The lyrical hero of the poem by A.S. Pushkin "Do not sing, beauty, with me ..." have sad memories of a past life ("Remind me of one / Another life and a distant shore"), departed love ("Features of a distant poor maiden"). The motive of memories is strengthened by the threefold repetition of the word “remind”, the verb “I imagine” together with the noun “ghost”, and in contrast the word “I forget” sounds (only once). That is, memories are stronger than the desire to forget. It is also important to note the circular composition of the poem, which creates a feeling of constant return to the "fatal" images. In addition, epithets and rows of homogeneous members with the repeated union “and” perform an important function: “And the steppe, and the night - and by the moon / Features of a distant poor maiden.”
What role do epithets play in revealing the main theme of the poem?
A poem by A.S. Pushkin's "Do not sing, beauty, with me ..." is written about love, but about love that has gone away, so it is filled with excruciating sadness. Two themes appear in the exposition: a sounding melody, its performer and the memory of a lyrical hero, but both of these lines merge into one - memories of a departed love, born of music. The atmosphere of sadness, memories is achieved, in addition to other expressive means, with the help of epithets: “sad” (repeated twice), “cruel (melody)”, “(ghost) cute, fatal”, “poor (virgin)”. All of them create an image of love, from which it is impossible to escape, to be freed - "fatal". But I would refer to the category of epithets and definitions: “distant”, “other”, “distant”, because, in my opinion, in this poem they are a means of expression: “inaccessible” coast, “lost” life, “inaccessible” Virgo.
Compare the poem by A.S. Pushkin "Do not sing, beauty, with me ..." with a poem by E.A. Baratynsky "Reassurance". What is the difference in the mental states experienced by the lyrical heroes of the two poems?
A poem by A.S. Pushkin "Do not sing, beauty, with me ..." about love. The lyrical hero of the poem is possessed by sad memories. The memory of the "sweet", but at the same time "fatal ghost" is difficult for the poet, he seeks to get away from these thoughts. Seeing another woman, he forgets "another life and a distant shore", but still the song brings back memories. So he asks:
However, memories are stronger than the desire to forget. Hence the ring composition of the poem, which creates a feeling of constant return to the "fatal" images.
Baratynsky's romantic elegy about disappointment. The feeling of weariness from love is conveyed by verbs (mostly in the imperative mood), used with a negative particle NOT: “do not tempt”, “do not believe”, “do not multiply”, “do not start”, “do not disturb”.
The lyrical hero of Baratynsky does not believe in love and does not even try to overcome disappointment. The word "love" appears only once in the text - in the very last line - and then with a negative particle NOT. Repetitions play a special role in the poem: prefixes of times (un-assurance, once-enchanted), the root of the word (“I don’t believe”, “I don’t believe”, “disconvincing”).
Part 2
Philosophical reflections in the lyrics of A.S. Pushkin. (On the example of at least two poems of your choice.)
In the life of every person there comes a moment when he suddenly begins to think about "eternal" questions. And everyone, probably, experienced excruciating pain, not finding clear answers to them. Let us turn to the poems of the great Russian poet.
In his philosophical lyrics A.S. Pushkin poses the eternal problems of being: the meaning of human life, death and eternity, good and evil, truth and justice. Freedom, love, friendship, art, nature are the highest philosophical values for the poet.
Poem "To sea" It was written in 1824 during the turning point for Pushkin's work, the period of transition from romanticism to realism. He says goodbye not only to the "free element", but also to the romantic worldview.
The sea for Pushkin is always a symbol of absolute freedom, the power of the elemental forces of nature, independent of the will of man. Man is powerless before this majestic, powerful and self-willed element:
The humble sail of the fishermen,
kept by your whim,
Glides bravely among the swells;
But you jumped, irresistible,
And a flock of sinking ships.
The poetic image of the sea is combined with the poet's philosophical reflections on his personal fate, on the fate of the "rulers of thoughts" - Napoleon and Byron. The motif of the poet's loneliness in the world, from which the brilliant contemporaries of Pushkin left, sounds.
