they will rise in revolt and overthrow the Romans and Pharisees.
Judas is not only a traitor, but also a provocateur.
He argues that if the crowd saves Jesus, follows him, his betrayal will be justified and serve a good purpose, and if not, then for whom the teachings of Christ.
For people who are so cowardly that they left their teacher in the lurch.
Andreev proves that no end justifies unclean, ignoble means, so in the finale Judas does not triumph, but commits suicide.
4. The theme of the generation and the image of the "superfluous person" (A. Pushkin "Eugene Onegin", M. Lermontov "A Hero of Our Time", I. Goncharov "Oblomov", I. Turgenev "Fathers and Sons").
"Superfluous Man" Onegin
About nine years, almost half of his creative life, Pushkin gave the creation of the novel, putting into it the fruits of "the mind of cold observations and the heart of sad remarks."
With all the breadth of the themes of the novel, "Eugene Onegin" is, first of all, a novel about the mental life and quests of the Russian noble intelligentsia of the 20s of the 19th century. Pushkin addressed the creation of the image of his contemporary in early romantic works, for example, in The Prisoner of the Caucasus. However, the hero of this work did not satisfy the author, as he turned out to be romantic. The circumstances in which he acted were hothouse, his past remained vague, the reasons for his disappointment were unclear. Therefore, Pushkin returned to the idea of creating a typical image of a contemporary in his main work - the novel "Eugene Onegin".
Now we also have a disappointed hero, and in this we can see a connection with romantic poems, but he is depicted in a completely different way: his upbringing, education, the environment in which he was born and lives are described in detail. The poet not only indicates clear signs of his disappointment, but aims to explain the reasons that gave rise to it.
The concept of "extra man" appeared in 1850, when I. S. Turgenev's "Diary of an Extra Man" was published. However, in Pushkin's drafts, a remark flashes that Onegin at a social event "is like something superfluous," and it is Pushkin who for the first time in Russian literature creates the image of a "superfluous person."
Onegin - "secular St. Petersburg young man", a metropolitan aristocrat; "Having fun and luxury as a child," he received a home education and upbringing, typical for the aristocratic youth of that time, under the guidance of a French tutor, who, "so that the child would not be exhausted, taught him everything jokingly, did not bother with strict morality ..."
Onegin leads a life typical of the "golden youth" of that time: balls, restaurants, walks along Nevsky Prospekt, visits to theaters. It took him eight years. But Onegin stands out from the general mass of aristocratic youth. Pushkin notes his "involuntary devotion to dreams, inimitable strangeness and a sharp, chilled mind", a sense of honor, nobility of soul. This could not but lead Onegin to disappointment in life, in secular society.
Spleen and boredom took possession of Onegin. Moving away from the "empty light", he tries to engage in some useful activity. Nothing came of the attempt to write. Yevgeny did not have a vocation: "yawning, he took up the pen," and he does not have the habit of work: "hard work was sickening to him." An attempt to combat "spiritual emptiness" through reading was also unsuccessful. The books he read either did not satisfy him or turned out to be consonant with his thoughts and feelings and only strengthened them.
And here Onegin is trying to organize the life of the peasants on the estate, which he inherited from his uncle:
Yarem he is an old corvée
I replaced it with a light quitrent ...
However, all his activities as a landowner-owner were limited to this reform. Former moods, although somewhat softened by life in the bosom of nature, continue to own him. Everywhere he feels like a stranger and superfluous: both in high-society and in provincial living rooms. It was hard and unbearable for him to see before him
One dinner is a long row,
Look at life as a rite
And following the orderly crowd
Go without sharing with her
No shared opinions, no passions.
Onegin's extraordinary mind, his freedom-loving moods and critical attitude to reality put him high above the "secular mob", especially among the local nobility, thereby dooming him to complete loneliness. Having broken with secular society, in which he found neither high interests nor real feelings, but only a parody of them, Onegin loses contact with people.
From "spiritual emptiness" could not save Onegin and such strong feelings as love and friendship. He rejected Tatyana's love, since he valued "freedom and peace" above all else, he was unable to discern the whole depth of her soul and her feelings. Fed up with the love of secular ladies, Onegin was disappointed in this feeling. His attitude to love is rational and feigned. It is sustained in the spirit of learned secular "truths", the main purpose of which is to enchant and seduce, to appear in love.
How early could he be hypocritical,
Hold hope, be jealous
disbelieve, make believe
To seem gloomy, to languish.
And finally, Onegin's friendship with Lensky ended tragically. No matter how the noble mind of Onegin protested against the duel, the social conventions formed by the light nevertheless prevailed. Onegin killed his friend Lensky, because he could not rise above the public opinion of that local nobility, which he internally despised. He was frightened of the "whispers, the laughter of fools," the gossip of the Zaretskys, the Petushkovs, and the Skotinins.
And here's the public opinion
Spring of honor, our idol.
And this is where the world revolves! -
exclaims Pushkin. The result of Onegin's life is bleak:
Having lived without a goal, without labor
Until the age of twenty-six
Languishing in idle leisure
No service, no wife, no business,
Couldn't do anything...
V. G. Belinsky called Onegin "an unwilling egoist", "a suffering egoist", because society made such a "strong, remarkable nature". "Evil hides not in man, but in society," wrote the critic. Onegin's skepticism and disappointment are a reflection of the general "malaise of the newest Russians," which at the beginning of the century seized a significant part of the noble intelligentsia. Pushkin condemns not so much the hero as the secular environment that shaped him as a person.
Obviously, the Onegins are doomed to inaction. The transformation of Onegin into a "superfluous person" was certainly inevitable at that time. He belonged to that enlightened part of the noble intelligentsia, which avoided serving tsarism, did not want to be in the ranks of the silent, but also stood aside from social activities. Pushkin's undoubted merit is that in his novel he showed the tragedy of "superfluous people" and the reasons for their appearance among the noble intelligentsia of the 20s of the 19th century.
