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Themes are images and motifs of elegiac lyrics.

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“And in joy I cry out: O Muses! I'm drinking!" The originality of the lyrics of K.N. Batyushkova Pukhalskaya L.V., teacher of literature

Three stages of K. Batyushkov's poetry: the first - the time of creating "light poetry", developing the "little philosophy" of the Epicureans, personal happiness and hedonism, combined with skepticism, a favorite genre - a message to friends. Epicureanism is a philosophical doctrine based on the ideas of Epicurus and his followers. The Epicureans believed that for a happy life a person needs: the absence of bodily suffering; equanimity of the soul; friendship. Hedonism (ancient Greek ἡδονή - “pleasure”, “pleasure”) is an ethical doctrine, according to which pleasure is the highest good and the goal of life.

Three stages of K. Batyushkov's poetry: 2) the second - a turning point in the worldview as a result of the events of 1812-1814, the rejection of epicureanism, the emergence of historical thinking, citizenship (a program poem that expressed new ideological and artistic attitudes - "To Dashkov", 1813 .), the appearance of tragic disturbing notes in poetry, disappointment in the "reasonableness" and "harmony of man";

Three stages of K. Batyushkov's poetry: 3) the third - the strengthening of romantic rejection of reality, philosophizing, reflected in the genre of elegies.

The originality of the lyrics of K. Batyushkov For the first time in Russian poetry, Batyushkov created a "lyrical hero". His lyrical subject 1802-1812 - a predominantly enthusiastic person, although at times his enthusiasm is replaced by melancholy, he seems to soar above a prosaic life. Therefore, the image of wings, wingedness is often associated with it. Melancholy - "spill of black bile"; figuratively - mental depression, gloomy mood

The originality of the lyrics of K. Batyushkov Personification is a characteristic feature of Batyushkov. The qualities that the lyrical hero is endowed with are designed to symbolize the fullness of physical existence. This is youth, love, beauty. The beloved of a hero is always beautiful. Even Belinsky noticed that the love of Batyushkov's lyrical hero is fanned with a halo of spirituality.

Originality of K. Batyushkov's lyrics Batyushkov's elegies are characterized by an epic element and the use of means of dramatic art. His lyrical hero often turns out to be a genuine character, whose character is revealed in the course of the plot and plot, which is specific not to the lyricist, but to other types of literature (epos, drama). Plot - the actual side of the story, events in a causal, chronological sequence.

The originality of K. Batyushkov's lyrics Allegoricalness, symbolism are an important difference between Batyushkov's lyrics. His poetry is very complex, multi-layered and polysemantic. It is full of book, historical and cultural associations. Allegory (from the Greek allёgoria - allegory) is one of the forms of allegory, in which an abstract concept or phenomenon (wisdom, cunning, kindness, justice, faith, etc.) is depicted through a specific image (justice - scales, faith - cross).

The originality of K. Batyushkov's lyrics The peculiarity of Batyushkov's style is the use of repetitive words and phrases, peculiar poetic clichés - "flame of love", "cup of joy", "rapture of the heart", "heat of the heart", "drink the breath", "dark gaze".

The Originality of K. Batyushkov's Lyrics Batyushkov's poems are unique in their purely linguistic richness - phonetic and syntactic expressiveness. They are characterized by "sweetness", "euphony", "harmony". The poet skillfully created the linguistic "image" of beauty. As an example, we can cite the harmonic combination of sounds that are grouped around the sound “l” throughout the text in the poem “Ghost” (“If the lily with sheets ... clings ... with rays ... flashes ... flames ... to the cheeks").

SHADOW OF A FRIEND Sunt aliquid manes: letum non omnia finit; Luridaque evictos effugit umbra rogos. Propertius1 I left the shore of foggy Albion: It seemed that he was drowning in lead waves. Galcyone hovered behind the ship, And the quiet voice of her swimmers amused. The evening wind, the splashing of the waves, The monotonous noise, and the trembling of the sails, And the helmsman on deck, crying out To the guard, dozing under the sound of the waves, - All sweet thoughtfulness nourished. As if enchanted, I stood at the mast And through the fog and the night cover The luminary of the North was looking for a kind one. My whole thought was in remembrance Under the sweet sky of my father's land, But the noise of the winds and the swaying of the sea brought languid oblivion to my eyelids. Albion is the ancient name of England. Halcyon is a seagull. Eyelids - eyelids.

Dreams were replaced by dreams, And suddenly ... was it a dream? But the view was not terrible; His forehead did not retain deep wounds, Like May morning, it bloomed with joy And everything heavenly reminded the soul. “Is it you, dear friend, comrade better days! Are you this? - I cried, - O warrior, forever cute! Was it not I, above your untimely grave, Under the terrible glow of Bellonin's fires, Was it not I, with my true friends, With a sword on a tree, inscribed your feat And accompanied the shadow to the heavenly homeland With prayer, sobbing and tears? Pleyssky streams - the waters of the Pleyssa River in Germany, near which Petin was killed. Bellonina fires are military fires.

Shadow of the Unforgettable! answer, dear brother! Or the past was all a dream, a daydream; Everything, everything - and a pale corpse, a grave and a ceremony, Accomplished by friendship in your memory? O! say a word to me! let the familiar sound still caress my greedy ear, let my hand, O unforgettable friend! He squeezes yours with love...” And I flew to him... But the mountain spirit disappeared In the bottomless blue of cloudless skies, Like smoke, like a meteor, like a phantom of midnight, And the dream left my eyes. Everything slept around me under the roof of silence. The menacing elements rolled silently. In the light of a cloud-covered moon A breeze blew a little, the waves barely sparkled, But the sweet peace fled my eyes, And my soul flew after the ghost, I wanted to stop the heavenly guest: You, oh dear brother! O best of friends! June 1814 The elegy is dedicated to the memory of Batyushkov's close friend Ivan Alexandrovich Petin (1789-1813), who was killed in the Battle of Leipzig.

Questions for analysis 1). With what feelings does Batyushkov remember his friend? What are the poet's thoughts about military friendship, duty, courage, death and immortality? 2). What semantic parts can the poem be divided into? What meaning is revealed when comparing the 2 worlds depicted in it? 3). What figurative and expressive means does the poet use to create the real and imaginary world? four). To whom is the monologue of the lyrical hero addressed and what emotions are imbued with? 5). Find Old Church Slavonicisms. What mood do they give to the text?

The poet's anthological poems were also innovative. For the early Batyushkov, antiquity is the focus of sensual pleasures. Ancient lyricism is also understood in this spirit. Now other properties are close to the poet in antiquity - simplicity, courage, drama of passions. The genre of the anthological poem has long been a difficult, but necessary art school for the poet due to the steady demands of short, concise expressiveness placed on him. The merit of Batyushkov is that he avoided both external decorativeness, forced exoticism, panache with antique realities and signs of life, and mannered transmission of feelings, excessive sensitivity and touchingness. He understood the ancient anthology as the embodiment of the national spirit of the ancient Greeks, as the moral being of the people, which is irrevocable. Turning to antiquity, the poet solved contemporary problems of national-historical identity and nationality. The worldview of ancient man can be revealed only through his spiritual, inner world. The most personal, individual passion is love. Therefore, the principle of "anthological individualism" dominates in Batyushkov's lyrics. In love, the ancient man expresses himself completely. In addition to the theme of love, Batyushkov touched upon the themes of death, jealousy, friendship and civic pride. In anthological poems, Batyushkov sang a hymn to life, its beauty, its greatness, its anxieties. Only a selfless and open battle with the vicissitudes of fate gives a feeling of the fullness and joy of being. The heroic theme of confronting dangers, resisting circumstances, despite the possibility of defeat and the inevitability of death, adequately crowns the anthological cycle.