In the last stanzas, the poet again, now forever, says goodbye to the sea, surveys its boundless expanses for the last time, admires its “solemn beauty” for the last time:
Farewell, sea! I won't forget
Your solemn beauty
And for a long, long time I will hear
Your buzz in the evening hours.
Compositionally, many of the poet's poems are based on the intersection of light and darkness, life and death, despair and optimism.
In a poem "Elegy" ("Crazy years of extinct fun ...", 1830) tragic tone of the first part: “My path is dull. Promises me work and grief / The coming sea is turbulent "is replaced by a major chord":
But I don't want, oh friends, to die;
I want to live in order to think and suffer;
The disturbing sound of the elegy is a reflection of the fact that in a person’s life there are sufferings, worries, a “sad sunset”, but still the main meaning of existence is a sense of beauty, the joy of creativity, the ability to “think and suffer”, faith in wonderful moments of love. The lyrical hero accepts life, despite all its trials.
The theme of the infinity of being and the continuity of generations, the indissoluble connection of the past, present and future sounds in the poem "I visited again..."(1835), which Pushkin wrote during his last visit to Mikhailovskoye. Contemplation of native places, Russian nature gives rise to memories in him and sets him up for philosophical reflection. On the familiar road from Mikhailovskoye to Trigorskoye, the poet sees three pines, which previously greeted him with the rustle of their peaks:
All the same, their familiar rustle -
But near the roots of their obsolete
(Where once everything was empty, bare)
Now the young grove has grown...
The mood of the poet is replaced by a sense of faith in the future. The sight of three pine trees now surrounded by a "young family" inspired Pushkin's thoughts about the eternity of being. This is not only the joy of the eternal renewal of life, but also the confidence that a person is given a rebirth in the next generations, that sooner or later a new generation will come in his place, which the poet welcomes:
hello tribe.
Young, unfamiliar! not me
I will see your mighty late age,
When you outgrow my friends
And you will cover their old head
From the eyes of a passerby. But let my grandson
Hear your welcome noise...
And he will remember me.
The poem “I visited again ...” is about the eternal change of generations, about the inexorable movement of life, in which one must take one’s place, fulfill one’s destiny and leave without offense, feeling oneself an important, irreplaceable link in that endless chain that stretches from the Past to the Future.
Option number 1313
Part 1
Option 2
What contradictions does the poet think about in the poem "Inexpressible"
“What is our earthly language before wondrous nature?” - Zhukovsky puts such a rhetorical question to himself and us. Our language is imperfect, poor. But the bright features of nature "catch the thought of the winged one, and there are words for their brilliant beauty." However, according to Zhukovsky, there are absolutely inexpressible phenomena - this is “what is merged with beauty”, that is, feelings, dreams ... “What language is for them?” the poet rightly exclaims.
The charm of a winter morning, when everything is flooded with sun and the radiance of magnificent snow carpets, is enhanced when compared with a blizzard evening.
The poet draws pictures of a frosty, sunny winter and at the same time a warm, cozy house, where “a flooded stove crackles with a cheerful crack”, there is a warm couch, near which it is “pleasant to think”, but you can still enjoy a walk through the “morning snow” in a sled.
Winter morning
Frost and sun; wonderful day!
You are still dozing, my lovely friend -
It's time, beauty, wake up:
Open your closed eyes,
Towards North Aurora 1
Be the star of the north!
1 Aurora-goddess of the morning dawn in ancient Roman myths. The poet speaks of the "northern Aurora", that is, the dawn in the north, in Russia.
Evening, do you remember, the blizzard was angry,
In the cloudy sky, a haze hovered;
The moon is like a pale spot
Turned yellow through the gloomy clouds,
And you sat sad -
And now ... look out the window:
Under blue skies
splendid carpets,
Shining in the sun, the snow lies;
The transparent forest alone turns black,
And the spruce turns green through the frost,
And the river under the ice glitters.
The whole room amber gleam
Enlightened. Cheerful crackling
The fired oven crackles.
It's nice to think by the couch.