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The theme of creativity in Tsvetaeva's poetry You open any page and immediately plunge into its element - into the atmosphere of spiritual burning, immensity of feelings, the most acute dramatic conflicts with the outside world. V. Orlov
Relations with poets: admiration, respect, friendship
Tsvetaeva and Blok From the cycle “Poems to Blok” April 15, 1916 Your name is a bird in your hand, Your name is an icicle on your tongue, One single movement of your lips, Your name is five letters. A ball caught on the fly, A silver bell in your mouth, A stone thrown into a quiet pond, Sobs like your name. In the light clicking of night hooves Your loud name thunders. And he will call him to our temples. A loud clicking trigger. Your name - oh, you can't! - Your name is a kiss on the eyes, Into the gentle cold of motionless eyelids, Your name is a kiss on the snow. Key, icy, blue sip. With your name - sleep is deep.
Tsvetaeva and Mandelstam You throw back your head Because you are proud and a liar. What a merry companion this February brought me! Pursued by ragamuffins And slowly blowing smoke, By solemn strangers We pass through our native city. Whose gentle hands did not live Your eyelashes, beauty, And on what thorns Laurel your verst ... - I do not ask. My hungry spirit Has already overcome the dream. You have a divine boy - I honor the ten-year-old. Let's slow down by the river, rinsing the colored beads of lanterns. I will bring you to the square that has seen the youth-kings... February 18, 1916
Tsvetaeva and Akhmatova Oh, muse of lamentation, the most beautiful of muses! Oh you crazy fiend of the white night! You send a black blizzard to Russia, And your cries pierce us like arrows. And we shied away and deaf: oh! - One hundred thousandth - you swear - Anna Akhmatova! - This name is a huge sigh, And it falls into the depths, which is nameless. We are crowned by the fact that we are the same with you We trample the earth, that the sky above us is the same! And the one who is wounded by your mortal fate, Already immortal, descends into a mortal bed. Domes burn in my melodious city, And a wandering blind man praises the Savior of Light... - And I give you my city of bells, Akhmatova! - and your heart to boot. From the cycle "Akhmatova" June 19, 1916
Tsvetaeva and Mayakovsky September 10, 1921 Above crosses and trumpets, Baptized in fire and smoke, Archangel-heavy-footed - Great for centuries, Vladimir! He is a carrier and he is a horse, He is a whim and he is right. He sighed and spat into his palm: - Hold on, dray glory! Singer of market miracles - Great, grubby pride, Chose a heavyweight like a stone, not being seduced by a diamond. Hello, cobblestone thunder! He yawned, saluted, and again the Shaft rows - the wing of the Archangel of the dray.
Tsvetaeva and Pasternak March 24, 1925 Distance: versts, miles ... We were placed, seated, seated, To behave quietly At two different ends of the earth. Distance - distance: versts, gave... We were unglued, unsoldered, In two hands parted, crucified, And we didn't know that it was an alloy of Inspirations and tendons... They didn't quarrel - they quarreled, We stratified... A wall and a ditch. They resettled us like eagles - Conspirators: miles, gave ... They didn't upset - they lost them Through the slums of the earth's latitudes They shoved us like orphans. Which one, well, which one is March?! They smashed us - like a deck of cards!
Physical education minute
Longing for the motherland ... Sergei Efron was carried away by the ideas of Bolshevism, became a member of the Union of Return to the Motherland group. In 1937 he fled to the USSR. In October 1939 he was arrested for ties with French intelligence, and in 1941 he was shot.
Ariadne Efron returns to the USSR in March 1937. In August 1939, she was arrested, under torture testifies against her father, then spends 8 years in forced labor camps. Homesickness…
Longing for the Motherland… Marina Tsvetaeva in June 1939 returned with Moore to her Motherland. After the arrest of loved ones, he tries in vain to achieve justice.
Appeals to the Union of Writers with a request to help find housing and work. I agree to work as a dishwasher. In August 1941, thanks to the efforts of B. L. Pasternak, together with other writers, she was evacuated to Yelabuga (Tatarstan).
The last place of life of M. I. Tsvetaeva
On August 31, 1941, M. I. Tsvetaeva died. Purr! Forgive me, but it could get worse. I'm seriously ill, it's not me anymore. Love you so much. Understand that I could no longer live. Tell dad and Ala - if you see - that you loved them until the last minute and explain that you are in a dead end. A letter written before suicide. Addressed to son George
Memorial plaque on the house where the path of the great Russian poet ended
Homework Write an essay-reflection on the topic "What is close to me and what I do not accept in the work of M.I. Tsvetaeva." Read O.E. Mandelstam's poems "Notre Dame", "Dombey and Son", "Twilight of Freedom"
Lermontov defines the originality of his muse already in one of his early poems - "No, I'm not Byron, I'm different..." ( 1832). In comparing his fate with the fate of the English poet, Lermontov notes an inner relationship with Byron: both poets appear in the poem as romantic wanderers who are in conflict with the crowd and with the whole world, to which they are alien and to which they are “persecuted”. Unites the lyrical hero Lermontov with Byron and the position of being chosen, with the only difference being that Lermontov is still "unknown" to the world. However, the main thing that distinguishes the hero of Lermontov is his wanderer with a "Russian soul", which means that his fate is more tragic. The fate of the poet is the inexpressibility of his lofty and secret thoughts. Only God and the poet himself can deeply understand a poet. Thus, the poem develops the motives of the poet's election, his "persecution", alienation from the crowd, characteristic of romanticism.
The idea of the high purpose of poetry is reflected in Lermontov's poem "Poet"(“My dagger shines with gold trim”) (1838). The poet was given power, to which “the light listened in silent reverence”, the poet is able to “ignite the fighter for battle” with the power of fiery lines, creativity is designed to awaken the soul, raise everything beautiful in it, poetry sounds “like a bell on a veche tower in days of celebrations and troubles folk". However, this poem also speaks of something else - the drama of such poetry that awakens and ennobles the soul, because it is precisely this that is objectionable, unnecessary and even dangerous in “our pampered age”, in the era of “timelessness” of the thirties of the 19th century. The poem is built on the principle of parallelism: the first part talks about the fate of the mountain dagger, which once knew the boiling of battle, and now has turned into a “golden toy”, has become “inglorious and harmless”. “In our century, pampered, haven’t you, a poet, lost your purpose,” Lermontov begins the second part of the poem with bitterness. "The ridiculed prophet" - this is what Lermontov calls the poet:
Will you wake up again, mocked prophet?