The following factors influenced the formation of Batyushkov as a poet:

1. Knowledge, study of ancient literature, poetry (Virgil, Horace, Anacreon).

2. The era of the French Enlightenment (Voltaire (Batiushkov's love for him all his life), Diderot; criticized Rousseau).

3. Italian Renaissance (Petrarch, Ariosto).

4. Cousin uncle - Muravyov (official and writer. “I owe everything I have to my uncle”).

5. Environment (writers: Derzhavin, Krylov, Kapnist, Ozerov, Lvov).

Main periods: 1802 - 1808 - student period 1809 - 1812 - the beginning of original work 1812 - 1816 - a turning point; spiritual and poetic crisis of 1816 - 1823 - attempts to overcome the crisis and get out of it.

1 period. Magazine "Amateur of Literature", 1806 - poem "Dream" (first published). Dreaming is the soul of poets and verses. Approval of three names: Anacreon, Sappho, Horace. Batyushkov writes that happiness is not in wealth and nobility. "The poet's hut has been turned into a palace by a dream, like a stream for a butterfly in the sea." Poetry lives on. "Advice to friends" - the affirmation of ideals, the motive of disappointment in secular generally accepted values. The value of "light poetry".

2 period."Little Philosophy". Batyushkov served, participated in battles, retired. Returns to St. Petersburg, lives according to his own philosophy. A close friend is the poet Gnedich (by letters). Conscious existence and recognition of it as worthy and capable of commanding the respect of honest people. Philosophy is based on the conviction that earthly pleasures are possible for a person with a virtuous soul; pleasure is not only the realm of vice. Solitude is personal happiness. Epicureanism is the principle of achieving personal well-being through sensual pleasures (delicious food, wine, good music, a beautiful woman). Hedonism - good - pleasure (striving for good). Batyushkov's combination of epicureanism and hedonism was embodied in humanistic ideals and chastity. Batyushkov is not like his lyrical hero, who embodied what is impossible to realize in life; soul experience, not life experience. Awareness of the impossibility of realizing something resulted in a conflict between the dream, the ideal and reality (thus, aesthetically elevated pleasures are opposed to skepticism). Small genres reflect "small philosophy". In the attitude of Antiquity, he finds ideals: cheerfulness, glorification of beauty, mental health - a romantic dream. It is worth noting that Batyushkov does not use ancient forms of poetry. This dictates the nature of Batyushkov's style: there is no ponderous language of classical odes. Uses a language that reflects the clarity of thought, capable of expressing feelings and experiences - a harmonious balance that dictates taste. There are no old Slavs. Batyushkov chooses other topics: civic themes (a sense of the catastrophic nature of life, the tragic position of the human person in the chaos of history). There comes a moment of bleak, hopeless pessimism, the most desperate disappointment. Batyushkov is trying to build a new philosophy, to find the positive foundations for seeing the world, he turns to epic, historical themes.

3 period. The main genre is elegy, which combines historical and philosophical themes. So, Ryleev used the elegy to create historical images, Batyushkov - in order to build on them in the philosophical understanding of the existence of an individual and the existence of peoples. “On the ruins of a castle in Sweden”, “The Fate of Odysseus” (a hero who competes with the gods, challenges them; the prologue to the tragedy is wandering). The poet is interested in a person in the whirlpool of history, reflections on what a person can find support in the destructive power of history. Moods can be traced in the poem "To a friend" (to Vyazemsky): "We have passed the region of deceptive ghosts ...". Batyushkov comes to the conclusion that "... nothing is lasting, there is no happiness anywhere." The result of the active work of this period is the collection “Experiments in Poetry and Prose” (1817), where the word “experiments” must be understood precisely in the meaning of the result, and not experiments. The works “Dying Tass”, “You are awakening, O Baia, from the tomb”, the cycles “In Imitation of the Ancients” (the last major work of the poet), “From the Greek Anthology” were created.

Aesthetic position of the Decembrists. Genre and style originality of lyrics. Creativity K.F. Ryleeva.

Revolutionary-romantic aesthetics was formed in the struggle against ideological and artistic trends hostile to noble revolutionaries. The main blow was directed against classicism, which had already been criticized by Karamzinists and Arzamas. For revolutionary romantics, the political basis of classicism and its constraint by canonized rules and models were especially unacceptable. For example, Küchelbecker, in whose poetry the traditions of classicism still make themselves felt, constantly opposed the subordination of Russian literature to its laws.

But, acting as representatives of the romantic trend against classicism, the Decembrists also dissociated themselves from those romantics who became spokesmen for conservative tendencies. Küchelbecker ridicules this trend in poetry: “The feeling of despondency swallowed up all the others. All of us start to yearn for our lost youth. The pictures are the same everywhere: the moon, which, of course, is dull and pale, rocks and oak forests where they have never been, occasionally long shadows and ghosts, especially fog: fogs over the waters, fogs over the forest, fogs over the fields, fog in the writer's head. In a letter to Pushkin dated February 12, 1825. Ryleev, recognizing the beneficial effect of Zhukovsky on the language of Russian poetry, considers it detrimental " its influence on the spirit of our literature", which is the result of mysticism, dreaminess, nebula, which pervade most of the poems of the romantic poet.

Thus, the revolutionary romantics waged a literary struggle on two fronts: against reactionary classicism and against conservative romanticism. The revolutionary romantics considered service to the cause of freedom through artistic creativity as their civic duty. They substantiated the idea of a poet-citizen, which became characteristic of advanced Russian aesthetics. This idea was formulated in the well-known confession of Ryleev: “ I'm not a poet, but a citizen". The idea of a poet-prophet possessing " to raise up nations by force”to fight for freedom, is also characteristic of Küchelbecker.

The image of the poet-citizen created by the revolutionary romantics was the antithesis of the image of the epicurean poet, which gained wide popularity in "light poetry" and the image of the poet-dreamer, characteristic of elegiac romanticism.

Understanding the social role of art led the Decembrists to demand high content of literature. The Decembrists invested in the concept of high revolutionary liberation content, associated this category with the ideals of socio-political freedom. " loftiness The "soul" was recognized as a necessary quality of a citizen in the statute of the Union of Welfare. The same document also affirms the need for a high content of poetry, without which the work " unworthy of the gift of poetry". Hence the revolutionary-romantic criterion for evaluating artistic creativity: “ the power and beauty of poetry" consists " most of all in an unfeigned presentation of feelings of lofty and good».

The recognition of a high civic mission for fiction prompted the Decembrist poets to propagandize high genres of poetry: political ode, heroic poem, civil tragedy.

Genre-style features:

First of all, the attention of the Decembrists was attracted by the genre odes. In the classicist ode, the poet spoke on behalf of the whole people, thus expressing not his personal point of view on the events depicted, but the nationwide one. Among the Decembrists, the hero is tragically alienated from the people and must accomplish a feat in order to unite with them; the loneliness of the hero and the doom to conflict led to the emergence of an elegiac tone. The Decembrist ode combines the genre features of an ode and an elegy (“On the Death of Byron” by K.F. Ryleev, “The Death of Byron” by V.K. Kuchelbeker).