But you know: do not order to the sled
Ban the brown filly?
Gliding through the morning snow
Dear friend, let's run
impatient horse
And visit the empty fields
The forests, recently so dense,
And the shore, dear to me.
Thinking about what we read
1. Do you agree that the poem is a hymn to native nature, a sunny winter day and the joyful mood of the poet?
2. What role does the stanza that tells about the evening blizzard play in the poem? What are the pictures of a winter morning? In the poem, the poet used the technique of contrasting pictures that are opposite in mood. This technique is called antithesis.
3. What artistic means (epithets, comparisons) help Pushkin to tell so simply, sincerely about a frosty winter morning, about the moods that appear in the poet’s soul, remembering a blizzard, contemplating the sparkling pictures of a frosty winter morning?
Phonochrestomathy
"Winter morning"
1. What epithets does the poet find to express delight, exultation, joy? What epithets characterize the evening on the eve of a sunny morning?
2. How does an actor help us experience the joy of the morning and the sadness of the evening with his reading?
3. Is the joy of the lyrical hero constant? What feelings does he experience at the end of the poem? How does the actor show the change of mood that has taken place?
4. Prepare an expressive reading of the poem, while trying to convey the movement, the change in feelings, moods experienced by the lyrical hero.
Improve your speech
How do you understand the words and lines from the poem: “charming friend”, “open your eyes closed with bliss”, “the blizzard was angry”, “the moon, like a pale spot”, “Northern Aurora”, “the transparent forest alone turns black”, “let us run” ?
Creative task
Try to create small oral compositions: “Blizzard at night”, “Frosty sunny morning”. Try to use in your speech the expressive means of language that are found in Pushkin's poem.
Let us pay attention to the fact that Pushkin uses ordinary words, many of which we often hear in colloquial speech, but in the poem they become weighty, precisely found. That is why, probably, observing such pictures in life, we will certainly remember Pushkin's “Frost and Sun; wonderful day!"
Tyutchev and Fet, who determined the development of Russian poetry in the second half of the 19th century, entered literature as poets of "pure art", expressing in their work a romantic understanding of the spiritual life of man and nature. Continuing the traditions of Russian romantic writers of the first half of the 19th century (Zhukovsky and early Pushkin) and German romantic culture, their lyrics were devoted to philosophical and psychological problems.
A distinctive feature of the lyrics of these two poets was that it was characterized by a depth of analysis of the emotional experiences of a person. So, the complex inner world of the lyrical heroes of Tyutchev and Fet is in many ways similar.
A lyrical hero is an image of that hero in a lyrical work whose experiences, thoughts and feelings are reflected in it. It is by no means identical to the image of the author, although it reflects his personal experiences associated with certain events in his life, with his attitude to nature, social activities, and people. The peculiarity of the poet's worldview, worldview, his interests, character traits find a corresponding expression in the form, in the style of his works. The lyrical hero reflects certain characteristic features of the people of his time, his class, exerting a huge influence on the formation of the reader's spiritual world.
As in the poetry of Fet and Tyutchev, nature combines two planes: externally landscape and internally psychological. These parallels turn out to be interconnected: the description of the organic world smoothly turns into a description of the inner world of the lyrical hero.
Traditional for Russian literature is the identification of pictures of nature with certain moods of the human soul. This technique of figurative parallelism was widely used by Zhukovsky, Pushkin, Lermontov. The same tradition was continued by Fet and Tyutchev.
So, Tyutchev uses the method of personifying nature, which the poet needs to show the inseparable connection between the organic world and human life. Often his poems about nature contain reflections on the fate of man. Tyutchev's landscape lyrics acquire a philosophical content.
For Tyutchev, nature is a mysterious interlocutor and constant companion in life, understanding him best of all. In the poem “What are you howling about, night wind?” (early 30s) the lyrical hero turns to the world of nature, talks with him, enters into a dialogue that outwardly takes the form of a monologue:
In a language understandable to the heart
You keep talking about incomprehensible flour -
And dig and explode in it
Sometimes violent sounds! ..