You can't tear your blade out of the golden scabbard,
Rusted with contempt?
Lermontov's poem "Prophet"(1841) becomes a kind of response, a detailed remark in a dialogue with Pushkin's "The Prophet". “To burn the hearts of people with the verb” - such, according to Pushkin, is the purpose of poetry. Lermontov does not deny this, however, he shows in his poem what the fate of a poet who has chosen the path of a prophet can be. If Pushkin's prophet rushes to people, then Lermontov's hero can only remain himself far from people, find spiritual harmony:
I sprinkled ashes on my head,
I fled from the cities, a beggar,
And now I live in the desert
Like birds, the gift of God's food.
Only peaceful nature, not knowing human vices, listens to the prophet Lermontov, while the “noisy city” meets him with ridicule of “conceited” vulgarity, unable and unwilling to understand and hear “pure teachings of love and truth”. The crowd does not need these eternal truths, it is alien to the lofty, and therefore “crucifies” the prophet on the cross of its contempt. People do not want to hear the truth about themselves, so the prophet, who read “pages of malice and vice in the eyes of people”, is ridiculed, expelled, only the stars listen to him, “playing joyfully with rays”. The prophet acquires a new dimension of being in the desert - a sense of belonging to the universe, but at a cruel, expensive price - the price of exile, the refusal to preach "love and truth" to people.
Lermontov's prophet does not have superhuman properties that give Pushkin's prophet special greatness: Lermontov's poet is thin, pale, dressed in rags, he "hurriedly makes his way" through the city, hearing insulting exclamations behind him. In the rhythmic organization of Pushkin's verse, in his lexical range, saturated with Slavicisms, one feels a solemn elation - Lermontov deliberately refuses this. Lermontov's syllable, which organically combines the features of the biblical style (omniscience, judge, I sprinkled ashes on my head; like birds, the gift of God's food) and colloquial intonations, reveals antagonism, non-fusion of two worlds - the world creative personality and the world of a society that does not accept its high aspiration.
In a poem "Poets death"(1837) Lermontov speaks with confidence about the inevitability of a tragic outcome for the creator. The tragedy of the existence of a Genius in a society alien to him is the main theme of the poem. The departure of the Poet is perceived by Lermontov as a personal loss, the feeling of irreparable loss is intensified by the repetition of the word “killed”, the breaking of the rhythm in this line, the mood of pain and bitterness with which the poem begins. There is a bitter irony in the line “fate has come true”: the poet was sentenced for being a Poet, which means that he is not like everyone else. In a world where everything lofty is surrounded by hatred, there will always be someone in whose hand "the gun will not flinch." The Creator is doomed from the very beginning, and his killer is only a cold, unreasoning instrument of death "with an empty heart." Lermontov calls the true killer of the poet "the envious and stuffy light", where the poet could not survive, survive, where he was doomed from the very beginning. "A free heart and fiery passions" were dangerous and alien in the world of those who "stand by the throne like a greedy crowd."
On poetry and the components of poetic creativity. Inside view
A few words about the author of the article, this will help the reader to better navigate the proposed material. The author is a scientist. The described situation, when a person is a scientist, is rare, but, nevertheless, occurs. People with this minor and, generally speaking, harmless pathology for others are in such a small minority that they can be neglected. As a matter of fact, they are quite rightly neglected from the point of view of the overwhelming (literally) majority.
Poetry is one of the author's hobbies. Reflections on poetry and a generalization of one's own experience constitute the main content of the proposed work.
Acquaintance with the meter and the size of the verse in his school years did not touch the soul of the author, and, accordingly, this information did not sink anywhere. I started writing poetry much later. He wrote, not considering it any serious occupation. But at some point it became interesting, and here's why. I liked finding an accurate and rich poetic description of my emotions, feelings or just thoughts on general topics. Once again I emphasize - accurate and rich. These terms should be clarified. Exact in this case means a description that is most adequate to objective reality, the most true. "Saturated" should be understood in the sense of maximum completeness and informativeness with a minimum amount of words. Maybe “packing”, “packing” is a more accurate term, because then you can additionally talk about the structure of the packed information and the packing density. The possibility of a multi-layered context is one of the most attractive features of the poetic form. It provides simply extraordinary opportunities for the play of thought, for multidimensional, deep images and generalizations. From what has been said, it follows that in fact, when writing poetry, a multi-parameter optimization problem is solved, if you are not jarred by such a combination of words in relation to poetry.
At some point, a more conscious sense of the phrase, its harmony, was added, which will be discussed in due time. I note that we are not talking about the rhythm of the verse, but about the phrase or, as the poetess T. Yaroshevich put it in a commentary on one of my poems, the “interlacing” of words. Words can be woven into a soft, gentle and bright pattern, or they can be thrown in the form of a dirty, hard, rough and prickly bedding.
In recent years, I have found a most benevolent critic and adviser in the person of my friend. His mild criticism helped me look at my creations through the eyes of an outsider and start working on improving them. Here I refreshed school knowledge about rhythm, meter and size. Did this knowledge help me? You know, a little yes. Approximately as if you were in an unfamiliar area, wandered around it, discovered a lot yourself, and then they gave you a map.
The next stage of my poetic development is connected with the music of the verse. It turned out that the variety, iridescence and flamboyance of poetic rhythm have almost an independent value, in many cases dominating the content.