Similar changes have taken place with the genre friendly message . The Decembrist friendly message (“Forgive me to my friends Kislovsky and Preklonsky” by V.F. Raevsky) is based on a civic feeling, revealed with natural conversational intonation and friendly frankness.

Falls into the field of view of the Decembrists and the genre ballads, understood as a poetic form of folk fantasy. The Decembrists, in a dispute with Zhukovsky, create a “Russian ballad” (“Olga”, “The Killer”, “Natasha”, “Leshy” by P.A. Katenin, “Pakhom Stepanov” by V.K. Kuchelbeker), the genre features of which were vernacular, roughness , and sometimes the deliberate rudeness of poetic language, imitating "common rudeness."

The most successful genre experiment of the Decembrists in lyrics was « Dumas» K.F. Ryleev, it is no coincidence that Bestuzhev put them in first place among the creatures " new school our poetry". According to Ryleev himself, the genre of “thought” is an old Russian invention (“thinking about heroes”). In this genre form, Ryleev saw an opportunity, depicting the exploits of the great heroes of national history, to awaken patriotic feelings in the reader's soul, a sense of community with his great homeland, its history, and people. Since each of the heroes of Ryley's thoughts (Prophetic Oleg, Dimitry Donskoy, Boris Godunov, Ivan Susanin, Bogdan Khmelnitsky, etc.) was of interest not as a unique personality, but as a Russian type of person, the heroes turned out to be "unified", on one face, one lyrical "I".

The Decembrists created a special variety, characteristic only of civic romanticism. genre poems (“Voynarovsky”, “Nalivaiko”, “Khmelnitsky” by K.F. Ryleev). The poem absorbed all the poetic discoveries of Decembrism: historical authenticity, national, civil and patriotic themes, the tragic hero-titan. New in the Decembrist poem - a disappointed hero.

The Decembrist poets devoted the most significant works of their lyrics to the theme of political freedom. In the "Statute of the Union of Welfare", the first natural law of the public association of people was recognized " respect for the common good».

3. Features of Batyushkov's romanticism.

Belinsky, defining the originality of the poetry of the author of The Bacchae, wrote: “The direction of Batyushkov's poetry is completely opposite to the direction of Zhukovsky's poetry. If uncertainty and vagueness are the distinctive character of romanticism in the spirit of the Middle Ages, then Batyushkov is as much a classic as Zhukovsky is a romantic. But more often the critic praised him as a romantic.

Batyushkov's work is very complex and contradictory. This gives rise to great discord in his assessment. Some critics and literary scholars consider him a neoclassicist (P. A. Pletnev, P. N. Sakulin, N. K. Piksanov). Based on the poet's obvious connections with sentimentalism, he is perceived either as a sentimentalist (A. N. Veselovsky), or as a pre-romantic (N. V. Fridman). Exaggerating the roll calls characteristic of Batyushkov with Zhukovsky, he was ranked among the "dull" romanticism. But Batyushkov, experiencing at the beginning of his work the partial influence of classicism (“God”), and then of humanistic-elegiac romanticism, did not belong to the orthodox adherents of either classicism or elegiac romanticism. All his literary activity, poetic and theoretical, basically unfolded in an unceasing struggle against classicism and its epigones. Clearly aiming for classicism, he asked in his “Message to N. I. Gnedich”: “What is in loud songs for me?” Batyushkov spoke in the difficult conditions of the transitional time: the outgoing but still active epigone classicism, the growing sentimentalism, the emerging and gaining popularity of humanistic-elegiac romanticism. And this is reflected in his poetry. But, experiencing and overcoming the impact of literary influences, Batyushkov was formed mainly as a poet of hedonistic-humanistic romanticism. His poetry is characterized by the creation of an objective image of a lyrical hero, an appeal to reality, expressed, according to Belinsky, in particular, in the introduction of “events under the form of memory” into some elegies. All this was news in the literature of the time.

A large number of Batyushkov's poems are called friendly messages. In these messages, the problems of the social behavior of the individual are posed and solved. Batyushkov's ideal in artistic embodiment is certainty, naturalness and sculpture. In the poems “To Malvina”, “Merry Hour”, “Bacchante”, “Taurida”, “I feel my gift in poetry has gone out” and similar ones, he achieves almost realistic clarity and simplicity. In "Tavrida" the heartfelt initial appeal: "Dear friend, my angel!" The image of the heroine is plastic, ruddy and fresh, like a "rose of the field", sharing "work, worries and lunch" with her beloved. Here, the alleged circumstances of the life of the heroes are also outlined: a simple hut, "a home key, flowers and a rural garden." Admiring this poem, Pushkin wrote: “By feeling, by harmony, by the art of versification, by luxury and negligence,“ the best elegy of Batyushkov’s imagination. , with the sincerity of her appeal to her beloved, she anticipates the best realistic elegies of Pushkin.

The details of the life of the lyrical hero ("Evening", "My penates") testify to the invasion of the poetry of everyday life. In the poem "Evening" (1810), the poet speaks of the "staff" of a decrepit shepherdess, of a "smoky shack", of a "sharp plow" of an orata, of a flimsy "rook" and other specific details of the circumstances he recreates.

The bright plasticity of Batyushkov's best works is determined by the strict purposefulness of all means of their depiction. So, the poem "To Malvina" begins with a comparison of a beauty with a rose. The next four stanzas play on and expand on this comparison. And the graceful work ends with a wish-recognition: “Let gentle roses be proud On the lilies of your chest! Ah, dare I, my dear, confess? I would die a rose on it. The poem "Bacchante" recreates the image of a priestess of love. Already in the first stanza, which reports on the rapid run of the Bacchus priestesses to the holiday, their emotionality, impetuosity, passion are emphasized: “The winds blew their loud howl, splash and groans with noise.” The further content of the poem is the development of the motive of spontaneous passion. Belinsky wrote about the elegy “On the ruins of a castle in Sweden” (1814): “How everything in it is sustained, complete, finished! What a luxurious and at the same time resilient, strong verse!

Batyushkov's poetry is characterized by a complex evolution. If in his early poems he is inclined to express and depict mental states more or less statically (“How happiness slowly comes”), then in the prime of his work the poet draws them in development, dialectically, in complex contradictions (“Separation”; “The Fate of Odysseus "; "To friend").

Batyushkov's works, embodying natural, individual feelings and passions, did not fit into the usual genre-specific formations and poetic metro-rhythmic schemes of classicism, intended to express abstract feelings. Following Zhukovsky, the poet also contributed to the development of syllabo-tonic verse. "Light poetry", which demanded naturalness, spontaneity, led Batyushkov to widely appeal to the iambic variety, which is distinguished by colloquialism, expressiveness, and flexibility. According to I. N. Rozanov, almost two thirds of his poems were written in this size (“Dream”, “Message to N. I. Gnedich”, “Reminiscence”, etc.). But for most of the most cheerful lyrical works glorifying love, Batyushkov preferred a playful trochee ("To Filisa", "False Fear", "Lucky". "Ghost", "Bacchante"). Expanding the possibilities of syllabotonics, the poet, in addition to the four-foot (“How happiness slowly comes”), the six-foot (“Message to my poems”) iambic, also uses the three-foot one. The liveliness of the message "My penates", written in iambic trimeter, evoked the praise of Pushkin and Belinsky.

