The main themes and genres of Russian poetry in the early 19th century. The theme of upbringing and education in Russian literature of the 18th - 19th centuries Mayakovsky "An Unusual Adventure ..."
This study discusses some aspects of works written by Mehmet Niyazi. This paper studies some education issues of the Crimean Tatar diaspora in Romania through the prism of fiction and non-fiction works by Mehmet Niyazi.
Late 19th - early 20th centuries were marked in the Crimean Tatar literature by a surge of interest in education. Ismail Gasprinsky, a well-known educator, publicist and writer, took an innovative approach to this problem. It was he who was destined to become the person who introduced a new method of teaching into the system of Crimean Tatar education, which went down in history under the name “Usul-i Jadid”. In parallel with this, the Crimean Tatar literature has undergone significant changes - thematic and genre. It was a period of inspired searches and experiments, in which the foundations of the new Crimean Tatar literature were laid. The main catalyst for change here was the increased influence of Russian and Western European literature. If we talk about thematic changes, it is impossible to ignore the fact that the Crimean Tatar literature has received a new - social - vector of development. In their works, Ismail Gasprinsky and his followers touch upon a number of closely interrelated topics: social injustice, women's emancipation, science and education.
In this regard, it is relevant to study important trends in the thematic development of the literature of the Crimean Tatar abroad. In this article, we aim to consider and analyze the ideas of enlightenment in the work of Memet Niyazi, the most famous writer and publicist of the Crimean Tatar diaspora in Romania, whose creative flowering occurred in the first third of the 20th century.
The fact that it was Memet Niyazi who devoted a number of publicistic and artistic works to the topic of education is not accidental, since the life of the writer himself is closely connected with teaching. Memet Niyazi began teaching in 1898, during his first visit to Crimea, which he was forced to leave under the duress of the Russian authorities.
In 1904, after the death of his father, Memet Niyazi achieved the position of a teacher at a rushdie school in Constanta, Romania. Three years later, Memet Niyazi, who gained fame as a talented teacher, was appointed director of the same school. In 1914-1917. Memet Niyazi taught Turkish language and literature at a Muslim seminary. It should be noted that despite the multifaceted activities of Memet Niyazi, he never left pedagogical work, which left a very noticeable mark in his work and shaped him as a writer. The main ideas of Memet Niyazi were the universal national education, equal opportunities for training and education of Crimean Tatar youth on national-patriotic values. In this respect, Memet Niyazi is a follower of Ismail Gasprinsky, who, reflecting on the role of enlightenment, wrote: "For the progress and prosperity of any nation, it is necessary that this nation be possessed by a sober idea - the idea of enlightenment."
In 1915, the first issue of the magazine Mektep ve Aile (School and Family) was published, the founder and editor of which was Memet Niyazi. In an editorial entitled “A few words about goals and objectives”, he develops the ideas expressed by Ismail Gasprinsky: “The development of a nation, its fruitful cultural existence, undoubtedly, is a great responsibility of teachers and intelligentsia. If the teacher sees that his task was to benefit his people, then he can consider that he has achieved his goal and fulfilled his desires. The teacher must know well how to work, and if he does not know, then he must learn how to do it. If he does not know which path to choose, if there is no unity of thought among the teachers, then it will be difficult to achieve the intended goal. If the work of teachers is not directed in one direction, if they are not united in their motives, then it will be difficult to achieve a good result ”.
Memet Niyazi has repeatedly stated the need to improve the existing education system of the Crimean Tatar diaspora in Romania at conferences, in magazines and newspapers. In the journalistic material published in the collection “Dedications”, Memet Niyazi complains about the wretchedness of the existing education system in the Crimean Tatar community of Dobrudja: “We, Dobrudja residents, cannot boast of excellent schools, madrassas, or hospitals. There are two or three schools and one or two madrasahs, and we do not update the program there either. No offense will be said, but yesterday we traded, ate and drank for our pleasure ... We are ignorant ... ”.
Continuing his thought, Memet Niyazi points out that other Turkic peoples are showing greater zeal for learning. “If only by realizing this task, we would start working! If among us were officials, doctors, lawyers, teachers, undoubtedly, we would not be among the laggards, and our people would be in a completely different situation. " Seeing the plight of his people, Memet Niyazi understood that the future of the Crimean Tatar diaspora in Dobrudja would largely depend on its education. Pedagogical views also affected his artistic work. The presence of Niyazi the teacher is especially strongly felt in his early collection “Dedications” (“İthafat”), which was published by the Istanbul publishing house “Kader” in 1912 (according to some sources, in 1911) and republished a hundred years later, in 2012 The idea of “education” as the only possible way with the self-preservation and prosperity of the Crimean Tatar people runs through the entire collection as a red line - from the first to the last verse, the poet persistently convinces readers of the great importance of education and scientific knowledge. Issues of enlightenment are considered in such verses included in the collection of “Dedications” as “School” (“Mütalaa hane”), “From the Dispute of Disciples” (“Mücadelei şakirdan”), “Orphan” (“Yetim”), “Ilyakhi” ( “Religious chant”) (“İlahi”). The poet himself modestly estimates his own contribution to literature, but emphasizes that he wrote the poems included in the collection, drawing inspiration from own experience, about which he says in the preface: "The collection of" Dedication "I publish, although written in sad, even gloomy words, and does not bear scientific or literary value, is based on a rethinking of what I have experienced over the years."
In the poetry of Memet Niyazi (as opposed to journalism) there is no criticism of the existing education system. His poetry is written in a positive way. There is no place for criticism, but it praises enlightenment as the main value of life. In early verses, written in Ottoman Turkish, we see an ecstatic elegy to science:
The poet reminds readers that any work is rewarded, and the effort spent on study pays off a hundredfold:
As noted by the Romanian researcher of Crimean Tatar origin, Shukran Vuap-Mocanu, the poet puts above all “education and science, culture and enlightenment”:
In the poem “Mütalaa hane” (“School”), which can be literally translated as “house of discernment,” the poet stresses that school is the place where wisdom and knowledge multiply: “Deha, zeka bu mahalde nema bulur” (“Knowledge , wisdom in this place is in abundance ”). Moreover, the poet calls the school “the cradle of knowledge” (“kehvarei fazilet”). 
With the pompousness characteristic of the Servet-i Funun style (which, according to the Turkish researcher Ibrahim ahin, the poet imitated at an early stage of his work), Memet Niyazi generously shower the school with such metaphors as “the purest place” (“pür maalidir”) and “ highest peak ”(“ makat aliidir ”).
In another poem, the poet points to the fateful role of education in the lives of young people:
“From the Dispute of Pupils” the writer describes a (imaginary) discussion about the place and role of teachers in the school. The poem is dominated by the idea of the high mission of teachers, on whom, in his opinion, the future of their wards depends.
Through the poems of Memet Niyazi, a deep conviction of the need for education is conveyed. In the poem "Orphan" Memet Niyazi describes the bitter fate of a child left alone with a cruel world. In the first half of the poem, the poet draws a very specific portrait of the unfortunate orphan, whose entire image testifies to the hardships he has experienced. In a poem addressed to Suliman Sudi, who consecutively held the post of treasurer and then chairman of the Educational Society of Dobrudja Muslims, Niyazi recalls the social responsibility that society bears to orphans:
The poem ends with the poet's calls to show social responsibility and provide all possible help to the orphan:
In the context of the poem "Orphan" Memet Niyazi somewhat expands the semantic range of the concept of "enlightenment". Education is not only about formal education in educational institutions... Education also includes the social responsibility of the entire community and especially the intelligentsia for the future of the people.
After the publication of the collection "Dedication", Memet Niyazi continues not only pedagogical, but also literary work. The next collection of the poet, entitled "Tosca" ("Sagysh") was published in 1931, 19 years after the first collection of "Dedication".