Tyutchev does not have a “dead nature” - it is always full of movement, imperceptible at first glance, but in fact continuous, eternal. The organic world of Tyutchev is always many-sided and varied. It is presented in constant dynamics, in transitional states: from winter to spring, from summer to autumn, from day to night:
Shades of gray mixed,
The color faded, the sound fell asleep -
Life, movements resolved
In the unsteady dusk, in the distant rumble...
(“Shadows of gray mixed”, 1835)
This time of day is experienced by the poet as “an hour of inexpressible longing”. The desire of the lyrical hero to merge with the world of eternity is manifested: “Everything is in me and I am in everything.” The life of nature fills the inner world of man: an appeal to the origins of the organic world should regenerate the whole being of the lyrical hero, and everything perishable and transient should go by the wayside.
The technique of figurative parallelism is also found in Fet. Moreover, most often it is used in a hidden form, relying primarily on associative connections, and not on an open comparison of nature and the human soul.
This technique is used very interestingly in the poem “Whisper, timid breathing ...” (1850), which is built on the same nouns and adjectives, without a single verb. Commas and exclamation points also convey the splendor and tension of the moment with realistic concreteness. This poem creates a dotted image, which, when viewed closely, gives chaos, “a series of magical changes”, and in the distance - an accurate picture. Fet, as an impressionist, bases his poetry, and, in particular, the description of love experiences and memories, on the direct fixation of his subjective observations and impressions. Condensation, but not mixing, of colorful strokes gives the description of love experiences sharpness and creates the utmost clarity of the image of the beloved. Nature in the poem appears as a participant in the life of lovers, helps to understand their feelings, giving them special poetry, mystery and warmth.
However, dating and nature are described not just as two parallel worlds - the world of human feelings and natural life. The innovation in the poem was that both nature and the date are shown as a series of fragmentary dates, which the reader himself must link into a single picture.
At the end of the poem, the portrait of the beloved and the landscape merge into one: the world of nature and the world of human feelings are inextricably linked.
However, in the depiction of nature, Tyutchev and Fet also have a profound difference, which was due primarily to the difference in the poetic temperaments of these authors.
Tyutchev is a poet-philosopher. It is with his name that the current of philosophical romanticism, which came to Russia from German literature, is associated. And in his poems, Tyutchev seeks to understand nature, including its system of philosophical views, turning it into part of his inner world. Tyutchev's passion for personification was dictated by this desire to fit nature into the framework of human consciousness. So, in the poem "Spring Waters" streams "run and shine and speak."
However, the desire to understand, comprehend nature leads the lyrical hero to the fact that he feels cut off from her; therefore, in many of Tyutchev's poems, the desire to dissolve in nature, “to merge with the beyond” (“What are you howling about, night wind?”) Sounds so vividly.
In a later poem, "Grey-gray shadows mingled ..." this desire comes through even more clearly:
Silent dusk, sleepy dusk,
Lean into the depths of my soul
Quiet, dark, fragrant,
All pour and comfort.
So, an attempt to solve the mystery of nature leads the lyrical hero to death. The poet writes about this in one of his quatrains:
Nature is a sphinx. And the more she returns
With his temptation, he destroys a person,
What, perhaps, no from the century
There is no riddle, and there was none.
In the later lyrics, Tyutchev realizes that man is a creation of nature, her fiction. Nature is seen by him as chaos, which inspires fear in the poet. Reason has no power over her, and therefore, in many of Tyutchev's poems, an antithesis of the eternity of the universe and the transience of human existence appears.
The lyrical hero Fet has a completely different relationship with nature. He does not seek to “rise” above nature, to analyze it from the standpoint of reason. The lyrical hero feels himself an organic part of nature. In Fet's poems, the sensory perception of the world is conveyed. It is the immediacy of impressions that distinguishes Fet's work.
For Fet, nature is a natural environment. In the poem “The night shone, the garden was full of moon ...” (1877), the unity of human and natural forces is felt most clearly:
The night shone. The garden was full of moon, lay
Beams at our feet in a living room with no lights.