Batyushkov in a number of poems showed examples of strophic art and a remarkable mastery of the symmetrical construction of the verse (“On the death of the wife of F.F. Kokoshkin”, “To a friend”, “The Song of Harald the Bold”, “Crossing the Rhine”). Giving his poems ease, the immediacy of the flow of feelings and thoughts, he more often uses free stanza, but even in it he strives for symmetry (“Merry Hour”).

Taking care of the naturalness of poetry, the poet pays much attention to their harmony. He loves the musical consonances of consonants: “They play, dance and sing” (“To Malvina”); “The clock is winged! don’t fly” (“Advice to friends”); “She shone in all her grandeur” (“Recollection”); "Horses with a silver rein!" ("Lucky"). Skillfully repeating, concentrating the sounds n, r, b, etc., the poet creates a whole musical symphony in the poem: “You awaken, O Baia, from the tomb When aurora rays appear ...” (1819).

Batyushkov is one of the first among poets to violate the absolute boundaries between genres established by the classicists. He gives the message the properties of either an elegy (“To a friend”), or a historical elegy (“To Dashkov”), he enriches the genre of the elegy and turns it into a lyrical-epic work (“Crossing the Rhine”, “Hesiod and Omir are rivals”, "Dying Tass").

Expanding the possibilities of colloquial speech in poetry, Batyushkov achieves immediacy in verse: “Give me a simple flute, Friends! and sit around me under this thick shadow of the elm. Where freshness breathes in the middle of the day ”(“ Advice to Friends ”). But at the same time, where necessary, he turns to anaphoras (“An excerpt from the XXXIV song of the “Furious Orland”), inversions (“Shadow of a friend”) and other means of syntactic representation.

Democratizing the literary language, the poet is not afraid of words and expressions of a wider range than the society of the enlightened nobility, dear to him. We will find appropriately used words in him: “crash” (“Advice to friends”), “stomping” (“Joy”), “blushing” (“Prisoner”).

The plastic expressiveness of Batyushkov's works is also assisted by precise, concrete visual means, in particular epithets. He has a red youth, a merry Bacchus, winged hours, green meadows, transparent streams (“Advice to friends”), frisky and lively nymphs, a sweet dream (“Merry Hour”), an innocent maiden (“Source”), curly groves (“ Joy”), the camp is slender, the cheeks of the girl are flaming (“Bacchae”).

But, fully mastering the art of the artistic word and brilliantly demonstrating it in many beautiful lyrical creations, Batyushkov also left poems, to one degree or another unfinished. This was also noted by Belinsky. According to his observation, the poet's lyrical works are predominantly "below the talent he discovered" and far from fulfilling "the expectations and requirements he himself aroused." In them there are difficult, clumsy turns and phrases: “Rather by the sea, one can sail comfortably on a rolled boat” (“N. I. Gnedich”, 1808). Or: “Guided by the Muses, penetrated into the days of youth” (“To Tass”, 1808). They are not always spared from unjustified archaism: in the elegy "The Dying Tass", written in 1817, there are words that clearly fall out of her style: "koshnitsy", "kiss", "vesi", "finger", “mature”, “fire”, “woven”, “right hand”, “stoghnam”, “voice”, “non-violent”.

Batyushkov is a remarkable connoisseur of antiquity. He introduces historical and mythological names of this world into his poems. The poem "Dream" recalls marshmallows, nymphs, graces, cupids, Anacreon, Sappho, Horace and Apollo, and in the poem "Advice to friends" - nymphs, Bacchus, Eros. He has poems "To Malvina", "Message to Chloe", "To Filisa". However, the abundance of ancient names, historical and mythological in the poems about modernity, undoubtedly introduces stylistic diversity. That is why Pushkin remarked about the message “My Penates”: “The main flaw in this charming message is the too obvious mixing of ancient mythological customs with the customs of a villager living in a village near Moscow.” In this poem, in a “wretched hut” with a “dilapidated and tripod table”, “hard bedding”, “meager junk”, “goblets”, “golden bowl” and “a bed of flowers” coexist.

Crisis of outlook, historical elegies, anthological poems. Remaining faithful to the Epicurean muse, Batyushkov wrote in 1817: “He is forever young who sings Love, wine, erotica.” But at that time, “light poetry”, full of cheerfulness, had already lost its leading role in his work. In the second period his creative path, which begins around 1813, the poet enters a period of ideological doubts, hesitations and disappointments.

The unstoppable onset of the "Iron Age" of bourgeois-capitalist relations, the aggravated social contradictions, grossly destroyed the poet's sweet dream of an independent, peaceful, happy life of huts far from cities. He was literally shocked by the devastating events endured by the peoples, especially by compatriots, in the war of 1812. In October 1812, he wrote to N. I. Gnedich from Nizhny Novgorod: and in history itself, completely upset my little philosophy and quarreled me with humanity.

Life inexorably destroyed Batyushkov's enlightening philosophy. He entered a period of ideological crisis.

4. “Thoughts” by Ryleev, features of the genre.

K. F. Ryleev is rightfully considered the greatest poet and head of the Decembrist romanticism. On the eve of December 14, 1825, and on the day of the speech, he played an active role, in fact replacing the intended dictator Trubetskoy, who betrayed the rebels at the last moment. Ryleev was particularly blamed for an attempt to persuade “Kakhovsky early in the morning of December 14 ... to enter the Winter Palace and, as if committing an independent terrorist act, kill Nikolai. "Ranked among those who plotted regicide, he was sentenced to death. His name removed from the literature.

In 1823-1825. Ryleev worked on the completion of the "Duma" cycle, begun earlier. These were works of a special genre structure. Written on historical material, they differed markedly from historical poems and ballads. Duma as a genre combines the features of an ode, elegy, poem, ballad and, to be a historical story in verse.In Ryleev's creative attitude, when creating thoughts, an educational, instructive desire prevailed.

Feeling that Russia was on the eve of a revolutionary explosion and a decisive transition to the future, Ryleev turned to the past. This is not a departure from actual problems, but an attempt to solve them in a special way. Ryleev had a deeply thought-out plan: to create a series of works about heroes, whose example would contribute to the education of qualities useful for society - patriotism, civic responsibility, hatred of tyrants.

"Dumas" is not a collection of disparate works, at least close in theme: it is, in the strict sense of the word, a cycle - a supra-genre (or super-genre) combination of a number of works to reveal the idea, to embody content that is not disclosed and is not expressed in each individual term, but in full appear only within the boundaries of the entire cycle.The picture of reality in the cycles is created according to the mosaic principle.Individual works mutually complement each other.The connection between them is formed not by direct authorial indications, but due to proximity, adjoining, mutual parallels, allusions; figurative roll call. These connections, which are not declared in the word, are meaningful, and as a result, in addition to the sum of the content of individual terms, there is also an additional content or, according to the definition of academician VV Vinogradov, "an increment of poetic meaning."

Apparently, Ryleev himself was aware of the innovative nature of his cycle, unusual for the Russian reader of that time. Therefore, he considered it necessary to “help” the reader by explaining the essence of his intention in the general introduction, and then he gave an explanation for each work in the form of a brief preface or note. folk history, to make friends with the love of the fatherland with the first impressions of memory - that's the right way to instill in the people a strong attachment to the motherland: nothing even then of these first impressions, these early concepts, is able to erase. They grow stronger with age and create brave warriors for battle, valiant men for advice.