For almost two decades, the poet's literary style has undergone significant changes that are hard to miss: instead of Ottoman Turkish, which Memet Niyazi used as the main language of versification in the collection "Dedication", he began to write works in his native steppe dialect of the Crimean Tatar language "Chöl Shivesi." The language of Memet Niyazi's works has become somewhat simpler in comparison with the Ottoman Turkish, which has a rich written tradition, but this has not made it poorer or weaker. On the contrary, it has become clearer to ordinary layers of the Crimean Tatar population. Thanks to this, the poet managed to achieve the desired effect: his works received a large readership. One thing has not changed - the thematic diversity of Memet Niyazi's works. In his poetry, there is still a place for lyric poems, in which he expresses longing for his native Crimea. He still writes on sensitive social topics, politics, and, of course, education. In the collection “Tosca” we find two works that in one way or another touch on the theme of enlightenment: “March of the Mengli Giray medresesine marş” and “On the occasion of the official opening of the Simferopol Tatar School for Girls” (“Akmescit Tatar Darülmuallimatinin küşad-i resmi munasebetiyle ”).
The last poetic work is not replete with artistic means. The author achieves the desired effect through an imaginary dialogue with the reader and the use of rhetorical questions. In the poem, the poet enthusiastically writes:
M. Niyazi in this poem notes the contribution of Ismail Gasprinsky to the education of the Crimean Tatar people. To the rhetorical question “Who is Ismail bey? Is there someone who does not know him? " it gives the answer in the following lines:
Another work of Memet Niyazi, "March of the Madrasah of Mengli Girai", also included in the collection "Sorrow", seems to us much deeper in terms of artistic power. A solemn, even somewhat pompous poem extols the role of this madrasah in the education of the Crimean Tatars:
The light of science radiates from this hearth, which “will not go out soon, it is always bright”. This ray of knowledge, according to the author, is the greatest hope for the development of the nation:
The poet expresses his confidence in the power of knowledge by honoring them with the metaphor of "weapons." “Our weapon is education, adversity will disappear from it and enemies will flee!”, The author is convinced. His deep confidence in the power of enlightenment was infectious and probably served as an inspiration for the work of the next generation of writers in the Crimean Tatar diaspora of Dobrudja.
Analyzing the works of Memet Niyazi, one can come to the conclusion that at the beginning of the 20th century, the topic of education occupied a significant place in the work of Crimean Tatar writers in Romania, in the poetry and journalism of Memet Niyazi in particular. His style was more motivating and inviting than informational, and echoed the ideas of enlightenment that dominated among the Turkic peoples in the late 19th - early 20th centuries. For the first time in the history of the literature of the Crimean Tatar diaspora in Romania, Memet Niyazi began a discussion about the role of education, the role of teacher and student in school, and the social responsibility of society before the younger generation. In this sense, it was Memet Niyazi who turned out to be a pioneer who changed the style of Crimean Tatar literature abroad, significantly expanded the range of topics discussed in fiction and journalistic literature, and brought the literature of the Crimean Tatar diaspora to a qualitatively new level.
List of used literature
- Niyazi M. Dobruca Müsülman Taamim Maarif Cemiyetinin ilk konferansıdır // Renkler - Bukreş, 1992 .-- pp. 170-177.
- Niyazi M. Ithafat. - İstanbul, 1912 - 100 c.
- Niyazi M. Sağış. - Bukreş, 1998 .-- 59 p.
- Şahin İ. Kırım mecmuasında neşredilen Kırım konulu şiirler üzerine bir inceleme // Türk dünyası incelemeleri dergisi, 1998. - No. 2. - P. 173–191
- Vuap-Mokanu Ş. Memet Niyazi // Renkler - Bukreş, 1992. - P. 163-165.
- Vuap-Mokanu Ş., Memet Niyazi'nin “İthafat” cıyıntığı // Renkler - Bukreş, 1989. - pp. 128-135.
- Ablaev E. Ismail Gasprinsky - humanist, educator, teacher. - Simferopol, 2007 .-- 136 p.
- Aliev Y. Literature of the Crimean Abroad: Some Reflections. - Simferopol, 2007 .-- 56 p.
- Kurtumerov E. Ijretteki edebiyatyz tarikhyn kysk'a bir nazar // Yildiz, 2005. - No. 6. - P. 129–135
- Kyrymtatar ijret edebiyaty. / Under the arm. E.E. Kurtumerova, T.B. Useinova, A.M. Harahad. - Simferopol, 2002 .-- 256 p.
- Kyrymtatar edebiyatyn tarikhy. - Simferopol, 2001 .-- 640 p.
The article was first published in the journal “Culture of the Peoples of the Black Sea Region”: M. Mireev Poetry in the Service of Education: Ideas of Education in the Context of Memet Niyazi's Creativity // Culture of the Peoples of the Black Sea Region. - No. 233. - 2012. - P. 178-181
© Maksym Mirieiev 2012
47.252093 -122.448369
All-Russian Festival
"The Russian language is a national heritage of the peoples of the Russian Federation"
Nomination: Scientific Research
Research
The topic of upbringing and education in Russian literature
XVIII–XIX centuries.
Sabinsky district, with. Shemordan
Scientific adviser:
Education must be of a high standard, but education has no value in and of itself. The main goal of all human knowledge is "good behavior", "enlightenment raises one virtuous soul" *.
The petty landowner, Mrs. Prostakova, her brother Skotinin, who adores pigs, the lazy Mitrofanushka - “... everything in this comedy seems like a monstrous caricature of Russian. And yet there is nothing caricature in it: everything is taken alive from nature and verified by the knowledge of the soul ”*.
One of the greatest novels, Eugene Onegin, is called the "Encyclopedia of Russian Life".
Pushkin is the great Russian poet, the founder of Russian realism, the creator of the Russian literary language. Almost half a century has passed since the release of Fonvizin's play, how the younger generation has changed. Then, young people faced an acute problem of choice: to be an adherent of the official, that is, secular life, style of behavior adopted in the highest circles of society (education received "from the hands" of foreign teachers, replacing the native Russian language with French - to write and speak in Russian - bad taste!), A monotonous daily routine, or prefer to collect bit by bit their own, domestic scholarship, at the risk of being doomed to misunderstanding and contempt of contemporaries. High society in both capitals led just such a life and did not in the least resist its monotonous course. According to the words, “Our society of educated estates is the fruit of reform. It remembers its birthday, because it existed officially before it really began to exist, because, finally, this society for a long time was not a spirit, but a cut of dress, not education, but a privilege.
It began in the same way as our literature: copying foreign forms without any content, our own or someone else's, because we refused our own, and we were not able to not only accept, but also understand someone else's ”. Onegin also belongs to this society:
Sleeps peacefully in the blissful shade,
Having fun and luxury child.
Wakes up at noon, and again
Until the morning his life is ready,
Monotonous and variegated.
And tomorrow is the same as yesterday. *
Onegin is a secular St. Petersburg young man, a metropolitan aristocrat. Describing his hero, Pushkin speaks in detail about his upbringing and education. Onegin received home education and upbringing, typical for aristocratic youth of that time:
Monsieur I "Abbe, French squalid
So that the child is not exhausted
I taught him everything in jest,
I did not bother with strict morality,
Slightly scolded for pranks
And he took him for a walk to the Summer Garden. *
Evgeny's upbringing under the guidance of foreign teachers, disorderly, superficial, divorced from the national soil, was typical for people of the whole circle of secular youth.
Let's remember:
He is in French perfectly
I could express myself and wrote:
Easily danced the mazurka
And bowed at ease. *
He knew pretty much Latin,
To disassemble the epigraphs,
Talk about Juvenal
At the end of the letter, putvale,
Yes, I remembered, though not without sin,
Two verses from the Aeneid. *
We all learned a little
Something and somehow
So education, thank God,
It's no wonder to shine with us. *
In St. Petersburg, Onegin leads an idle, vain, meaningless life.
Let's compare Onegin's upbringing and education with Pushkin's favorite heroine, Tatiana.