The piano was all open, and the strings in it were trembling,
Like our hearts for your song.
The theme of nature in these two poets is connected with the theme of love, thanks to which the character of the lyrical hero is also revealed. One of the main features of Tyutchev's and Fetov's lyrics was that it was based on the world of spiritual experiences of a loving person. Love in the understanding of these poets is a deep elemental feeling that fills the whole being of a person.
The lyrical hero Tyutchev is characterized by the perception of love as a passion. In the poem “I knew the eyes, - oh, these eyes!” this is realized in verbal repetitions (“passionate night”, “passion depth”). For Tyutchev, moments of love are “wonderful moments” that bring meaning to life (“In my incomprehensible gaze, exposing life to the bottom ...”).
This poet compares life with the “golden time”, when “life spoke again” (“KV”, 1870). For the lyrical hero Tyutchev, love is a gift sent from above, and some magical power. This can be understood from the description of the image of the beloved.
In the poem “I knew the eyes, - oh, these eyes!” what matters is not the emotions of the lyrical hero, but the inner world of the beloved. Her portrait is a reflection of spiritual experiences.
He breathed (look) sad, in-depth,
In the shadow of her thick eyelashes,
Like pleasure, weary
And, like suffering, fatal.
The appearance of the lyrical heroine is shown not as really reliable, but as the hero himself perceived it. Only eyelashes are a specific detail of the portrait, while adjectives are used to describe the gaze of the beloved, conveying the feelings of the lyrical hero. Thus, the portrait of the beloved is psychological.
Fet's lyrics were characterized by the presence of parallels between natural phenomena and love experiences (“Whisper, timid breathing ...”). 366
In the poem “The night shone. The garden was full of the moon...” the landscape smoothly turns into a description of the image of the beloved: “You sang until dawn, exhausted in tears, that you are alone - love, that there is no other love.”
So, love fills the life of a lyrical hero with meaning: “you are one - all life”, “you are one - love”. All worries, in comparison with this feeling, are not so significant:
There are no insults of fate and hearts of burning flour,
And life has no end, and there is no other goal,
As soon as you believe in sobbing sounds,
Love you, hug and cry over you!
Tyutchev's love lyrics are characterized by a description of events in the past tense (“I knew the eyes - oh, these eyes!”, “I met you - and all the past ...”). This means that the poet is aware of the feeling of love as long gone, so his perception is tragic.
In the poem "K. B.” the tragedy of love is expressed in the following. The time of falling in love is compared to autumn:
Like late autumn sometimes
There are days, there are hours
When it suddenly blows in the spring
And something stirs in us...
In this context, this time of the year is a symbol of the doom and doom of a high feeling.
The same feeling fills the poem “Oh, how deadly we love!” (1851), included in the "Denisiev cycle". The lyrical hero reflects on what the “duel of the fatal two hearts” can lead to:
Oh, how deadly we love!
As in the violent blindness of passions
We are the most likely to destroy
What is dearer to our heart! ..
The poem “Last Love” (1854) also fills the tragedy. The lyrical hero here realizes that love may be disastrous: “Shine, shine, the farewell light of last love, the dawn of the evening!”. Nevertheless, the feeling of doom does not interfere the lyrical hero to love: “Let the blood run thin in the veins, but tenderness does not run out in the heart ...” In the last lines, Tyutchev succinctly characterizes the feeling itself: “You are both bliss and hopelessness.”
However, Fet's love lyrics are also filled with not only a sense of hope and hope. She is deeply tragic. The feeling of love is very contradictory; it is not only joy, but also torment, suffering.
The poem “Do not wake her at dawn” is all filled with a double meaning. At first glance, a serene picture of the morning dream of the lyrical heroine is shown, but already the second quatrain communicates tension and destroys this serenity: “And her pillow is hot, and her tiring dream is hot.” The appearance of epithets such as "tiring sleep" does not indicate serenity, but a painful state close to delirium. Further, the reason for this state will be explained, the poem is brought to a climax: “She became paler and paler, her heart beat more and more painfully.” The tension grows, and the last lines completely change the whole picture: “Don’t wake her up, don’t wake her up, at dawn she sleeps so sweetly.” The end of the poem presents a contrast with the middle and brings the reader back to the harmony of the first lines.