As you can see, this is a poetic interpretation of the political program of the "Union of Welfare": a long, over two decades, education of a whole generation for the revolution planned for the mid-40s. "Dumas" in this sense are educational works. Literature turns into a tool with the help of which, in fact, non-literary goals must be achieved.

The complex, multi-layered structure created by Ryleev with many internal connections had to correspond to the richness and social significance of the content of the “Duma” cycle. The objective content of the history of Russia is not only set out and mastered at different poetic levels, but also repeatedly refracted from different angles of view. In principle, this should it was to give a convex, voluminous expression to individual episodes and the whole picture of the country's historical development.

In the spirit of that time, Ryleev, in order to justify his innovation, decided to refer to authorities, to the long-standing roots of the phenomenon, to the long-standing nature of the genre: “Duma, an ancient heritage from our southern brothers, our Russian, native invention. The Poles took it from us." In fact, by borrowing, he entered into competition with a foreign tradition, created a really new genre and laid the foundation for his own tradition. As a result of creative searches and discoveries, the Ryleeva Duma took root in the genre system of Russian poetry. Pushkin and Lermontov.She then took on a special form with Nekrasov, Blok and Yesenin.

The combination of thoughts into a cycle turned out to be especially promising.
In fact, this is the first cycle in Russian literature: following Ryleev
began to create their own systems of poems, short stories, essays, stories, dramas and even novels, almost all major writers
Russia from Pushkin's "Tales of Belkin" and "Little Tragedies", and then Turgenev's "Notes of a Hunter" to satirical
cycles of Saltykov-Shchedrin and Gorky's Russian Fairy Tales.
development of the world artistic consciousness has approached the level
on which the coverage of the personal and social life of a person according to
demanded an appeal to new forms of the epic. Cyclization was
one of the manifestations of this need for epic reflection
and portrayal of reality.

In his thoughts, Ryleev sought to illuminate the history of Russia from other positions than Karamzin. In fact, borrowing a lot from him, Ryleev rethought what he had taken in the light of the Decembrist views. The revolutionary romantic poet entered into an ideological dispute with the court historiographer on the most important question for that time about the role of the autocracy in the unification and strengthening of Russia. And this anti-Karamzin attitude of his can be clearly seen in the depiction of events and heroes of the past. So, if Karamzin argued that the autocracy saved Russia from foreign invaders, if he believed that the great power and modern culture were created by the autocracy, then Ryleev has other ideas on this score. And they are revealed not in direct assessments (although there are such), but in figurative roll calls. Here, for example, Yermak is depicted: the conqueror of Siberia, the destroyer of the predatory kingdom on the borders of Russia, the hero who pushed apart and strengthened the boundaries of the fatherland. All this was accomplished by Yermak without the support of the central government, at the time of the misfortunes that befell Russia under the ill-fated Ivan the Terrible. On the one hand - a genuine heroic deed, a match for the exploits of ancient heroes. And on the other - scorched Moscow during the raid of the Crimean Khan, the corpses of the killed, suffocated, trampled Muscovites - tens of thousands of dead. Defeated armies on the western, northwestern borders of Russia. The violent villainy of the mad lord on the throne.

Ryleev does the same in other cases. Officially glorified, sometimes ranked as saints, Ryleev’s lords appear either as tyrants, or as fratricides, rapists, lechers on the throne, hypocrites and intriguers. The church called Vladimir of Kyiv a saint - for the adoption of Christianity. And Ryleev seems to be unaware of this fact and its significance in the history of Russia. But he remembers Vladimir's polygamy, recalls his vindictiveness and cruelty. At the moment of the plot action, he is ready to kill Rogneda, the mother of his son, in front of his eyes! The church, tortured in the Horde of Mikhail Tverskoy, is also a saint, but they tortured him at the instigation of the Moscow prince! Ryleev cautiously recalls this in a brief preface. And in the “Boris Godunov” thought, the tsar on the throne is directly called a thief of power, who cut off the legitimate dynasty, a murderer, a man with a troubled conscience. Not a tyrant-fighter, but a new tyrant, a student of Ivan the Terrible!

Pushkin had objections to Ryleev's "Dums". In May 1825, he expressed his opinion in a letter to Ryleev: in one cut: made up of common places ... Description of the scene, the speech of the hero and - moralizing. There is nothing national, Russian in them except for names (I exclude Ivan Susanin, the first thought, by which I began to suspect a true talent in you) ".

Pushkin's objections were of two kinds. On the one hand, he believed that none - even the highest! - the goal does not justify anti-historicism. So, he insistently demanded that Ryleev from the Duma "Oleg the Prophet" remove the ill-fated "shield with the coat of arms of Russia", allegedly nailed to the gates of Constantinople. What coat of arms of Russia could be discussed at the beginning of the 10th century?! Then there was Kievan Rus, and the coat of arms (if only the double-headed eagle was meant by the coat of arms) appeared almost six centuries later, under Ivan III, in Moscow, which did not yet exist during the raids of the Eastern Slavs on Constantinople. The romantic poet projected the recent events of 1812 onto this majestic past, onto ancient Russia: the expulsion of Napoleon, the march of the Russian armies to the West, the capture of Paris ... But the realist poet categorically rejected such allusions: history should be portrayed as it was in fact. He did not believe that such "little things" could be ignored. Moreover, he decisively disagreed with Ryleyev about his well-known statement: "I am not a poet, but a citizen." Pushkin considered it unacceptable to reduce poetry to a service level, did not accept Ryleev's objections that "the forms of poetry in general are given too much importance."

In response to this, Pushkin resolutely declared: "If someone writes poetry, then first of all he should be a poet, but if you just want to be a citizen, then write in prose."

Ryleev died long before the full flowering of his talent, without completing the dispute with Pushkin, without realizing almost most of his plans. For all that, his contribution to the development of Russian poetry is truly unique.

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Anacreontics as an ancient tradition in Russian 19th poetry in. (Pushkin and Batyushkov).

Already in late antiquity, a poetic direction became widespread, using the love and table motifs of the lyrics of the ancient Roman poet Anacreon and Hellenistic poetry. These poems are distinguished by simplicity, grace, playfulness. Its main motives are a joyful, careless intoxication with life, love passion, wine. The love deities of the Anacreontics are Eros, Cyprida, Bacchus, Graces, Charites and many others.

Anacreon was not the "drunkard and red tape" that tradition often makes him out to be; such a reputation for the poet was created by many imitations of later eras, in particular some epigrams (in which, for example, the “triple worship” of muse, guilt and love is attributed to him) and the collection known as Anacreontea. Imitation of Anacreon gave rise to the so-called Anacreontic poetry of late antiquity, the Renaissance and the Enlightenment.

Many poets of Western Europe (the poets of the Pleiades, Voltaire, especially Guys, Lessing, Jacobi and others) and Russia (Lomonosov, Kheraskov, Derzhavin, Batyushkov, Gnedich, Delvig and especially Pushkin) were fond of Anacreontics.

Great popularity of the poet in Europe XVII-XVIII centuries. goes back to pseudo-anacreontic poetry. The enthusiasm for the philosophy of Epicurus, widespread in Europe at that time, favored the development of modern Anacreontic poetry.