While Onegin led a life between balls and theaters, Tatiana, living in the village with her parents and sister, existed in a completely different way:
She is in her family
She seemed like a stranger to a girl. *
“The dear parents taught their daughters only the art of getting married at all costs. Children vegetate in the nursery, among mothers and nannies, among maids, in the bosom of servility, which should instill in them the first rules of morality, develop noble instincts in them, explain to them the difference between a brownie and a goblin, a witch from a mermaid, interpret different signs, tell all kinds of stories about to the dead and werewolves, to teach them to scold and fight, to lie without blushing, to teach them to constantly eat never to gorge themselves. Girls are taught to jump and lace up, strum a little on the piano, chat a little in French - and upbringing, of course, then they have only one science, one concern - to catch suitors ”*.
That's all the upbringing of girls. Tatiana grew up in the countryside, among fields and forests, close to the common people. Her main educator is the serf "Filipyevna Sedaya" *. This nanny symbolizes the deepest connection of the main heroine with the peasantry, with its poetry and "the traditions of the common people of antiquity."
M., 1984. S. 67.69.
"Eugene Onegin". M., 1970: 7,8,13,50.
The national-Russian, original-folk influence in the formation of Tatiana was stronger than the French novels, although they also instilled in her a sublime dreaminess.
In contrast to the vulgar, ignorant provincial-local environment, Tatiana is characterized by a search for anxious thoughts, strongly developed feelings of moral duty, directness, frequency, kindness, cordiality.
But Tatiana, although she is “an exceptional being, a deep, loving, passionate nature” *, cannot live without the influence of the society in which she is, therefore, her craving for education, her dissimilarity to others made her strange quarrelsome.
The fates of the best heroes of the novel are tragic. The tragedy of the heroes is due to the ever-growing conflict with society and the lack of expression of this conflict in action. It exists only in their feelings. Tatiana, preferring "a shelf of books and a wild garden" * to the brilliance, noise and fumes of Petersburg, remains in the world. Onegin is unable to break with a society that he cannot accept.
The novel Oblomov, published at the turn of the 1860s, also paid attention to the topic of upbringing and education of the younger generation. The main conflict of the novel - between the patriarchal and bourgeois ways of Russian life - the writer reveals on the opposition of people, feelings and reason, peace and action, life and death. We can observe this opposition on the example of our main characters: Oblomov and Stolz. In Oblomov and Stolz, almost everything contrasts, down to the smallest details, from the origin to the style of clothing. But their main difference, no doubt, remains the absolute dissimilarity of their characters and ideals. Everything else is a cause or a consequence of it. It is enough to remember Oblomov's dream to understand that his
laziness and apathy, he owes much to the aristocratic origin and upbringing. His idea of life was formed by observing the life of his parents, who taught his son to idleness and peace, considering them a sign of happiness and the highest breed.
He wants to do something himself, and the household did not even allow himself to pour water from a decanter, bring something, lift the dropped thing, believing that labor in general bears the stigma of slavery. “Zakhar, as it used to be a nanny, pulls on his stockings, puts on his shoes, and Ilyusha, already a fourteen-year-old boy, only knows that when he is lying down, he is substituting one or the other leg; and as soon as something seems to him wrong, he kicks Zakharka in the nose ... Then Zakharka scratches his head, pulls on his jacket, carefully passing Ilya Ilyich's hands through his sleeves so as not to bother him too much ... "*. Oblomov was supposed to receive education in Verkhlev, in the boarding house of the German Stolz (Andrei's father), an active and strict person. “Perhaps Ilyusha would have had time to learn something well if Oblomovka had been five hundred miles from Verkhlyov. How to learn? The charm of Oblomov's atmosphere, lifestyle and habits extended to Verkhlyovo; after all, it, too, was once Oblomovka; there, except for Stolz's house, everything breathed the same primitive laziness, simplicity of morals, silence and immobility ”*.
Stolz's father, on the contrary, tried to cultivate in his son respect for knowledge, the habit of thinking, studying. He brought up economic tenacity in his son, the need for constant activity.
________________________________________________________
*. M., 1984.S. 70.
* "Oblomov". M., 1958. S. 87,90,105.
* "What is Oblomovism?" M., 1958, p. 406,415.
The energy and enterprise of Andrei Stolz is a consequence of the need for himself, not relying on anyone, to make his way in life. This opposition is reinforced by the fact that their paths of life constantly intersect.
Moreover, Stolz is trying to wrest his friend Ilya Ilyich from the clutches of Oblomovism, to awaken in him all the best feelings: kindness, honesty, sincerity, nobility, hoping that these feelings, having developed, will make his life whole and harmonious.
Oblomov's dreams, sometimes childish and naive, differ sharply from reality, which became his greatest life tragedy. His laziness and apathy prevent him from realizing even a small fraction of his grandiose dreams.
Oblomov seems to be living a double life: the first is an everyday reality, and the second is his dreams and dreams, in which he imagines himself as an active person, a person who is able to create and act, regardless of any life problems and internal contradictions. But this is a dream, not reality. Ilya Ilyich is sleeping because in a dream he sees himself as who he wants to be. His life is a dream.
With this novel, the writer showed what a detrimental effect the serf system had on life, culture, and science. The consequence of these orders was stagnation and immobility in all areas of life. We see how the conditions of the landlord's life and the upbringing of the nobility give rise to apathy, lack of will, indifference in the hero. The writer showed Oblomov's path to the consciousness of his worthlessness, insolvency, to the disintegration of his personality. With the images of Oblomov and Zakhar, the author convinces that serfdom spiritually devastates a person, depriving him of his will and aspirations. The main theme of the novel is the fate of a generation looking for its place in society and history, but failed to find the right path.
Conclusion.
Summing up our research, we conclude that upbringing and education system, adopted in Russian noble families in the 18th-19th centuries, was in many ways imperfect, vicious, disfiguring young minds and hearts, destroying destinies. Young people developed such qualities as laziness, passivity, infantilism, inability to realize their own dreams, and at the same time - arrogance, a sense of superiority in relation to others. These qualities largely contributed to the failure of people in life, the fatal inevitability of an unhappy fate. We have traced all this on the fate of our main characters.
“Childhood is the most important period of human life, not preparation for future life, but a real, bright, original, unique life. And because of how childhood passed, who led by the hand in childhood, what entered his mind and heart from the world around him - this decisively determines what kind of person today's baby will become, ”he wrote. It is from childhood that the upbringing of a child begins, it is in childhood that the solution to the adult secrets of the human soul begins, it is childhood that becomes the key to understanding the actions, victories and failures of an adult.
The role of the family in the upbringing of a child is incomparable in its strength with any other social institutions, since it is in the family that a person's personality is formed and develops. The family acts as the first educational institution, a connection with which a person feels throughout his life. It is in the family that the foundations of human morality are laid, norms of behavior are formed, inner world the child and his individual qualities.
References
one. . Articles about Pushkin, Lermontov, Gogol. Moscow. "Enlightenment" 1983
2.. French tutors of the late 18th century: problem statement.
3.,. Russian literature of the first half of the 19th century. Kazan, "Magarif" 2009
four. . Russian literature of the first half of the 19th century. Moscow. "Education", 2000
6. "Minor". Moscow. "Soviet Russia", 1983
7. "Eugene Onegin". Moscow. "Fiction", 1970
8. "Oblomov". Moscow. "Education", 1958
9. "What is Oblomovism?" Moscow. "Education", 1958
O. V. ZYRYANOV
(Ural Federal University named after the first President of Russia B. N. Yeltsin, Yekaterinburg, Russia)
UDC 8PL61L "42: 821L61L-1 (Derzhavin G.R.)
BBK Sh33 (2Ros = Rus) 5-8.445
"THE RIVER OF TIMES ..." AS A SUPER-TEXT EDUCATION IN RUSSIAN POETRY of the 19th-20th centuries.
Annotation. The article analyzes the supertext education that is developing in the Russian poetic tradition around the last poem by G.R. Derzhavin "The river of times in its striving ...". The revealed receptive cycle is defined as a "situational" supertext (along with the already known types of supertexts - local and personal). On separate examples (poems by V. Kapnist, K. Batyushkov, F. Tyutchev, O. Mandelstam, V. Khodasevich) it is shown how in the course of literary evolution in the “intertextual offspring” of Derzhavin's supertext, the existential and historiosophical aspects, the traditions of Ekklesias and Horacius ...