As a natural continuation of this side of poetic creativity came the realization of the need for correspondence, if you like, harmony, poetic form and content. When I started writing my poem "Threads", I chose a rather simple rhythm. Actually, I was just starting to write poetry, and at that moment everything seemed normal. But somewhere in the second half, I began to feel a vague anxiety about some kind of inconsistency. And this imbalance turned out to be the discrepancy between the depth of the content of the poem and its rustic form. Alexander Sergeevich knew what he was doing, inventing the Onegin stanza.
The theme of poetic creativity is the next fundamental issue that one way or another has to be solved by every person who rhymes lines not to order. This is a litmus test of maturity and integrity of the individual, citizenship. “Burning the hearts of people with the verb” is a mission deeply realized and taken seriously and responsibly as the goal of life. The mission is difficult, thankless, but bright and high, really making life filled with meaning and happiness of serving a high goal. Today, these words may sound wildly, and many will cause an inadequate reaction. But the truth is that every more or less mature and normal-minded person keeps something in the depths of his soul that is consonant with what was said. If this is not the case, then there is only one reason, which means that such a person needs to grow further, or begin to master other, more natural dimensions of human space.
The artistic value of a work is made up of many components, including those listed above, and their interconnections, creating a new quality perceived as a whole. This integral touches the strings of the soul and plays its own special, incomparable song on them. It happens that the topics seem to be the most ordinary, and the thoughts are obvious, but it hurts, irritated the soul with something.
So, let's summarize, briefly listing the main aspects of poetic creativity as such, and in order to once again outline the scope of the proposed analysis. These are accuracy, saturation, completeness, rhythm, its diversity, word-combination, conformity of form and content, subject matter, artistic value. But we will preface this analysis with a consideration of a question that stands somewhat apart from the declared intentions.
Who are the poets?
The definition proposed below is based on the following methodological principles. The first is generalization. The second is the development of a hypothesis and its verification on the basis of generally accepted criteria for the truth of hypotheses (which are quite general and universal). Please do not leave the ship after what has been said - you are not going to be dragged into the jungle of the mentioned formal procedures. The main points will be marked, and the rest is up to you.
So, let's define a poet as a person for whom the inner emotional life is a priority over all its other aspects. Read again.
Wealth, brightness, strength of emotions are the main physiological properties of the poet. He is born that way. He does not understand, sometimes all his life, that he initially differs from all other individuals of the human race only by this one natural property. Then a person may not write a single line of poetry, and yet, through his whole life he will be a poet. And this is his main quality will crawl out of him under the most unexpected circumstances. People will not understand his actions, they may consider him eccentric, strange, impractical, etc. Nothing like this. From the point of view of his physiology, it is this behavior of his that is the most practical, integral and consistent, since it is aimed at preserving his most important value - a bright and deep emotional habitat. Without it, he suffocates like a fish without water. He gets sick, very sick. At least put your hands on it. And impose, you know the examples. Emotion comes from within. There are so many colors and the palette is so juicy that everything is painted all around, at any time of the day, as for a summer carnival in the carefree tropics.
Take a break and, please, comprehend what you have read. Let's continue. This initially physiological property turns out to be decisive for the formation of personality as such at all periods of the poet's life. Usually, many of them still write poetry. It comes from within, from a heightened sense of harmony and a rich emotional world. But writing poetry, I repeat, is an optional activity for a poet.
To prove the correctness of the definition of the poet introduced above, consider the following aspect. At the turn of forty, physiological changes occur in the human body, causing the transformation of its energy. The body begins to live more economically, first of all, providing for the needs of systems that are physiologically important for the life support of the body. The area of the brain responsible for the emotional sphere gets fewer resources, and, accordingly, the colors and strength of emotions are depleted. At the same time, many emotions have already been experienced and their repetition no longer causes such a significant effect as the first time. Forty, of course, is the average age. Depending on heredity, lifestyle, the necessary threshold for the strength of emotions, such a state may occur earlier or later (more often earlier). I do not want to mention specific names in vain, because I think that the memory of people should be treated with due respect and reverence, and without the need to disturb their peace. I think that many facts are well known, and if you look at them from this point of view, then many, many points that have until now been considered either a mystery or explained by exceptional circumstances immediately become clear.
Of course, the vast majority of poets, fortunately, go through such a period without outwardly pronounced tragedies. People with a well-developed intellect by that time learn the world in all its not only emotional, but also rational beauty, expand the scope of their interests, hobbies, and activities. There is a family, responsibility for it. In a word, a person grows up, matures, finally forms, rational thinking becomes one of the main factors determining his behavior. I will not mention people with a less pronounced intellect. They also somehow adapt. But the main reason is that a developed intellect and poetry of nature are in a strong positive correlation. (Do you know many dumb poets that fit our definition?)
The second proof lies on the surface. It is enough to read the works of the Poets, and in everyone, without exception, one can find traces of the richest and brightest range of emotions, sometimes even inaccessible to understanding, but clearly present there. The poets who did not write a single line left many other testimonies of their rich and colorful emotional life. For example, I want to give a prototype of Ostap Bender, a real person whom the writers knew. He was a Poet. His brother, killed by bandits, was also, apparently, a Poet, who also wrote poetry. But the very act of this man, who, after the death of his brother, came to the bandits and asked who killed him, and then, when it turned out that his brother was killed by mistake (they wanted him), commemorated him with the same bandits and they read his brother’s poems, - says about much. He lived in his emotional world, colored with poetic harmony.
I repeat, we can give a more detailed and formal proof of the validity this definition poet. But we will not do this, because it is known that the overwhelming majority of people are not inclined to search for truth in general, and even more so scientifically based (this is even more difficult). Moreover, at this point everyone has already formed their own opinion. That's good, but (not even as advice) let me make the point that the more relevant the opinion, the more useful it is in the long run.
Methodological approaches to the analysis of poetic creativity
Why such unnecessary details? some readers will ask. Let me explain. The building is built, generally speaking, on the foundation. And, apparently, there are reasons for this. In a figurative sense, the foundation is needed for any business. In our case, these should be some universal approaches and a logically consistent conceptual apparatus. In an implicit form (often, unfortunately exaggerated, or even caricatured in general), both are almost always used - people simply do not realize this. So, as laws we will use the most fundamental laws of nature, proven by the entire course of the development of nature, known to mankind. That is the laws of dialectics. Nothing more fundamental is known to us. As for the conceptual apparatus, simply because of the lack of space and the vastness of the topic, we will manage with generally accepted concepts and words of the Russian language, clarifying obvious ambiguities in extreme cases.