Epicureanism is a philosophical doctrine based on the ideas of Epicurus and his followers. Epicureanism was one of the most influential philosophies in antiquity.

Epicureanism serves quite specific needs: it seeks a way to rid a person of suffering.

The motif of life-affirmation in Epicurean poetry appears most often. Wine and golden cups are the basis.

Anacreontic lyrics were also cultivated in the Hellenic cities of Palestine and among the Byzantines. The number of imitations of Anacreon, his style increased rapidly, as a result, they not only became as popular as the originals, but over time almost completely replaced them.

In Russia, the development of anacreontic motifs had a long tradition in the literature of the nobility. Cantemir also translated Anacreon, while using a household erotic dictionary. Lomonosov, Sumarokov, Derzhavin have translations from Anacreon and imitations of him. Smaller poets also developed this theme. It was a special stream of the nobility and literature close to it, coexisting next to the solemn poetry. Its social roots are quite understandable. It was the noble poetry of enjoying life expressed with the help of ancient forms - sometimes more direct and rough, sometimes more refined and gallant, sometimes more substantive, sometimes more sensitive or reasonable. Vivid imitators of Anacreon were Zhukovsky, Batyushkov, Delvig, Pushkin and many others.

Batyushkov, as the most pronounced poet with the views of Epicureanism in Russia, and Pushkin, as his "disciple" in Anacreontics, will help us to consider the influence of Epicureanism on the poets of that time.

Pushkin's work is more interesting for us, first of all, as for people with a heightened sense of pride in our national heritage - the great poet. That is why we would like to dwell on his work in more detail.

Choosing material on a topic of interest to us from the poetry of A. S. Pushkin, we followed a certain chronology of his work and observed how many works reflect these motives in a particular period of life.

As a result of his analytical work on the poetic works of A. S. Pushkin, in order to identify Anacreontic motives, the following picture was obtained:

Let's talk about this in more detail.

The main circle of motifs of the lyceum lyrics of Pushkin (1813-1817) is closed by the framework of the so-called "light poetry", "anacreontics".

It is in the Lyceum that the "formation of the pen" of the poet takes place. Here Pushkin begins to create poems with Anacreontic motifs. The young poet portrays himself as an epicurean sage, nonchalantly enjoying the light pleasures of life.

Pushkin is interested in the literary styles that existed in previous and contemporary poetry. Hence - numerous examples of imitations and stylizations.

Pushkin imitated the Anacreontic lyrics, which were especially popular at the beginning of the 19th century.

Of great importance for the development of the most perfect artistic form for Pushkin was the appeal to the great examples of ancient Greek poetry, which Marx later valued so highly, and Belinsky considered the “art workshop” through which every poet must pass in order to become a true poet-artist.

Pushkin of the early period is characterized by an orientation towards the Epicurean-Horacean-Acreontic philosophy and "light" genres, perceived mainly through the prism of French literature. Epicurean philosophy, Anacreontics, Horacianism - all these phenomena are far from identical, but they enter Pushkin's poetry under one sign.

Everywhere in his lyrics of these years there is a call to “seize the moment”, the cult of youth, fleeting love and passion (images of beauties, often depicted in a traditional, and even to some extent clichéd form: for example, they have Greek names, and in general, antique color distinguishes the lyrics of this kind), the motif of friendship, the symbolism of wine, cups, feasts, the cult of frivolity, behind which stands genuine higher wisdom.

After examining 737 poems, it was revealed that the mention of wine and wine drinking, pictures of a friendly feast are found throughout the entire work of the poet.

In the work of Pushkin of all alcoholic beverages the most common is wine. It occupies its original place in Pushkin's work. The number of his mentions is 62 times.

In the lyceum years, wine in Pushkin's poems occurs most often - 22 times.

For Pushkin, wine can perform several functions: it is a reference to ancient mythology, to Christianity. The function of wine is also related to friendship. Young boys wanted to have fun, to get excited. In his poem “To Pushchin”, Pushkin imagines distant years, when he and his friends will already be “covered with gray hair” and, behold, they are pouring wine from a goblet into bowls. Here, wine, cups and a goblet are symbols of prosperity, love of friends, fun and closeness in spirit of some people.

The connection between wine and the cup can be traced in 14 poems that are associated with antiquity, Christianity, friendship, and departure to another reality.

But all these references are symbols. Tribute to ancient art, ancient wisdom of life.

In Epicureanism, the theme of art often passed through the prism of feasting. Therefore, we can assume that Pushkin just inherited the ancient tradition.

From time immemorial, food and drink have been for human society not only a source of maintaining the vitality of the physical body. A public feast has always been endowed with a symbolic meaning. The distribution of the quantity and quality of food, the order of its serving to the table, who should eat first - all this determined and determines the status of a person in a family or in a given society. This forms the banquet motive among many peoples and is reflected in the works of writers and poets.

Pushkin's feast space is formed by repetitive elements: food, kitchen utensils and drinks. Their most frequent use is found in lyceum lyrics (out of 134 poems in 84).

Studying with Professor N. F. Koshansky, the lyceum students used two volumes of his “Manual Book of Ancient Classical Literature”. It contains samples of ancient literature that promote the republican and democratic ideas of antiquity.

Passionately loved the Koshansky ancient world and knew it, as few people in Russia at that time. In his lessons he spoke fascinatingly about the republics of Greece and Rome. There, under the “republican and free” form of government, sciences, arts, and literature flourished.

Lyceum students, including Pushkin, not only knew ancient literature, but were also interested in it.

It is not surprising that more than half of Pushkin's poems in the lyceum years are imbued with antiquity.

The exceptional artistic skill of Pushkin the poet will develop, enrich, improve throughout his life, but already during this period the main qualities of Pushkin's poetic language and Pushkin's verse were formed, which synthesized the highest achievements of the poetic art of his predecessors and contemporaries, combining pictorial accuracy and sound energy inherent in the best poems of Derzhavin, with the plasticity and harmony of Batyushkov's verse, with the "captivating" musicality of Zhukovsky's verse. At the same time, the basis of all this synthesis, a specific property of Pushkin's poetic language, is its extraordinary conciseness and expressive power, which began to amaze and delight contemporaries soon after the poet left the Lyceum.

In Pushkin's post-lyceum lyrics of the St. Petersburg period (1817 - the first half of 1820), as to a certain extent and later, many themes, motifs, genre forms, characteristic of the poet's lyceum years, continue to exist; but they receive a new, very significant development.

Pushkin's lyrics continue to develop anacreontic motifs characteristic of the lyceum period (The Triumph of Bacchus, 1818, The Merry Feast, 1819).

But the traditional anacreontic motifs are tinged with opposition-political tones. Along with Bacchus and Cyprida, the poet sings of "freedom". This word is increasingly acquiring an undoubted political sound in his poems. At the same time, in some of his poems, "Anacreontics" deepens to a genuine penetration into the spirit of antiquity. An example of this is the poem "The Triumph of Bacchus" (1818), which represents a significant step forward compared even with such a wonderful poem by Batyushkov of this kind as "Bacchante".

“Oh, how this villain began to write,” exclaims Batyushkov, reading one of Pushkin's poems, written by him shortly after graduating from the Lyceum.

And here is what P. Morozov writes in the article “Pushkin and the Guys”: “The general tone of the erotic poetry of the Guys - its simplicity, carelessness, the call for epicurean enjoyment of the joys of life and especially the joys of love - corresponded perfectly to the ardent temperament of our poet.”