Key words: G.R. Derzhavin, receptive cycle, supertext, lyrical situation, the last poem, the tradition of a poetic "monument"
The subject of philology is "the text in all its aspects and external relations" (S. S. Averintsev). But the text in this case appears not just as a linguistic object, or "external work", but precisely as a formation of mental nature, in other words, as "a kind of monad reflecting in itself all texts (within the limit) of a given semantic sphere" [Bakhtin 1986: 299 ]. In the national poetic tradition, special attention should be paid to the strong in the "energetic" respect precedent texts, around which all sorts of receptive cycles or supertext formations are formed. Possessing a huge infectious effect, these precedent texts generate around themselves a numerous series of texts, a kind of "intertextual offspring" (AK Zholkovsky's term). The phenomenon of intertextual connections indicated by this phenomenon (according to the principle of "selective affinity") can be rightly likened to a certain receptive cycle that unfolds in the course of literary evolution and manifests itself in the form of "a kind of monad reflecting in itself all texts (within the limit) of a given semantic sphere" ...
Let us take a closer look in this regard to such a supertext
education, which is taking shape in the Russian poetic tradition around the last poem by G. R. Derzhavin "The River of Times in its Striving ...". Published in the journal "Son of the Fatherland" (1816, No. 30), this text was accompanied by a noteworthy editorial note: "Three days before his death, looking at his famous historical map hanging in his office: The River of Times, he began the poem" Tension "and managed to write the first verse ”[Derzhavin 2002: 688]. Note that in the system of genres of classicism and in the light of the aesthetic consciousness of the classicist era, this text could not be perceived otherwise than as an unfinished fragment, a fragment of a larger poetic whole - as a separate eight-line stanza in the context of an unfinished odic genre. In the aesthetic perspective of the receptive consciousness of the New Age, Derzhavin's "River of Times." appears as a completely autonomous example of lyric and philosophical miniature, organically fitting into the circle of anthological lyrics, which, by the way, is supported by the acrostic form already noted many times (since the time of the American researcher Maurice Halle): vertically, the initial letters of verse lines form a coherent statement of RUINA CHTI. The river of times in its striving Carries away all the affairs of people And drowns in the abyss of oblivion Peoples, kingdoms and kings. And if anything remains Through the sounds of the lyre and fate, Then eternity will be devoured by the throat And the common fate will not go away! [Derzhavin 2002: 541-542].
To what has been said, it should be added that "The River of Times.", Literally Derzhavin's dying poem, reveals in the Russian poetry of the New Time a stable tradition of such a supertext community as the "last poem" paradigm. A remarkable experience in this regard - to highlight and describe the supertext of the "last poem" shown in the Russian poetic tradition, belongs to the Yekaterinburg poet and philologist Yu. V. Kazarin, the compiler of the voluminous anthology "The Last Poem of 100 Russian Poets of the 20th-20th Centuries." (Yekaterinburg, 2011). Such a structural-semantic or genre paradigm of the "last poem" is defined by the researcher as "a special, final poetic text of a spiritually identifying and metatextual character", acquiring by the beginning of the 19th century. "Typical,
recurring formal-meaningful parameters ”[The last poem. 2011: 48]. Undoubtedly, the semantic "core" of the specified supertext is set precisely by Derzhavin's dying ode "Intense". It also determines one more no less characteristic feature of this supertext community. It seems far from accidental that the paradigm of the "last poem" includes many examples of octopuses, or dvukatrennye poetic compositions, like Derzhavin's ode "The River of Times." Here are just some examples of such eight-line miniatures: "Zhukovsky, time will swallow everything .." K. Batyushkov, "Last Poems" ("Love the pet of inspiration.") D. Venevitinov, "Dear friend, I am dying." N. Dobrolyubova, “Black Day! Like a beggar asks for bread. " N. Nekrasova, "Goodbye, my friend, goodbye." S. Yesenin, "The revolution destroys the best." M. Voloshin, "Talk to me a little more." G. Ivanova, "Elegy" ("I will put aside my meager food ..") N. Rubtsova, "This is the intention" B. Slutsky, "All people
Painting, and I'm a draftsman. " S. Lipkin. However, perhaps only the first poem from the above list ("Zhukovsky, time will swallow everything." Batyushkov) most directly inherits the motive-semantic structure of Derzhavin's text-precedent.
The specified supertext, which originates from Derzhavin's "River of Times", is more appropriate to designate precisely as a "situational" supertext (along with the already known types of supertexts - local and personal). The concept of "situation", from our point of view, most fully expresses the motivational structure of the work, the value-hierarchical system of meanings, the intentionality of the lyrical consciousness. In terms of generative poetics, the "situation" acts as a model of text generation, a kind of discursive practice. Ontologically, the “situation” is the basis that determines the “self-reproduction of the cluster”, representing “a convincing manifestation of poetic memory” [Zholkovsky 2005: 396]. Structurally, the situation
- the “core” of the semantic continuum (“semantic sphere” in the language of MM Bakhtin), a certain formally meaningful constant that holds the supertext community together. It is about the supertext education that has developed in the Russian poetic tradition around Derzhavin's last poem "The River of Times."
Let us note the attempt that has already taken place to present Derzhavin's ode "Inspiration" as a logical conclusion of his
kind of a reference expression of the "ruin text" of Russian culture in the second half of the 18th century [see: Zvereva 2007]. In this regard, parallels arise from the lyrics not only of Derzhavin himself, but also of other poets - his contemporaries (for example, they have already been noted in terms of the genesis of the rapprochement of Derzhavin's text with the lyric cycle of N.E. N. Radishcheva from "The Eighteenth Century" [Lappo-Danilevsky 2000: 157]) 1. However, Derzhavin's brilliant poetic testament, undoubtedly addressed to the tradition of the “ruin text” of Russian culture, is far from being limited only to “ruin” semantics. Its semantic content is internally contradictory and paradoxical. Here is just one rather original interpretation of the text given by AA Levitsky in the aspect of the relationship between the image of water and the image of the poet: “But if before the waters of time flowed out of urns, then in this poem, personifying himself in ruins, Derzhavin at the same time himself becomes a source” rivers of time ". As her "key", he "leaves" the common destiny of eternity and erects for himself the most grandiose last monument - a tombstone over the sounds of his lyre, which is stronger than the very throat of eternity. Horace himself did not erect such a monument ”[Levitsky 1996: 69]. Indeed, the inner paradoxical nature of the semantic structure of Derzhavin's text lies precisely in the contradictory interdependence of two principles - "ruins" and "monument".
The semantic space of Derzhavin's "River of Times ..." is formed by the intersection of two subject-thematic lines. One, existential and historiosophical, comes from Ecclesiastes: “There is no memory of the past; and those who will come after will no longer remember what will happen ”(ch. 1, v. 11). The other, creative-ontological, comes from the Horatian tradition of the Monument (Non, omnis moriar ...). It is no coincidence that the central metaphor of the poem "river of times" sets the idea of perishability, or transience, of all human affairs, everything that is inherent in the historical process (cf. "And drowns in the abyss of oblivion / Nations, kingdoms and kings"). At the same time, it would seem that the category of human affairs also includes what “remains through the sounds of the lyre and trumpet” (let us pay attention to the paradoxical
1 Note that in the well-known cante of the Petrine era, "The Song of the Feast" ("Why not have fun?"), Partially ascending to the student anthem "Gaudeamus igitur", a motive characteristic of the later Derzhavin ode already appears: "Time will soon wear out, / Yako river , will run: / And we still don’t know ourselves, / When we resort to the coffin ”[Zapadov 1979: 26]. Derzhavin, creating the "River of Times ...", could well (consciously or unconsciously) be guided by this text.
a combination of the verb form "remains" and the expression "the common fate will not go away"). “Remains”, one must assume, is precisely that which avoids complete “drowning” - even if not forever, but only for some indefinite period (which one? - remains so until the end and is not clear). The effect of uncertainty is further intensified due to the fact that the theme of the spiritual component of the "monument", although it is brought under the authority of the "common destiny", but at the same time evokes in the reader's imagination an ambivalent image of the "vents of eternity" ("eternity" can hardly be regarded as trivial synonyms). However, against the background of the positive tendency of the "monument" 1, the semantics of absorption (cf. "drown - will be devoured") - this is a logically consistent development of the original ecclesiastic line - takes on an increasingly sinister look.