Rhythm and harmony as a universal measure of verse music
When we talk about the harmony of rhythm, by default we take as a judge our sense of harmony, based on something physiologically built into us, formed by heredity and environment. Thus, the harmonic musical sequence seems natural to Europeans, but by no means to Africans or Chinese. They have their own musical harmony. The fact is well known. The same is with the rhythm of the verse. But even at the level of individuals, the sense of harmony of rhythm can differ, and significantly, even for representatives of the same group. With music, it is easier because of the more rigorous definition of the subject, although even there there is freedom for innovation. Rhythm is a more vague thing, not strictly canonized, so there are much more variations, and fewer restraining factors. A certain order has been introduced at the core, for which meter and size, the type of versification are used, but these rules are not decreed by writers as limiters of possible rhythm variations. As a result, one's own sense of the harmony of rhythm is the main tool for judgment, if the work does not explicitly fall under any known meter.
We are more interested in the situation with rhythm deviations from generally accepted norms. There are average generally accepted ideas when rhythm disturbance is not accepted by the majority. Perhaps the audience is too conservative. But if the work was intended for her, then one must either please her tastes, or find another suitable audience, or hope that future descendants will appreciate the innovation and pay tribute to the creator.
From a scientific point of view, the matter is quite simple. There is such a category of dialectics - measure. Optimal, stable change, development of something combines existing and new elements in the right proportion. The dominance of either one or the other will be a deviation from the measure, a violation of optimality. For example, many readers in their own skin can confirm the non-optimality of revolutionary and radical changes in society.
My own experience of a slight disruption of the rhythm for the sake of a well-found phrase or simply laziness has shown that a respected public is sensitive to deviations from the rhythm, and at the same time easily accepts innovation of almost any kind, as long as the rhythm, musicality of the verse is not disturbed. Therefore, if anyone is wondering whether he should invent something akin to Onegin's stanza or better, feel free to cast aside all doubts and invent. Not only descendants, but also today's readers will shed more than enough balm of glory and reverent reverence on your immortal soul.
Sometimes a technique works when the change in rhythm matches the content, and then it is perceived more naturally. Sometimes, at the very end, the narration slows down, slows down, the rhythm changes, but since these are the last lines, there is no need to rebuild again, and one smooth change in rhythm passes, the reader accepts it. For example, in the poem "Creation" it is used as follows. Slow start, then speed up and slow down again at the very end with a change in rhythm.
I, breathing fiery passion, caress the lines.
And pulls, pulls the creation juices out of me.
In sweet flour I burn with desire,
Thank you, O miracle of the word of creation!..
Almost unconsciously reaching for the paper
The delight of sacred mash wanders in the soul.
I hurry all thoughts, feelings, lines...
How sweet, marvelous flashes of creativity!..
Moments of the abyss, the joy of revelations,
And the fragile fruits of sleepless vigils.
Here's a word, here's another... A little hitch...
Thought sparkling with me in a duel ...
A stanza, a line, a movement of the soul...
And it is embodied, hurrying, a moment,
And in the crucible of feelings, being born, the flesh is created...
And, breaking through into being, the thought rushes, rushes, rushes...
Even if this poem was not written by me, I personally would not have problems with rhythm. The change in rhythm is visible, it is read and accepted immediately, supported by the entire course of the narrative and content. The rhythm set by the previous lines does not affect the perception of the new rhythm.
In the poem "Green Leaf" in the first version, the last two lines break the rhythm, which I could not come to terms with.
leaf green
Lie down on the carpet.
Painted in autumn
Day in the yard.
You lay down last.
Your friends
Crimson carpet
Waiting for December.
freak green,
Contrary
Can't hear autumn
Sentence!..
* * *
And snow grains
Like shot into leaves
Flies into the purple
beauty.
As a result, the rhythm of the entire quatrain was changed:
And snow grains
Like a shot to the temple
In fallen years
Flying beauty.
A simple two-foot iambic, without tonality, interrupted the notes of anguish of the previous movement and dryly stated an inevitable act in the life of every living being. At the same time, it slightly reveals what, in fact, hovered in the thoughts of the author when he scrawled these lines on a piece of paper. In the original, coded version, it was a secret with seven seals. Even in the last version, the ingenious author's considerations are not so obvious, but there are still a couple of hints, including the ambiguity of the word "years". And, pay attention, the new rhythm is introduced after a pause, introduced in such a way that it announces itself immediately, immediately, leaving no doubt about the new time signature. It follows from what has been said that the rhythm can be changed, but some rules must be observed, and one of the main rules is that the rhythm given by the previous lines should not extend its context to new lines. How to achieve this is a matter of technique, some elements of which have just been considered.
Another example. The reader, tuned to the rhythm of the first five lines in the poem by A. O. Zabigailo, on the next four lines gets a little out of rhythm, does not have time to rebuild on the go. The rhythmic context given by the first lines was not interrupted, cleared for a new rhythm. As a result, from my point of view, the poem does not pass the test for rhythm (or my perception does not pass the test for the specific harmony of the rhythm of this poem). Judging by the comments of readers, I am not alone in my opinion. But the poem is good. And at the second reading, the jump in rhythm can be smoothed out with some effort, but not completely.
Spring wind in the chest
breathes cool.
I'm going on a long journey again.
Let's go, my friend, there,
where the sun will warm us,
Where the water is clear
flows in streams to the ocean,
Where the air heals without difficulty
any wound.
The importance of rhythm is emphasized by the historical perspective. It is generally accepted that the poetic form appeared earlier than prose in the history of mankind. And the reason for this was precisely the rhythm of the verse. This made it possible, firstly, to memorize large amounts of text without special problems, and secondly, the poetic form was a guarantee of the accuracy of reproduction. Think about it, and you will see a violation of rhythm in a slightly different light, namely, as a failure at the physiological level of some mechanisms of memory and perception.