Thus, the perception of love by the lyrical hero is similar for both poets: despite the tragedy of this feeling, it brings meaning to life. Tragic loneliness is inherent in the lyrical hero of Tyutchev. In the philosophical poem “Two Voices” (1850), the lyrical hero takes life as a struggle, a confrontation. And “even though the fight is unequal, the fight is hopeless”, the fight itself is important. This striving for life permeates the entire poem: “Be of good cheer, fight, O brave friends, no matter how hard the battle is, how hard the fight is!” The poem “Cicero” (1830) is imbued with the same mood.
In the poem “Zershit” (1830), which touches on the theme of the poet and poetry, the lyrical hero understands that he will not always be accepted by society: “How can the heart express itself? How can someone else understand you? The world of spiritual experiences of the hero turns out to be important here: “Only know how to live in yourself - there is a whole world in your soul.”
The lyrical hero Fet's worldview is not so tragic. In the poem “With one push to drive away the living boat” (1887), the lyrical hero feels himself a part of the Universe: “Give life a sigh, give sweetness to secret torments, instantly feel someone else’s own.” The contradiction with the outside world here is only external (an oxymoron of “unknown, dear”). “Flowering shores” and “other life” are a description of that mysterious ideal world from which inspiration comes to the poet. Rationally this world is unknowable because it is "unknown"; but, meeting with manifestations of it in everyday life, the poet intuitively feels kinship with the “unknown”. The refined susceptibility of the poet in relation to the phenomena of the external world cannot but spread to other people's work. The ability for creative empathy is the most important feature of a true poet.
In the poem “The cat sings, his eyes narrowed” (1842), Fet does not depict objects and emotional experiences in their causal relationship. For the poet, the task of constructing a lyrical plot, understood as a sequence of mental states of the lyrical “I”, is replaced by the task of recreating the atmosphere. The unity of world perception is conceived not as a completeness of knowledge about the world, but as a set of experiences of a lyrical hero:
The cat sings, squinting his eyes,
The boy is napping on the carpet
A storm is playing outside
The wind is whistling in the yard.
So, the lyrical hero Fet and the lyrical hero Tyutchev perceive reality differently. The lyrical hero Fet has a more optimistic attitude, and the idea of loneliness is not brought to the fore.
So, the lyrical heroes of Fet and Tyutchev have both similar and different features, but the psychology of each is based on a subtle understanding of the natural world, love, as well as awareness of one's destiny in the world.
One of Pushkin's closest friends was Prince Pyotr Andreevich Vyazemsky. As a child, Pushkin saw him at his parents' house; their personal acquaintance took place in March 1816, when Pyotr Andreevich, together with Karamzin and Zhukovsky, visited the Tsarskoye Selo Lyceum. Pushkin was 16 years old, Vyazemsky 23. Since that time, a friendship began, which Pushkin cherished very much.
All of them were members of the Arzamas literary society, into which they accepted "the hope of our literature," as Zhukovsky wrote about Pushkin to Vyazemsky. All "Arzamas" had literary nicknames. "Cricket", as Alexander Sergeevich was dubbed, was the youngest in this company and the most talented. "Asmodeus" - Vyazemsky was seven years older than Pushkin. Young A. Pushkin called "Arzamas" "a school of harmonic precision."
The meeting place for St. Petersburg writers was then the salon of A. O. Smirnova - Rosset, who left wonderful notes about them. From them we learn the nicknames of famous poets: Pushkin - Cricket, Spark; Zhukovsky - Bull; Vyazemsky - Asmodeus, abbot Aunt. The latter was given to him in honor of a famous character obsessed with black thoughts (“dragons of the abbot Aunt”), for Pyotr Andreevich was a hypochondriac who was rarely in a good mood.