The mystery of Derzhavin's text lies in its semantic heterogeneity, which is maintained due to the dynamic balance of the two genre traditions mentioned, coming simultaneously from Ecclesiastes and Horace. But, as the “intertextual offspring” of Derzhavin's supertext shows, subsequent poets either reduce the semantic continuum of the precedent text, reducing it to a single semantic center, or radically re-emphasize the semantic poles contained in it.
Analysis of the supertext unity of the "River of Times." Let us begin not with an examination of the “intertextual posterity”, but with the contemporary text of the little-known poet Vasily Tikhonovich Feonov (1791-1835) to Derzhavin. One of his earliest works is "Ode, composed and read on 5 days in 1816 at the ceremonial meeting of the Imperial Kazan University by student Vasily Feonov." In it, a still very young writer demonstrates a skillful mastery of the genre canon of a laudable ode established by that time. But perhaps the most remarkable thing that betrays the poet-student's acquaintance with the ancient tradition is the closeness to the Horatian original, the famous "Ode to Melpomene", perceived as directly (Feonov splendid
1 Compare: “. In the last lines of Derzhavin there is also some strange joy, no, more precisely, not joy, but a kind of light, an introduction to eternity. What's the secret? Maybe so: genius poems, even on the most sad topic, always contain a way out, "immortality, maybe a pledge." If such verses are created in the world, not all is lost. And Derzhavin explains: everything passes, is carried away, is devoured, but if a poet, a person is able to grasp all this, to understand, then by this very understanding he is already, as it were, eternal, immortal ”[Eidelman 1985: 32].
Russian classics: dynamics art systems
knew Latin) and through the poetry of the great Russian mediator, Derzhavin. In the aspect of the topic of interest to us, we note only the most colorful example - the 17th stanza, with its opposition to the destructive run of time - the eternal glory of Russia:
Rejoice! Oh glorious Russia,
And the notorious mother of tribes!
Your deeds are good
Captivity will also survive death.
May the time be a sharp scythe
Everything visible in front of you
Will slay, destroy and erase;
Let the whole universe change
Let it turn into a row of ruins,
And all living things will die. [Burtsev 2003: 115].
The poet, seemingly quite in the spirit of Derzhavin, paints an apocalyptic picture, but at the same time he contrasts the total destruction of the world (both material and spiritual) with the incorruptibility of the glory of the Ross, the involvement of their eternity:
But the glory of the great deeds
Your heroes and sons
Through the horror of nature, little,
Through the smoke of burning worlds
Through the red glow, fires,
Through crackling, thunderous strikes
It will pave the way for itself;
Breaks through the centuries-old gloom,
The fogs are wet, gray,
Will reach eternity itself [Burtsev 2003: 116].
As the title suggests, the ode was composed by Feonov "5 days in 1816," that is, January 5, almost six months before Derzhavin's "Last Verses". But this is an original interpretation of the Horatian theme, which is, moreover, crossed with the theme of Ecclesiastes, just like in Derzhavin's ode "Corruption".
Two subsequent odes of the poet are devoted to moral and religious subjects: "Faith" and "Conscience". In form, these are Horatian odes, but in content, they are spiritual and philosophical. But here, too, the motive of the destructive passage of time, which conjures up a truly apocalyptic picture, is remarkable, which has already become Feonov's "calling card":
Everything will disappear and darken, Like a dream, it will pass and turn
Russian classics: dynamics of art systems
Into the insignificance of its succession: And the shine of honor, wealth, glory And luxury, splendor and fun With its earthly charm.
The existence of the Universe will disappear, And the tribes of the earth will pass away; Like a leaf shaken from the tree, Luminaries will fall from the firmament And clothe themselves with darkness in the abysses, Like a scroll, the heavens are hanging down: Alone you will not disappear [Ibid: 120].
Only Faith alone remains immortal, merging, in the words of the author himself, "with the life-giving principle." The same, by the way, is observed with the conscience: it finds its place in the human heart, it acts as a "pointer" given from above, a mystical guide from God to man. It is no coincidence that Feonov's text (and above all at the rhythmic-syntactic level) contains numerous reminiscences from Derzhavin's ode “God”: You are - I know from experience, You are - you are present in me, You are - I feel vividly, You are, You dwell in the heart with mighty power, Control my freedom, Light of the soul, reason, Source of truth, knowledge, Judge of all my deeds, desires! You are - and there is no doubt about that [Ibid: 121].
Feonov, as we see, is developing the theme of the perishability of all earthly things in parallel to Derzhavin (and independently of him), emphasizing first of all what “remains” from universal destruction. And what remains, according to the poet, is precisely the spiritual values - the good deeds of Russia, Faith and Conscience.
Now we can proceed to a direct consideration of the "intertextual offspring" of Derzhavin's ode "The River of Times." In fact, the first reaction to it should be recognized as an ode to V.V. Kapnist "Intenseness" (1816). Kapnist attributes two more stanzas of the same kind to Derzhavin's already existing 8-line stanza, one of which is predominantly narrative in nature, and the other, sustained exclusively in the Horatian tradition, contains a categorical refutation of Ecclesiastes:
From century to century this sound will be shed.
Derzhavin, no! Omnipotent decay It will not touch your wreaths, Until the day shining for mortals, It will alternate with the starry night, Until the axis of the world falls, - Time over the floating abyss
Your wreath with a lyre will emerge [Kapnist 1973: 255-256].
As we can see, Derzhavin's metaphors "river of times" and "drowning" of human affairs in the "abyss of oblivion" receive their polemical continuation from Kapnist in the form of "a flying abyss of times" and a floating "wreath with lyre". The course of Kapnist's poetic thought (the opposition of the "all-living decay" and the spiritual values awarded with immortality of the wreath of glory and the lyre) is very reminiscent of the same plot course that we have already observed in Feonov's odes. However, the polemical refutation of Derzhavin's text-precedent (as we have seen, frankly paradoxical in the semantic sense) is achieved by Kapnist exclusively through a rhetorical effort that does not touch the philosophical-ontological depth and therefore does not present any worthy counter-argument-refutation, sustained in an existential the ontological spirit of the predecessor poet. The reduction of the semantic space of Derzhavin's text appears here especially clearly.
A worthy response to Derzhavin's "River of Times", preserving the dramatic duality of the original text-precedent, can be considered an 8-line miniature by KN Batyushkov "Zhukovsky, time will swallow everything." (1821). Although the ending of the text leads to the tradition of the genre of the comic epigram, its beginning is sustained in an extremely serious tone:
Zhukovsky, time will swallow everything,
Smoke of you, me and glory,
But what we keep in our hearts
Oblivion will not sink in the river! [Batyushkov 1989: 424].
The starting point, testifying to the inclusion of this poem in Derzhavin's supertext, is again the development of the already familiar metaphor of the “river of times”: only the “abyss of oblivion” is replaced by the “river of oblivion,” and time takes the place of the devouring “vein of eternity”, “ swallowing "friends and" fame smoke ". All this is a continuation of the tradition of Ecclesiastes, which is so organic for Batyushkov (cf. the elegy "To a Friend" and the fragment "The Utterance of Melchizedek"). But in spite of this tradition in the poem, one can also see the development of the theme of the Horatian "monument", and
deepening it at the expense of the romantic aesthetics of the "memory of the heart", especially fully developed in Batyushkov's treatise "On the best properties of the heart."
Perhaps the most adequate correspondence to the baroque-odic tradition of Derzhavin is found in the poetry of F.I.Tyutchev. Thus, the motive of Derzhavin's "Ode to Corruption" can be traced in the poet's poem "I Sit Thoughtfully and Alone .." (early 1830s): The past - was there when? What now - will it always be? ..