Continuing the analogy with music, I would like to mention a recent publication in the journal Science dated July 7, 2006 (Dmitri Timoczko, The Geometry of Musical Chords). The article shows that musical chords can be represented as points of a special space, and that the notes of chords are connected in it in a strictly defined way due to the rules for the formation of harmony and melody. It would be nice someday to do something similar for poetic rhythm, in order to have a quantitative tool in addition to the subjective sense of harmony.
Of course, the discussion of rhythm is by no means limited to what has been said. The theme is endless. I would also like to mention complex rhythms, when the rhythm changes from line to line in an easily caught and predictable way. This allows you to additionally color the music of the poem, make it more colorful, iridescent and dynamic.
In conclusion, we emphasize once again that rhythm in poetry is a serious matter. If we change the rhythm on the go, it is better to do it naturally, smoothly, without jumps, or in some isolated part, for example, the entire quatrain, after clearing the previously created rhythmic context. The beginning or end of the poem is better suited for this purpose, because the reader usually adapts one smooth, slight and obvious change in rhythm without problems. In general, the reader is very exacting to the rhythm.
phrase
Somehow I did not catch my eye anything that sheds light on the secrets of the phrase in poetic forms in the aspect that interests me. You have to limit yourself to your thoughts and your own experience.
Here, it seems to me, one should distinguish at least two aspects - semantic and phonetic. For example, the introduction said the following: “Words can be woven into a soft, gentle and light pattern, or they can be thrown in the form of a dirty, hard, rough and prickly bedding. In this case, “soft, gentle and light” is opposed in the sense of “dirty, hard, rough and prickly”, “pattern” is accordingly opposed to “litter”. The word "pattern" aesthetically evokes completely different associations than "litter".
But in this example, there is also a phonetic confrontation. The soft consonants of the first adjectives and the lightness and melodiousness of words are in clear dissonance with the hard, rough consonants of the second group of adjectives, and with the rough, soulless sound of words.
Below is the poem "Morning Light", in which you can catch the intention of using certain phrases to create context and mood in general.
How the light played in the morning sun! ..
How pine branches bathed in it! ..
Rays sparkling wave
Floated from the weightless distance.
From the tiered silence
The light falls like a light silk
Hurries out of the cosmic darkness
Transparent golden, thin.
And the fragility of the light of being,
His instant marriage
In halftones of shadows, flying,
And in the grass plexus fading ...
He wove in my memory
A pattern of time and light
Circling colors carnival
From sequins of morning summer...
Finding shelter, living
With me in the cold, long nights...
And the blue of heaven sings over him
Like a viola over a deserted shore.
The second poem, which is of interest in terms of phonetic phrases, is called "And our wedding went wrong ...".
Well... Farewell is burning down.
Night fell, darkness outside the window.
And our wedding went wrong,
Like a bird was scared away by the rain.
The day is gone. It was dim, inconspicuous.
Sleep comes by touching the eyelashes.
Pale yellow melted wax
Flashes of lightning poured out into the night.
Everything will freeze in the silence hidden,
Sweet mist will dissolve sadness
The silence of the fields, thinned with silk grasses.
With the wind, the thrill of a thunderstorm will fly.
Sadness-fog, circling, brightens,
Gets lost in the meadows in the dark.
Lose the ring of the soothsayer
And a new one will go light.
And the heart will be comforted again,
And with a cape of weightless years
Fence off the past distance.
Notice the last stanza here. The first three lines with their sound reduce the overall tonality to almost a whisper, and suddenly a word with several hard consonants appears in the fourth line - “will fence off”. At this point, it was necessary to break the tonality, it was necessary to really emphasize the action of "fencing off" and let the reader feel it. And so the word “harder”, more noticeable, was chosen. Compare, for example, this version of the last stanza.
And the heart will be comforted again,
Looking down, sadness will recede,
And with a cape of weightless years
The past will be clouded.
It was possible to beat "disengage". In any of these options, the desired result - the division into the present and the past - is not felt as clearly as in the first. And one of the reasons is the difference in the phonetic sound of words. Of course, an effect of this kind in this case can be attributed to second-order phenomena. They are more subtle, not all perceptible, but they exist and affect the overall perception of the work and help solve problems and embody the author's intentions. This is one of the aspects that in no case should be underestimated in the process of formation and growth of the mastery of the artist of the word. And a conscious understanding of this phenomenon will only speed up and optimize this process.
Accuracy
For me, accuracy has always been a primary goal. It was interesting how accurately you can describe real feelings, people and their relationships, various objects. The very process of finding the exact words and packing them into a poetic form is very exciting, like a game. To achieve a complete and adequate description of any real feeling requires some training and effort. But the game is worth the candle. The skill of searching for truth, even in this context, brings fertile fruits. Let me give as an example one quatrain from the poem "Threads", taken almost at random.
Shazhok, and an evening near Moscow
Drops in bliss the color on the shoulders.
In the doorway - brave John:
"Free! All!" - and fell into sleep.
I really remember very well that amazing warm and fragrant May evening in the Moscow region. And it was necessary to convey exactly that feeling, and no other, and I was not satisfied until I felt that these two lines reproduce exactly that mood and state; with accuracy, figuratively speaking, to the millimeter.
In the same way, the last two lines were supposed to convey real events one to one. No speculation was allowed. The demobilized paratroopers who arrived from Ryazan in Dolgopudny were ... how to say, very drunk. My friend broke through the dormitory watchman to our room, but this breakthrough took away all the remaining strength and he really was enough for two words, after which I dragged him to bed, and then went downstairs to arrange for his comrades to spend the night.
Probably, and even for sure, I have inaccuracies regarding real events. But there is not a single intentional or seen, but missed. I described reality in all its aspects as closely as I could, and it was great and right in essence. If you want to say something, then you need to do it in such a way that what is created by the word corresponds as closely as possible to the original within the framework of other given restrictions.