In the Arzamas years, an intensive correspondence between Vyazemsky and Pushkin began, which lasted until the latter's death.
Vyazemsky was brought up in the spirit of patriotism and got used to the idea that every person should take care of the welfare and prosperity of society. Karamzin the historian taught him to argue and delve into the depths of historical events, Karamzin the writer raised Vyazemsky the poet. Vyazemsky did not recognize any authorities, only once in his life he will make an exception - he recognizes the spiritual primacy of Pushkin. Karamzin's influence on Pushkin was also significant: the great historian and writer was a model of wisdom and talent for an aspiring genius.
Prince Vyazemsky received an excellent education. In his life there were not only parquet floors in ballrooms, there was also the battle of Borodino in 1812. He signed up for the Moscow militia, did not bow to bullets - two horses were killed under him. For participation in battles and personal courage, the prince was awarded the Order of Stanislav 4th degree. After the fire in Moscow, he was dismissed from the army and sent to serve in Warsaw with the rank of collegiate assessor.
His freedom-loving ideas then finally took shape. He became close in Warsaw with many who later took part in the Decembrist uprising, the Polish people's liberation movement of the 1830s. The prince drew up a note on the release of the peasants, the draft of which was to be submitted for consideration to Emperor Alexander I. But the December blizzard replaced the emperors on the throne, liberal thoughts came to an end, and the “Decembrist without December”, although they were not planted in Shlisselburg or the Peter and Paul Fortress, but the name took note and dismissed from the service "without a petition." Vyazemsky wrote bitterly to Zhukovsky: “Noble indignation is modern inspiration!” Vyazemsky’s poetic lines were full of the same noble indignation, which could not pass through censorship, but diverged in manuscripts and became known to the figures of the Decembrist rebellion. .
The defeat of the Decembrist movement was a huge personal drama for him. He lost friends, like-minded people, just acquaintances. The disgraced position of Vyazemsky lasted for nine long years! In 1828, it was complicated by a slanderous denunciation of allegedly obscene behavior. However, the idea of emigrating had to be abandoned. Children often got sick, the funds went to their treatment. In addition, a staunch enemy of the reaction, he, as a nobleman, belonged "to the opposition of His Majesty." The prince chose his own path, deciding that for the sake of the honor of the ancient name and the future of his children, he must come to terms with the government. In December 1828 - January 1829, Vyazemsky wrote his "Confession" - a document in which he expresses his views and ideas with dignity, apologizing to the emperor for the harshness with which he expressed them. In February 1829, the prince's confession was sent to Zhukovsky in St. Petersburg, and through him transferred to Count Benckendorff, then to Emperor Nicholas I. He demanded from Peter Andreevich an apology to himself and his brother, the governor of Warsaw. The repentant receives already in February 1830 the first state appointment - an official for special assignments under the Minister of Finance. A year later, Vyazemsky becomes chamberlain of His Majesty's Court, and then appointed vice director of the foreign trade department. Later, Vyazemsky served in the Ministry of Public Education as Deputy Minister of Education, and there is his merit in the fruits of the then reforms and the flourishing of the Russian Academy of Sciences. But the prince did not forget about the muses, living and poetic.
Alexander Pushkin, who was friends with Pyotr Vyazemsky, visited the Vyazemsky estate in Ostafyevo more than once. The inhabitants of the estate especially remembered his arrival in December 1830. In autumn, Pushkin left for literary work in the Boldino estate. At that time, a cholera epidemic broke out in Moscow and its environs, quarantine was declared, and the poet was cut off from Moscow, from the house of the bride Natalya Goncharova. As soon as the epidemic subsided, Pushkin went to the capital, stopping at Ostafyevo on the way. And in Ostafyev, Pushkin read his new works to Prince Peter.
The two poets were linked by long-term friendship. After Vyazemsky's marriage, young Pushkin became friends with his wife Vera, and later became friends with their son Pavel. The poet was more frank with the princess than with the prince. Only to her did he entrust his last secret, telling about the upcoming duel. Pushkin married Natalya Goncharova in Moscow, and the planted mother at their wedding was to be Princess Vyazemskaya, but illness prevented her from coming to Moscow. Before the wedding, the poet visited the Vyazemsky estate near Moscow for the last time. It was for the holidays.