It will pass-will pass it, how it all went, And sinks into a dark mouth
Year after year [Tyutchev 1965: v. 1, 70].
It is with Derzhavin's image of the "dark vent" ("the vent of eternity") that Tyutchev's poems, as well as Russian poetry in general, are associated with the first shoots of an existential outlook.
The continuation of this Derzhavin's line - in its fundamentally existential interpretation - can serve as Tyutchev's poem "Look, as in the river expanse." (1851). The image of ice floes floating in the all-embracing sea and melting leads Tyutchev the poet to thoughts similar to Derzhavin:
In the sun eh shining brightly, Or at night in the late darkness, But all, inevitably melting, They float to the same meta.
All together - small, large, Having lost their former image, All - are indifferent, like the elements, - Will merge with the fatal abyss! ..
Oh, our thoughts are seduction,
You, the human self,
Isn't that your meaning
Isn't this your fate? [Tyutchev 1965: v. 1, 130].
Especially striking in Tyutchev is the image of the "fatal abyss" accompanied by the motives of "inevitability" and "fate" (one and the fatal "meta"). Equating to a spontaneous process, fate captures "small" and "big", as in Derzhavin - "peoples, kingdoms and kings." A brilliant analysis of this text in the aspect of a poetic dialogue with the Derzhavin tradition was made by S.V. Galyan, which frees us from a detailed conversation on this topic.
Let us cite only one curious observation of the researcher concerning the poetics of time in the compared works of both poets: "The time specified with the help of verbs of action in Derzhavin's text clearly divides it into two fragments: in the first, the present extended tense (the verbs of the present tense of the imperfect form" carry away "," drowns "), in the second - two future tense verbs of the perfect form (" devour "and" will not go away "). This is a “river of times” created at the grammatical level, flowing and breaking off into eternity. The artistic time in Tyutchev's poem is structured in a similar way. Despite the fact that the word "time" (or derivatives from it) is not in the text, the sense of time is very strong. In the "landscape" part, as in Derzhavin's, the movement of the river is created by verbs of the present tense of an imperfect form (or verb forms): "floats", "shining", "melting". And the sudden transition is the only future tense verb ("merge"), and the perfect form of this verb seems to indicate the inevitability of a common end. But the last two verses of Tyutchev's poem are completely devoid of the category of time: they create the impression of its absence, timelessness, or, if you like, eternity ”[Galyan 2012: 95].
A non-trivial aspect of a poetic dialogue with the Derzhavin tradition, and first of all, with the "River of Times.", Is presented by Tyutchev's poem "Mikhail Petrovich Pogodin" (1868). Especially noteworthy is the second, final stanza of this poetic message, a kind of poem in case: In our age, poems live for two or three moments, Born in the morning, they will die in the evening. What is there to bother about? The hand of oblivion Will just complete its proofreading work [Tyutchev 1965: vol. 2, 200].
The epigrammatic ending needs an explanation. In this context, the “hand of oblivion” can be caused by paronymic attraction (the convergence of similar-sounding words “river” and “hand”), as well as involuntary contamination in the poet's mind of two Derzhavin phrases (“rivers of time” and “abyss of oblivion”). Having received from Tyutchev a collection of poems with the indicated text-message (epigram), MP Pogodin retorted - in exactly the same spirit as V. Kapnist Derzhavin: “You made me regret not writing poetry, my dear Fyodor Ivanovich. I will object to you in prose that such verses, being born in the morning, do not die in the evening, because the feelings and thoughts that inspire them belong to the category
everlasting. " [Ibid: 396]. Once again, true poetry collides with the rhetorical nature of prosaic judgment!
Derzhavinskaya "River of Times." finds a well-deserved response among the poets of the 20th century. Suffice it to recall O. E. Mandelstam with his famous Slate Ode (1923), in the intertextual space of which figurative and thematic lines coexist, coming simultaneously from Derzhavin, Lermontov and Tyutchev. Perhaps the most obvious continuity with Derzhavin's precedent text is found in the rough version of the ode:<И что б ни>withdrew hand<Хотя>would life or dove<Все>the river will wash away the time And the night will erase with a shaggy sponge
[Mandelstam 1995: 468].
Along the way, let us note in Mandelstam the semantic contrasting rhyme “hand - river” (in Tyutchev's message to M. Pogodin, as we remember, an unconscious substitution of both was manifested). The hand "leading" something is unambiguously associated with the creative, constructive process, while the river (namely, the "river of time"), ascending to the nocturnal element of nonexistence, "erases" all the outlines of existence. The Derzhavin tradition also makes itself felt in the final text of the Slate Ode: following the poet of the 18th century, Mandelstam offers “his own interpretation of the problem of time, which, as a first approximation, boils down to abandoning the linear model in favor of the cyclical one” [Levchenko 1996: 199]. The cyclical model of time - due to its cultural and historical genesis - again makes us remember the ancient sage Ecclesiastes.
An earlier example of significant reminiscence from Derzhavin's River of Times. we find in Mandelstam's poem "Herds graze with merry neighing." (1915). "The dry gold of the classic spring / A transparent rampart takes away time" [Mandelstam 1995: 126] directly echoes Derzhavin's "The river of times in its striving." It is interesting that the word "rapids" means "precipice, steepness, abyss, abyss", as well as "speed of the current." V. Dahl's dictionary even captures a stable phrase: “Ages have descended into the rapture of eternity” [Dal 1991: 338]. The sound-semantic closeness of Mandelstam's "rapids" and Derzhavin's "aspiration of the river of times" may seem striking. “The rolling years like a dear apple” [Mandelstam 1995: 127] - this expression anagrammatically alludes to the tradition of the classical poet
Russian classics: dynamics of art systems
predecessor, namely Derzhavin, who became famous, as you know, for his sovereign-odic syllable. Although Mandelstam associates "dry gold of classical spring" not only with Derzhavin, but also, above all, with ancient Ovid and, of course, with Pushkin, one cannot ignore the fact that the general structure of Mandelstam's poem is polemically directed against Derzhavin's tragic skepticism. Strange as it may seem, but it is in Pushkin (confirmation of this by the following reminiscences: "Amid the wilting of a calm nature", "I will remember Caesar's beautiful features", "May my sorrow be bright in old age") Mandelstam finds support for spiritual confrontation - historical time and fate, thus overcoming the tragic concept of Derzhavin's suicide poem.
In the aspect of Derzhavin's supertext of interest to us, no less remarkable is VF Khodasevich's poem "Monument" ("In me the end, in me the beginning.", 1928). Executed, it would seem, exclusively in the Horatian tradition (hence the "strong link" and the monument to the poet in the form of a "two-faced idol" "in new but great Russia"), this poem is permeated through and through with an ambiguous ironic intonation.
The end in me, the beginning in me. My perfect is so little! But all the same I am a strong link: this happiness is given to me.
In Russia, new, but great, They will put my two-faced idol At the crossroads of two roads,
Where is the time, wind and sand. [Khodasevich 1989: 254-255].
The author's irony is felt already from the first verse - in the reminiscence from the “Revelation of St. John the Theologian (“I am the Alpha and Omega, the beginning and the end, says the Lord, who is and who was and who is to come, the Almighty”). And in the image of a "two-faced idol", set "at the crossroads of two roads, / Where is the time, wind and sand ...", which surprisingly resembles the Egyptian Sphinx in the desert, isn't the apocalyptic breath of the wind anticipated, a kind of sign of the end of times? Does the crisis nature of the new historical era not affect the very turn of the author's interest from the old book of Ecclesiastes to the New Testament theme of the apocalypse? But, perhaps, here and today there are more assumptions and questions than ready-made answers.
Let's summarize some of the results. As we had the opportunity to see, in the course of literary evolution during the XIX-XX centuries. the existential and historiosophical versions of Derzhavin's "Ode to Corruption" are linked together, the traditions of Ecclesiastes and Horace that open up in its semantic structure come into competition. Derzhavin's “River of Times ..” is essentially a correction to his earlier programmed poem “Monument” (1795), as well as a “bridge” to Pushkin's later poetic testament (cf. lyre / My ashes will survive and decay will flee. ”[Pushkin 1977: 340]). Exactly so: Pushkin's "decay will flee" is both a polemic and a creative competition with Derzhavin the predecessor, in a word, a continuation of Derzhavin's tradition.