Based on the poems I've read recently, I have the impression that the accuracy of the image is not a priority need. Moreover, this is not the current trend. There are many vague poems in which the reader is invited to guess what comes into his head or choose any of the many loosely connected fragments. This state of affairs is partly due to the very specific historical situation of our time, which A. Zinoviev described as an "ideological garbage dump." Harsh, but essentially accurate enough. And the ideology of society is an all-pervading thing. It is easy to find historical analogies to the current situation. The least falsified of them, perhaps, is the situation after the collapse of the empire of Alexander the Great. Uncertainty, mystical moods and fatalistic teachings, which bred at that time, are vaguely reminiscent of something.
saturation, packing
These terms were introduced at the beginning of the article. The term "packaging" was given priority due to the fact that it also covers the concept of the structure of the work. However, "saturation" also sheds light on the subject of discussion.
So, let's recall the general impression of "Eugene Onegin". A multidimensional, lively picture of the entire diversity of the life of society at that time. The saturation is amazing. One stanza can be re-read and re-read, and each time new shades will appear, a new depth will open up both in the emotional and cognitive senses. We can say that the degree of packaging is very high. Packed with what? Clear thoughtful thoughts, integrity of perception and vision, a deep understanding of social phenomena and the processes that form them, the mechanisms of personality formation, a clearly set goal of the work and its systematic implementation. And much more. The concentration of integral vision, smart thoughts per unit volume is colossal. And notice, all this is not imaginary, but it really is there. And not just everything is thrown together, but clearly structured, connected to each other and contained in optimal proportions.
Novice authors should not be embarrassed if they go down this path. Over time, their forms, their understanding, and their ways of packaging will come, but at some stage, such works can serve as a guide, a standard. (And for conservatives like me, always.)
The structure of a work, even the smallest one, is very important. V. Vysotsky called single-layer works sketches. A mature work should normally contain several layers, should give the reader's intellect a good load. It should open (or slightly open) distances, depths and breathtaking heights of human existence, nature and the whole world. To create multi-dimensionality, multi-layeredness and multi-dependence in the whole possible range of colors, feelings, thoughts, deeds and a sparkling game of intellect.
Having expressed my thoughts in this way, I will dwell on the previously mentioned poem "Threads". The packaging of thoughts there is quite dense in many places. At least the second layer, both emotionally and intellectually, is often present. But people read it quickly, without much thought, sliding along the tops of the first layer. Most are unaware that the poem is actually written in the second layer. But to get to it, you don't have to hurry and, alas, you need to love and be able to think. And the last skill, with all due respect to the reading public, last years at least not growing exponentially. What has been said should not be taken as the author's bitter lamentations of misunderstanding. Firstly, the author does not know how to do this. Secondly, the author himself knows a more or less objective price for his creations. Thirdly, the main reason for mentioning a work is its good knowledge the author of the article. And then, practice is the criterion of truth. So, practice has shown that there was still a representative number of people who reached the second layer. The fact that there are people who know it almost by heart (and this is more than seventy pages) suggests that some points attracted the attention of readers.
A few words about how layering and multidimensionality come from. From the rich emotional and intellectual world of the writer, his civic position, his desire to search for truth always and in everything, from the need for truth, from the need to give to this world and not wait for something to be given in return. Thus, quite logically, we come to the need to develop all of the listed qualities, as well as many others that complement them to a harmonious whole. How is another question. You can answer it. But, firstly, the article is already starting to go beyond the planned volume, and, secondly, the answer will rather puzzle than clarify.
As for the hopes of getting something good in return for your asceticism, we can assure you with a very high degree of optimism that they will not give you anything, most likely they will also insult you, rob you, and dump you in the mud. But it doesn’t matter, you can’t get away from this, but you still need to sow, otherwise humanity will vegetate uncomfortable in a dirty wasteland interspersed with gloomy castles. It's like a law (although why how? ..). For any somewhat non-trivial, and even more so progressive, sincere thought, there will definitely be either an oppositional thought expressed simply “in defiance”, out of spite, out of a disinterested desire to do disgust to one’s neighbor, or simply to also declare oneself. Similarly, for any reasonable, rationally and responsibly thinking person, there will definitely be one or a troupe of loud-mouthed clowns who will come up with a plausible excuse and try to kill this person from the world.
Correspondence of form and content
Form and content are philosophical categories denoting the simultaneous and real existence of a phenomenon (that is, the unity of form and content) in any aspect of the material world (and there is no other, those who doubt can take my word for it - I really know what I'm saying).
The discrepancy between the simple form and the deeper content of the poem "Threads" has already been mentioned earlier. A fact realized by myself and emphasized in the benevolent criticism of one astute reader. Had it been written in a deeper and more complex rhythm, more adequate to the real content, the effect would have been different. There are no directly stunning revelations, in the end, it was more a test of the pen, but the fact remains that there is a discrepancy in form, and this reduces the integrity and value of the work.
More on an instinctive level, but nevertheless this consideration - about the correspondence of form and content - manifested itself, for example, in a short poem "Night Thoughts". The rhythm chosen is thoughtful, unhurried. Note how measured it is, not distracting from thinking about what you read. A simple, unburdensome form, as it were, should provide all the conditions for the perception of the content, enable the reader to concentrate on the meaning of the poem. The rhythm does not distract him with sharp bursts and overflows of the music of the verse.
I remember... Like it was yesterday
How the defeat came to me.
And, in general, the victory is not worth much.
To avoid that night... I wouldn't stand behind the price.
But the fact of the matter is that it cannot be avoided.
And this pain, this torment will have to be known.
Someday he will get it, following us.
Retribution will come for the thoughtlessness of victories.
* * *
Finding the correspondence between form and content is a trainable skill. Its development must be purposefully engaged. Intuitive understanding gives a lot, but being conscious, the task will only benefit from conscious effort. And the gain can be very, very tangible.