It was precisely for the penetration into the spirit of ancient Greek art that Pushkin so loved the poet of the French Revolution, Andre Chenier. Pushkin himself in his "Imitations of the Ancients" and numerous other anthological poems that he wrote during the years of his southern exile ("Nereida", "The flying ridge is thinning clouds", 1820, "Muse", "Virgo", "Dionea", 1821 , "Night", 1823, and many others) showed that he went through the workshop of ancient Greek art, mastered the figurative and plastic thinking of ancient Greek poets. True, like Batyushkov, he knew their poems only from translations, but “a deep artistic instinct,” according to Belinsky, “replaced for him a direct study of antiquity.”

At the same time, it must be emphasized that the poet’s appeal in his anthological poems to ancient samples, to “ancient classicism,” in Pushkin’s words, was in no way a return to classicism of the 18th century. , whose representatives mechanically imitated external forms ancient art. Western European classicism of the XVII-XVIII centuries. and Russian Classicism XVIII in. with his abstract rationalism was not only alien, but also polar opposite to the concrete-sensual and thus "primarily artistic" thinking of the ancient Greeks. On the contrary, the mastery of ancient Greek artistic thinking was carried out by Pushkin on the basis of romanticism, which resolutely opposed the rationality of classicism, which put forward the demand for "local" - national, historical color.

In the new, "northern" exile, in Mikhailovsky, Pushkin was surrounded on all sides by the world of Russian folk life. And the anacreontic motifs in his lyrics have become significantly impoverished, if not to say that they have almost disappeared. This period of his work contains the smallest number of poems on this topic.

By 1830-1836 includes a number of "Imitations of the Ancients", translations from ancient poets. But the Epicurean and Anacreontic motifs in Pushkin's poetry of this period of life and work have not acquired such a scale as in the lyceum lyrics.

Batyushkov was Pushkin's closest predecessor and teacher in Anacreontic poetry. But Batyushkov's anacreontic motifs acquire a somewhat different character and a different meaning. This new shade is associated with the formation of noble liberalism at the beginning of the 19th century. Here even the external quantitative side matters: "light poetry" becomes dominant, basic. But it is not this side that decides the matter. More importantly, Epicurean motifs turn out to be associated with "Voltairianism" and liberalism.

Potentially, Batyushkov coincides with Pushkin not only in common major lines of creative evolution, but also in themes, plots, sometimes even in the very titles of individual works. Having finished his Dying Tass, Batyushkov intended to start processing the plot about Ovid in exile: “Ovid in Scythia: this is the subject for an elegy, happier than Tass himself” (letter to Gnedich in 1817). In one of his letters to Vyazemsky, he sends a detailed outline of a poem he conceived called "Mermaid", etc.

Peering into Batyushkov's unfulfilled plans and intentions, one begins to clearly understand the whole great pattern of Pushkin's development.

The poem "Bacchante" recreates the image of a priestess of love. Already in the first stanza, which reports on the rapid run of the Bacchus priestesses to the holiday, their emotionality, impetuosity, passion are emphasized: “The winds blew their loud howl, splash and groans with noise.” The further content of the poem is the development of the motive of spontaneous passion.

Joy almost always appears in a haze of sadness. Most of his erotic and anacreontic poems are imbued with a bitter thought about the "vanity" of being, the "wingedness" of happiness, the "destructiveness" of time, the "continuous fading of feelings." Greedily falling to the "golden cup" entwined with "roses of voluptuousness", the poet all the time feels behind his shoulders either the frightening, or the pleasing ghost of death. The motives for enjoying wine and love are put forward as a kind of protective remedy against the inevitable transience of everything that exists, prompted by a hasty desire to “pick the flowers” of joy “under the blade” of the destructive, mortal “scythe” brought over them.

Over the years, the elegiac underground streams of Batyushkov's lyrics are more and more knocked out. On the “flaming bright crimson” “eyes” of the Bacchantes and the maenads of his sensual pagan visions, an ominous mortal blue comes through more and more clearly. Among his "Imitations of the Ancients" (1821) there is one amazing octet.

“The philosopher is frisky and drunk,” young Pushkin said about Batyushkov, penetratingly capturing the depths of human consciousness reflected in Batyushkov’s poems and the sharpness of the poet’s thought. This "philosopher" is frisky: after all, he is the author of the playful "Vision on the Banks of Lethe" and the caustic "Singer in the Conversation of Lovers of the Russian Word." Pushkin's poetic formula was an echo of Batyushkov's own line in My Penates: "philosopher and piit"; Such echoes in the early work of Pushkin can be caught more than once. We feel this closeness of the poets in the general major key of early Pushkin's lyrics, some of its Epicurean motifs, the sound of Pushkin's verse. Batyushkov's "Harp" was really "gold-stringed" for Pushkin.

✓ Anacreontics influenced the development of all European and Russian art.

✓ Pushkin and Batyushkov, like no one else in Russia, turned to antiquity in their poetry, one might say, they propagated epicureanism in their lyrical works, the sweetness of tasting life's joys and life itself.

✓ Turning to anacreontism made it possible for poets to develop their creativity, moving along the path already outlined, following the centuries-old experience of ancient Roman and ancient Greek poets.

✓ Anacreonism had the highest influence on the development of A. S. Pushkin's talent. The poet got the opportunity to express his views (in more mature years, mostly socio-political) through the prism of antiquity, finding in it the prototype of everything that now existed. He veiled reality, criticism of the contemporary world, transferring the action to Ancient Rome or Ancient Greece.

✓ The influence of Anacreontics on Pushkin either gradually weakened or increased, but the period richest in Epicureanism and Anacreontics was during the lyceum years.

Konst-n Nikol-ch Bat-v was one of the popular poets of his time. At the same time, he was a poet who “knew his own sunset alive,” in the words of Vyazemsky. In the prime of his life, in 1821, he fell ill with a severe mental disorder and lived in this state for another 33 years. Nevertheless, Batyushkov managed to leave a big mark in the history of the RL. The name Bat-va appeared in print for the first time in 1805 (“Message to My Poems”). Subsequently, several For years, the poet has been publishing many poems in the journal Severny Vestnik, Flower Garden, and so on. An important fact in his literary life was the entry in 1805 into the "free society of lovers of literature, science and art" at a time when it was still led by the radical Born and Parrots. At the same time, Bat-ov in St. Petersburg became close to Olenin's circle and became interested in the trends of neoclassicism. Bat-va is attracted by the "light poetry" of the ancient world, the love lyrics of Anacreon and Sappho, Horace and Tibullus. In his works, the poet strives to achieve artistic plasticity, harmonically strict and simple forms of ancient poetry. At the same time, Bat-v is fond of the "light poetry" of the French poets Guys and Gerkur, their epicurean lyrics. The literary and aesthetic tastes of Bat-va make him an opponent of the literary Old Believers, orthodox classicism, as well as the extremes of sentimentalism. In the article “Something about the Poet and Poetry” (1815), Bat-v holds the idea that “Poetry ... requires the whole person.” Bat-v also saw his task as a poet in the improvement of the literary language. The years 1814-1817 were the heyday of the creation of Bat-va. In 1817, the works of Bat-va, published in various magazines, were published in a separate collection under the title "Experiments in verse and prose." The poet regarded prose as an important stage in the development of verse mastery. Belinsky with good reason called him "the most excellent stylist."