In theoretical terms, one more point is important. On the example of the "intertextual offspring" of Derzhavin's text-precedent "The River of Times." it becomes obvious that the “core” of the receptive cycle it forms is set by the plot situation, in other words, by a qualitatively defined structure of motives, and not by their quantitative set, even if taken in a varied combination. It is precisely the adherence to the original, given by the text-precedent, the lyrical situation (despite the inevitably dotted character of the line of poetic continuity we have considered from Derzhavin to Khodasevich) that is a proven and reliable criterion in defining the receptive boundaries of any supertext formation.
LITERATURE
Batyushkov K. N. Op. : in 2 volumes. M.: Art. lit., 1989.Vol. 1.
Bakhtin M. M. Aesthetics of verbal creativity. 2nd ed. M.: Art, 1986.
Burtsev G. N. Perm Prisoner, or the Life and Poems of V. T. Feonov. Perm: Arabesque, 2003.
Vasiliev N. L. G. R. Derzhavin and N. E. Struisky (On one of the possible sources of Derzhavin's dying poem) // Izv. RAS. Ser. lit. and lang. 2003. T. 61. No. 2. S. 44-50.
Galyan S. V. "The River of Times." from G.R.Derzhavin and F.I.Tyutchev // Bulletin of Perm University. Russian and foreign philology. 2012. Issue. 1 (17). S. 93-96.
Dal V.I. Explanatory Dictionary of the Living Great Russian Language: in 4 volumes. M.: Rus. yaz., 1991.T. 4.
Derzhavin G.R. SPb. : Academic project, 2002. Zholkovsky A. K. Intertextual offspring "I loved you." Pushkin // Zholkovsky A.K. articles about Russian poetry: Invariants, structures, strategies, intertexts. M.: RGGU, 2005.
Zapadov V.A.Russian Literature of the Century. 1700-1775: Reader. Textbook / comp. V.A.Zapadov. M.: Education, 1979.
Zvereva T.V. Interaction of word and space in Russian literature of the second half of the 18th century. Izhevsk: Publishing House "Udmurt University", 2007.
Kapnist V.V.Selected works. L.: Sov. writer, 1973. Lappo-Danilevsky K. Yu. The last poem of G. R. Derzhavin // Russian literature. 2000. No. 7. S. 146-158.
Levitsky A.A. The image of water at Derzhavin and the image of the poet // XVIII century: collection of works. 20. SPb. : Nauka, 1996.S. 47-71.
Levchenko J. "Slate ode" by O. E. Mandelstam as a logodicy // Criticism and semiotics. 2005. Issue. 8.S. 197-212.
Mandelstam O.E. collection verse. SPb. : Academic project, 1995.
The last poem of 100 Russian poets of the X ^ P-XX centuries. : anthology-monograph / auth.-comp. Yu.V. Kazarin. Yekaterinburg: Ural Publishing House. University, 2011.
Pushkin A.S. collection Op. : in 10 volumes, 4th ed. L.: Nauka, 1977.T.
Tyutchev F. I. Lyrics: in 2 volumes. Moscow: Nauka, 1965. Khodasevich V. F. Poems. L.: Sov. writer, 1989. Eidelman N. Ya. The last verses // Knowledge is power. 1985. No. 8. S. 32-34.
Plan
Ways of developing poetry for children in the second half of the 19th century
Lecture number 7
1. Ways of development of poetry for children: poetry of "pure art" (A. Fet, A. Maikov, F. Tyutchev, AK Tolstoy) and "Nekrasov school" (A. Pleshcheev, I. Nikitin, I. Surikov) ...
2. Characteristics of children's lyrics by representatives of "pure art".
3. Creativity of poets of the Nekrasov school in children's reading.
4. N. A. Nekrasov in children's reading. Works written especially for children and included in the circle of children's reading. Social motives in the poems "Crying Children", "Nightingales", "Uncle Jacob". Problems of education in poems " Railway", "Grandpa". Poetic image of a child from the people ("Peasant Children"). Nationality, national character of poetry.
Literature
Begak B. Classics in the land of childhood. - M .: Det. lit., 1983.
Zuev N. “Peasant children” by Nekrasov // “Life and poetry are one”: Essays on Russian poets of the XIX-XX centuries. - M .: Contemporary, 1990.
Russian poetry for children / Vstup. article, compilation, preparation of the text, biographical information and notes. E.O. Putilova. - L .: Sov. writer, 1989. (B-ka poet. Great ser.).
Lyrics of the second half of the 19th century - a remarkable period in the history of our national poetry. During these years, a large constellation of poets who made a richest contribution to the Russian classics declared themselves. This is the period when Russian poets drew attention to the world of childhood with its special ethics and aesthetics. The names of A. Fet, A. Maikov, I. Nikitin, later A. Plescheev, I. Surikov, poems by F. Tyutchev, A. Tolstoy, Y. Polonsky appear in children's magazines, almanacs. The poems of outstanding Russian lyricists reveal to young readers a diverse and unique world of nature, the beauty of their native land. Each author brings his own colors, his own strokes into a huge portrait of native nature, "revealed in the word." In general, poetry for children has become more democratic in form and content, complex philosophical, social, psychological, and aesthetic ideas that are accessible to the child's mind and feelings began to enter into it.
In the second half of the 19th century, two poetry schools coexisted and constantly opposed each other: the “non-racial” school (I. Nikitin, Drozhzhin, Pleshcheev, Surikov, etc.) and the “pure poetry” school (Fet, Maikov, A. Tolstoy, Ya. Polonsky, to some extent F. Tyutchev Both of them created a whole poetic world for children.
"Nekrasovskaya" school: democracy of ideas, citizenship, social issues, the use of colloquial, vernacular vocabulary. The theme of the village, peasant life. Formed an active life position... Direct address to the reader. Poetry of civic thought.
School of "pure poetry": Developed the romantic tradition of Russian poetry, the cult of beauty, close to the ancient, contemplative attitude to the world. An emphasized rejection of the image of the "dirt" and spite of the day. Book, elevated vocabulary, complex syntactic figures, sophisticated imagery. Poetry of the heart, feelings.
Whisper, timid breath,
Nightingale trills,
Silver and wobble
Sleepy brook.
Night light, night shadows
Shadows without end
A series of magical changes
Sweet face
In the smoky clouds, purple roses,
Reflection of amber,
And kissing and tears
And dawn, dawn!
I. Nikitin
Stuffy air, splinter smoke,
Rubbish underfoot,
Litter on the benches, cobwebs
There is a pattern in the corners.
Smoky floors,
Stale bread, water,
Spinning cough, baby crying
O need, need!
To mourn grief, to work a century,
Beggars die.
This is where to learn
Believe and endure.
2. Characteristics of children's lyrics by representatives of "pure poetry"
Fedor Ivanovich Tyutchev(1803-1873) - a contemporary of Pushkin, a romantic poet. Romantic, mysterious nature in his poems, complex and dramatically connected with the world of man.
A characteristic feature of Tyutchev's lyrics are landscapes, bright, expressive. Pictures of changeable, transitional states of nature are especially attractive.
I love the storm in early May,
When the spring, the first thunder,
As if frolicking and playing,
Thunders in the blue sky ...
(Spring Thunderstorm)
As if specially created for children a poem "Winter is not for nothing is angry", depicting the change of seasons as a confrontation between the young Spring and the outgoing Winter - "evil witch":
Winter is still busy
And grumbles in the spring
She laughs in her eyes
And it only makes more noise ...
Tyutchev's image of nature is romantic, visible, animated. The poet shows nature in motion, in the change of phenomena, in the struggle of the opposite forces of light and darkness. Often shows violent manifestations of the elements ("fateful minutes"). The poet often uses the principle of parallelism to depict the complex world of human feelings by juxtaposing with nature.