Themes of works
The issue is closely related to saturation, information packaging and content. The poor, wretched theme, even with the most perfect form, will not allow even a hint of the shadow of "Eugene Onegin". There are several criteria for an adequate topic. For example, like this. If, as you develop, comprehend the topic, it begins to develop as if independently of you, new branches appear, which in turn begin to divide themselves, and all this quickly grows, blooms and smells sweet, becomes more and more significant from an intellectual and emotional point of view, everything more adequately and fully reflects the objective reality, then this is a good prerequisite for suggesting the maturity of the topic.
Another point when choosing a topic is related to the intended audience. This will determine not only the required level of intellectual and emotional maturity, but will also answer the question about the form of the work. And, of course, it will somehow compare the author's claims for a worthy contribution to the development of the subject with the real state of affairs. It is unlikely that everyone in a row should undertake the development of ideological doctrines of a global nature in poetic form.
Expressing my subjective view on this issue, I would like to note as a trend the departure from public and social topics. Can you get an idea of how the country lives by reading the poems of modern poets? Pretty one-sided. Well, two-sided, at best. And the society has immeasurably more of these sides-sides. Who cares that people live hard? That there are absolutely non-trivial, epoch-making, global changes in modern society? That the vast majority of people live a life that is not known about in newspapers and television? What is mutilating, polluting and actually destroying the Russian language as the basis for uniting the whole people? That, like in Great Britain, a policy is being skillfully pursued that the population of the country will soon be divided into several parts that absolutely do not understand each other - a part will begin to speak some kind of bird language, made up of a mixture of what was Russian and Americanisms; another in some incredible jargon, a mixture of thieves give a damn about youth “creativity”, and the rest in some third one, in which it will be possible to catch the development of local dialects? There will be a fourth and a fifth... And what about in the UK in this way, most people will be turned off from public life? I wrote a large, tactful in form poem-reflection on the topic of language disfigurement “Great! Mighty!..” Anyone really interested? Nobody! It is not interesting, some kind of social apathy and fatigue is felt.
I could go on and on with my rhetorical questions. Why is the popularization of science, the scientific understanding of the world – what else can bring more fertile fruits than a deep, scientific understanding of the world? And so on. Their name is legion. The answers are known, but who cares? What is interesting is just another thing - how to get away from answering these questions, how to drown the questions themselves in a sea of numerous categorical and aggressive incompetent opinions. An appearance is created, an appearance instead of real essence, in full accordance with the way A. Zinoviev describes modern society. And why should poetry be any different?
And yet it's not all that bad. One can clearly feel the underlying desire of many for socially and socially significant topics, for the knowledge and description of real life. How nice it was to see poems about the pollution of the planet (please understand me correctly, I'm not at all happy that the planet is turning into a garbage dump), environmental problems, and just about a retired sailor. Why not stimulate attention to the problems of language? An impetus is needed, people are ready and want to talk about it, but somehow all sorts of demagogues and someone else managed to quietly shut up their mouths.
And finally, one of the last remarks. By definition, there is nothing richer, more colorful and interesting than real life in all its manifestations. There is nothing more painful and sweeter than the knowledge of the truth for thinking people (of course, we do not mean individuals who think only about their own pocket and primitive pleasures). Love real life, bathe in it with your soul and body, absorb it with all your pores, understand. It will be rewarded now, a hundredfold and descendants (maybe). Maybe even contemporaries, if you have a good heredity and you lead a healthy lifestyle. (By the way, more than a hot topic for the country, why not start developing?)
In general, let's sum it up. There is interesting topics, very relevant, and in the long term grateful and rewarding in a truly generous way. It is necessary to mature for their understanding, in order to become involved in them with the soul. In this direction, you need to work both on yourself and on the material in order to say the right, important, true, so that the opinion is heard, understood, and so that it gives rise to a wave that would grow stronger and grow in the minds and hearts of people. Because only the people themselves can make their lives happy. But it is necessary to make efforts - purposeful, optimal; correct in essence, tactically and strategically.
Artistic value of the work
Well, we've almost reached the end. The artistic value of a work is made up of many interrelated factors and components. Some of them were listed and discussed, many were left "overboard". I would like the reader to take out the main idea - the creation of a poetic work, this is a multidimensional process that requires both high technical equipment and a deep understanding of the mechanisms of the influence of poetry on the emotional, intellectual, social spheres of the reader (and that's not all!). And so that the idea that a mature work is not born by one-sided, narrow-minded and indifferent souls has sunk somewhere into the soul. An underdeveloped intellect, stuffed with prejudices, stereotypes, unable to deeply and correctly understand today's difficult world (but not as complicated as it might sometimes seem) is an incompatible basis for highly artistic works. Labor of the soul, mind and body, and selfless, civilly responsible labor is necessary condition creation of works capable of influencing people, social processes, capable of outliving their time. Let me end this subsection on a poetic note with a stanza from the poem "Mystery of Poetry."
And Time is above everything, oceanic as the wind,
But not everyone will catch the sail.
And the one who is truly bright will float into the distance
And eternity granules in whom silver.
Conclusion
The author is not a visionary, but he roughly guesses what range of reactions readers will have. Thanks to those who will reflect on the issues discussed and some of the statements. Thank you very much. What can be said to a group of oppositionists and outright detractors of what is written? The predicted event does not cause any particular negative emotions. And the more predictable it is, the less these emotions are. In this case, the certainty of the reaction of this group of readers is one hundred percent. I would urge them not to rush, to think, to try to find the moment of truth in what was said, and then express their justified, unbiased and constructive opinion. Maybe a small part will follow this advice. But, unfortunately, many will simply bite the bit and carry it at full speed past everything expressed in the article, along the path of their quick and short thoughts. Those readers will be right who will quickly figure out the author that one of the reasons for writing the article is the desire to draw attention to his work. It is obvious. The question is to what extent this reason dominates among the others. I think it accounts for no more than ten percent. Equally, if not to a greater extent, this task is solved simply by good works. And it certainly does not compare with the results that the writing of opportunistic crafts gives.