Main the motif of Bat-wa poetry is the glorification of the love of life. With youthful rapture, the poet sings of the joys of life, the ideal of happiness borrowed from the ancient world. These moods of Batyushkov, reflecting the social upsurge of the pre-Decembrist era, were most clearly manifested in the poem “My Penates” (1811-1812). Silence in the modest village hut of the poet; a dilapidated, tripod-legged table, a half-rusted sword of ancestors on the wall, a hard bed - that's the whole unpretentious atmosphere of the poet's monastery. And in a secluded corner, he placed his household gods, penates. Before us is the image of a poet-dreamer. There is an echo of sentimentalism. He creates an ideal world. Penates are the gods, the home of the hearth in Roman mythology. Many other poems of the poet are also imbued with Anacreontic moods: “My genius”, “Merry Hour”, etc. All this is typically epicurean lyrics, in which the motifs of a careless perception of life merge with an erotic feeling, always expressed aesthetically gracefully. The poet soon began to show traces of duality, inconsistency of moods. In his elegies (“The Shadow of a Friend”, “The Dying Tass”) Batyushkov paid tribute to romanticism, but they invariably feel the desire for naturalness in the depiction of feelings and the plasticity of images - features that characterize Batyushkov's poetry. 1st period - hedonistic. In the first half of his creative life, before the war of 1812, Bat-v worked out his own "small", as he put it, philosophy. An admirer of Montaigne and Voltaire, the poet uniquely combined skepticism with sensitivity and hedonism. The main genre of lyrics of the 2nd period is the genre of elegy. There are 2 types of elegies: Intimate (“Shadow of a friend”, “My genius”, “Separation”, “I feel”, etc.) and Historical (“transition of Russian troops across the Neman”, “crossing the Rhine”) “intimate” elegy is an elegy of disappointment. The feeling of sorrow is due to unhappy love, loss of friendship, personal spiritual experience. Bat-v achieves here not only emotional intensity, but also genuine psychologism. In the 3rd period of his work (mid-1814-1821) Bat-in again turns to the lyrics. The literary activity of Bat-va in these years was characterized by an increase in philosophy. motives, an attempt to comprehend the historical experience in relation to the present, strengthening the poet on the positions of romanticism.K. N. Bat-v in poetry has always adhered to the principle that he proclaimed at the beginning of his career: "Live as you write, and write as you live." This creed of the poet is reflected in this poem. The LG of this poem, written in the form of a letter to Zhukovsky and Vyazemsky, is a poet living in a village in an old, poor grandfather's house. However, already from the first lines we understand that it is this dwelling and a secluded way of life that the hero likes, i.e. we see that the entire text of the work is organized by him as a subject of consciousness with a direct evaluative point of view. Thanks to this, the reader identifies the lyrical hero with the poet himself: the creation and the creator, which is typical for a lyrical work. But in fact, in the image of the hero, a single personality is revealed in its relation to the world and to itself, close to the author. Thus, in the image of the poet-creator, who is the bearer of consciousness, the subject of the image appears - the object - the author's consciousness.

In his message, Batyushkov creates a disharmonious artistic “two worlds”, in which images of conditional antiquity naturally coexist with details that recreate the real life of the poet in rural solitude (“a dilapidated table and a tripod”, a cripple soldier with a “two-stringed balalaika”, etc.). details of the ancient world, the author uses a large number of mythologemes that begin already with the title of the poem: Penates - (Roman myth.) patron gods of the hearth, and in a figurative sense - a house, a dwelling, a monastery. So Batyushkov liked to call his Vologda village Khantonovo on the banks of the Sheksna; Permes is (Greek myth.) a stream flowing from Helikon (Olympus) and dedicated to the Muses, and, in turn, the phrase “Goddesses of Permes” means inspiration; Lara - (Roman myth.) Souls of ancestors, keepers of the hearth, etc. The whole poem is built on the opposition of the modest position and way of life chosen by the poet, "wealth with vanity", which is the main vital interest of high social circles: "depraved lucky ones", "sloth philosophers" with their "hired soul", "court friends", "inflated princes". In these expressions themselves, there is a certain irony achieved through an oxymoron, which again emphasizes the contradiction. But when describing the poet's dwelling, the author uses completely different lexical units. Not to these minions of fate, but to a wretched crippled warrior, the poet would like to give shelter in his “humble hut”, which is dearer to him than palaces, since in this house he is surrounded by unusual things, people, gods, creating a cozy poetic atmosphere in it. The lyrical hero calls on the guests, who, in turn, can be divided into three circles. The first circle is the deities: penates, lares, muses, who are called upon to bring harmony, peace, happiness to the poet's dwelling. The second circle is represented by ancient poets, such as Horace, Pindar, and others. And the third circle is Russian poets: Karamzin, Dmitriev, Zhukovsky, Vyazemsky, and others. Thus, a picture of the author's favorite poets arises. And the genre of the message, in turn, allows the poet to directly address these personalities, thereby showing his attitude towards them.

This is a poem of free rhyme, i.e. it uses a mixture of different rhyme schemes (adjacent, ring, cross) and there is no division into stanza. Pairs created by adjacent rhymes are non-strophic couplets. This type of rhyming once again emphasizes disharmony.

Structurally, the poem is divided into five unequal parts. In the first part, we see the image of a wretched, but sweet home for the poet, with only a subtle hint of the rejection of luxury. In the second part, there is already an open opposition of the world of the poet to the full excesses of the life of the rich, whose image is presented in dull colors, and in the poet's furnace a "bright fire" burns. Batyushkov creates the image of a simple shepherdess, who seems to the hero to be nicer and more beautiful than noble ladies. In the third part, the poetic world, the spiritual world of the poet, reappears. In this part, the transfusion of Batyushkov's melodic syllable is most obvious, which becomes apparent due to the richness of sound organization, which is achieved exclusively by phonological means, such as, for example, combinations of phonemic repetitions with contrasts: Lay down the burden of sorrows,

My good Zhukovsky!

But in the fourth, the contradiction of passions and the vanity of secular life and the peaceful soul of the creator appears again, which is described by a special vocabulary (kind, holy, peaceful, talk, bright, rapture, comforting silence), and the secular world is completely different words (excitement, vanity, hired , depraved, inflated, proud). However, the inner world of the poet is free from evil and contradictions, love and friendship, happiness and joy reign in it, organic continuity and continuity of culture is carried out:

Chat with me!

And the dead with the living

We joined the choir one! ..

In conclusion, I would like to note once again that the early work of Bat-a is imbued with feelings of joy in life, optimism, and love. He is the singer of the world of elegant antiquity. He is interested in the inner life and dignity of a person, attracted by the world of the hearth. Bat-v confronts luxury and poverty, proving that the intimate world is more noble and sublime than brilliant reality, wealth and fuss, secular gossip and intrigue. The main values of life, according to Bat-u, are love and creativity. The poet's happiness is where inspiration is, and inspiration is where peace and quiet are. In his "penates" he wants to see only like-minded people and friends - Zhuk-go and Vyazemsky, carefully protecting the world of "his humble hut" from "human envy". The early poems of Bat-a are an example of artistic skill, they are distinguished by their impeccable language, melody, and inner grace.

Themes are images and motifs of elegiac lyrics. ﻿

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Themes are images and motifs of elegiac lyrics.