A.K. Tolstoy (1817-1875), A.A. Fet (1820-1892), A.N. Maikov (1821-1897) are called the singers of nature. In landscape poetry, they have achieved the highest skill. Maikov wrote: “The feeling of nature, excited in us by its contemplation, is everywhere the same ... In our Russian nature, this feeling is livelier and more direct because there is a forest, meadows and fields around there, and all this buzzes, makes noise, rustles, is interesting with you". This statement by Maikov is a kind of epigraph to his poems and the poems of his contemporaries.
In a reader, collections of poems for younger children school age includes poems by Alexei Konstantinovich Tolstoy "This is the last snow melting in the field", "Autumn. All our poor garden is sprinkled ”,“ My bells, steppe flowers ”,“ Where the vines bend over the whirlpool ”,“ You are my land, my dear land ”,“ Louder than a lark pee ”. A.K. Tolstoy is a romantic poet, partly a mystic. He is distinguished by the spontaneity of feelings, his major intonations are combined with elegiac, soulful ones. Accuracy and clarity of details, the ability to highlight the most striking feature of what is described, the consonance of pictures of nature with human mood. The naivety of children's perception is combined with a deep wisdom of generalization. The poetics of A. Tolstoy is characterized by song imagery, free use of colloquial words, generally accepted epithets. The poet has mystical motives, he is characterized by a love of space, freedom.
Afanasy Afanasevich Fet is represented by verses unsurpassed in purity and transparency of the syllable "The swallows are gone ...", "Wonderful picture ...", "I came to you with greetings ...", "I know that you, baby ...". A child hero appears in Fet's work ("Mom! Look out of the window ..."), scenes of home life appear:
The cat sings, squinting eyes, A storm is playing in the yard,
The boy is napping on the carpet. The wind whistles in the yard ...
These poetic miniatures are distinguished by a particularly warm, soft intonation and, first of all, attract young readers.
His poems are imbued with the cult of the elusive, unsaid. I admired a moment, a fleeting impression, beautiful and disappearing. Most of all he is interested in his own feelings, moods, sensations. In nature, he is attracted by "quiet phenomena", unclear states (transition from winter to spring, from summer to autumn), half-tones, shades, elusive combinations. Often he does not show the landscape itself, but its reflection in the water or the sky. Descriptions of nature are detailed, specific. Every bird, every insect, every tree is shown in its uniqueness. His poetry is musical and melodious.
Sounded over the clear river,
It rang in the faded meadow,
It rolled over the mute grove,
It lit up on the other side ("Evening").
The lyrical hero, as a rule, is "behind the scenes", he is a contemplator, telling about what he saw.
Nature is an idle contemplator,
I love, having forgotten everything around,
Watch out for the lancet swallow
Over the evening pond.
Here it rushed and blacked out -
And scary to smooth glass
I didn’t grab it by an alien element
Lightning wing.
And again the same daring
And the same dark stream, -
Isn't that the inspiration
And the human self?
The poems "Haymaking", "Autumn" ("The golden leaf in the forest in the forest ..."), "Spring" ("Go away, Gray winter"), "Summer rain" ("Gold , gold falls from the sky ... ") His" Lullaby ", in which the fabulously powerful forces of nature, protect the baby's peace:
Sleep, my child, sleep! I took you as a nanny
Sweet dream to yourself mani: Wind, sun and eagle.
Creativity has a unique originality Ivan Savvich Nikitin(1824-1861), a native of the bourgeois environment (born and lived in Voronezh), a poet of the Nekrasov school. The poet's closeness to folk life, to Russian nature was reflected in his poetry. Nikitin's poems contain an open feeling of ardent love for his native land, admiration for the strength and resilience of the national character. The following poems by Nikitin became the property of children's literature: "Morning" ("The stars fade and go out. Clouds in the fire ..."), "Grandfather" ("Bald, with a white beard, grandfather sits ..."), "Morning on the shore lakes "," The driver's wife "," I remember: it used to be a nanny ... ". The poet's works organically include motives and images of folk lyric songs. It is no coincidence that more than 60 songs and romances have been created based on Nikitin's verses. Among them are "Rus", "On an old burial mound, in a wide steppe ...". The children's song "Meeting Winter" ("Hello, Winter Guest!") Has become especially widely known.
Poetry for children of A.N. Pleshcheev (1825-1893) and I.Z. Surikov (1841-1880) developed in the mainstream of Nekrasov's traditions. In their work, the motives of Russian nature and peasant labor were combined, the theme of village childhood sounded. Both poets showed interest in contemporary children's literature, actively participated in the work of the magazines "Children's reading", "Family and school", " Kindergarten"," Toy ".
Alexey Nikolaevich Pleshcheev, the famous poet, translator, prose writer, literary and theater critic, turned to children's literature in the 70s. He compiled and published several collections of his works for children, among them "Snowdrop" (1878) and "Grandfather's Songs" (1891). His poems are full of love for children and cannot but evoke a reciprocal feeling. Here is a little beggar who was pitied and fed by his fellow in misfortune ("The Beggars"), a sick boy who dreamed of spring, about warmth, about his mother ("Expectations"). Children, different, meek and lively, noisy, inquisitive, are the main characters of Pleshcheev's poetic works. Little heroes are surrounded, as a rule, by people who love them - dads, mothers, grandfathers and grandmothers, nannies. The poet paints memorable pictures family life: the return of children from school, meeting with a barboska at the porch, inquiries from relatives ("From Life"), curly-haired Vanya's enthusiastic story about school ("Grandmother and granddaughters"), conversations between grandfather and little grandchildren, fairy tales "about a fox, about a bun, yes about the frog frog, but about the little house of mice ”(“ Bad weather ”).
Through the eyes of a child, Pleshcheev sees nature. Everything in his poems is mobile, changeable: "The grass turns green, / The sun shines, / A swallow with spring / In the canopy flies to us", nightingales and larks are singing, streams are running, raindrops are talking. “The colors of the Plescheev landscape are modest and moderate, they attract with their naturalness. His landscape is simple and transparent, highly emotional and often contrasted, juxtaposing storm and silence, calm and anxiety. " Pleshcheev's poems are musical and, just like Nikitin's, many of them have become popular songs and romances.
Influenced by Pleshcheev, he turned to poetry for children Ivan Zakharovich Surikov, a talented self-taught poet who was born into a peasant family in the Yaroslavl region. The first happy 8 years of his life passed in the village, on the whole severe and joyless (he died at 39 from consumption). The impressions of a village childhood, bright memories of the warmth of the parental home, of the happy days spent in the field, at night, fishing, fed the poet's creativity. This is the main theme of his pure and ingenuous poems: "Childhood", "At night", "On the river", "In winter". The poem "Childhood", perhaps the most famous by Surikov, became the main feature of his poetry.
This is my village; Here I am rolling in a sled
Here is my home; Along the steep mountain ...
The poem, despite its seeming simplicity, was written by the hand of a master. The poet draws only two pictures: funny fun with boy friends and an evening at home:
In the corner, bending over
Grandfather weaves bast shoes;
Mother at the spinning wheel
Silently, flax spins.
And the "gray-haired grandmother" tells her grandson a fairy tale:
Like Ivan Tsarevich
I caught the bird-heat,
How is his bride
The gray wolf got it ...
There are few external events, but they are so emotionally filled that the day, as it happens only in childhood, seems limitless:
The winter evening lasts
Lasts endlessly ...
Memories of one day grow into a generalized image of childhood.
You flowed merrily,
Children's years!
You were not overshadowed
Grief and misfortune.
The poems of the poets of the 60-70s of the last century, with all the variety of motives, intonations, are surprisingly kind and human. They recreate a harmonious world of unity between man and nature, warmth family relations, convey faith in a good beginning, the desire for knowledge, for a happy life.
The best poems of the poets of this time are well known and loved by many generations of Russians, they were carefully passed from the elders to the younger, without exaggeration it can be argued that they entered the genetic memory of the people, became an invaluable national cultural wealth.