Vyazemsky was an active correspondent for Pushkin during the years of his southern exile. Apparently, during this period he responded to Pushkin's letters no less intensively than in subsequent years, although very few of Vyazemsky's letters from these years have survived. Pushkin and Vyazemsky are recklessly witty, not shy in their expressions, unceremoniously pouring literary bile on each other. In this correspondence, play side by side with serious problems, historical, political, professional, book publishing. Vyazemsky was Pushkin's university. Pushkin, on the other hand, represented for the poet-interlocutor the type of student that a real teacher dreams of - lively, demanding, with incessant questions, uncompromising and restless. Pushkin, no doubt, in many ways extended the literary youth and maturity of Vyazemsky, unwittingly encouraging him to remain at the forefront. Pushkin was given to see in Vyazemsky insight and depth.
A huge number of Pushkin's letters to the prince have survived - seventy-four. A little more was only for his wife. Remembering Pushkin, Vyazemsky said: “He judged my work with the lively sympathy of a friend and the authority of a writer and an experienced critic, apt, strict and bright. In general, he praised more than criticized. The day spent with Pushkin was a holiday for me ".
Vyazemsky, consciously and unconsciously, is trying to make amends for his involuntary guilt before the poet: he was the closest friend, but he could not save, help, save! Vyazemsky did not defend himself against these accusations - indirect and direct. He carried the weight of them to the very end. His letter about the last days and minutes of Pushkin's life, written at the request of V. A. Zhukovsky, is full of ardent love for Pushkin. There are lines: “Of course, with more prudence and less heat in the blood and without passions, Pushkin would have led this matter differently. But then we could see in him, perhaps, a great preacher, a great administrator, a great mathematician, but unfortunately, Providence has given us a great Poet in him."
Pushkin lived for 37 years. Vyazemsky lived a long time, saw a lot, knew everyone and participated in everything. For almost ninety years, Pyotr Andreevich lived not only in opposition, but without joining anyone.
There were many similarities, even common things in the life of Vyazemsky and Pushkin, in many ways their fates were repeated. In the work of two lyceum friends, two poems seemed very interesting to me: the poem “Recollection” by A. S. Pushkin and “Our life in old age is a worn robe” by P. A. Vyazemsky. I was attracted by the commonality of the themes of the poems, but at the same time the difference in the philosophical attitude to life, the difference in the moods of the lyrical heroes. I wanted to compare the poems, to find common and distinctive features in them.
Before myself, I set a goal to compare the poems of two lyceum friends written on the same topic, to find common and distinctive features.
The poem "Reminiscence" and "Our life in old age is a worn robe" are written by two lyceum friends - Alexander Sergeevich Pushkin and Pyotr Andreevich Vyazemsky. “A caustic poet, an intricate wit, and the brilliance of subtle words, and rich in jokes” - this is how Pushkin described his friend-poet in one of his poetic messages. Later, Vyazemsky, like most of the poets of Pushkin's time, was classified as secondary.
Pyotr Andreevich was the first to appreciate Pushkin's talent. Here is what he wrote in 1815 to Batyushkov: “What can you say about the son of Sergei Lvovich? Miracle and that's it. His "Memoirs in Tsarskoye Selo" turned our heads with Zhukovsky. What strength, precision in expression, what a hard and masterful brush in the picture. God grant him health and teaching, and it will be useful, and woe to us. Crush, rascal!"
Let's reread A. S. Pushkin's poem "Recollection".
When the noisy day falls silent for a mortal
And on the mute hailstones
A translucent shadow will cover the night,
And sleep, day's work is a reward,
At that time for me to drag in silence
Hours of weary vigil:
In the inactivity of the night live burn in me
Snakes of heart remorse;
Dreams boil; in a mind overwhelmed by longing,
An excess of heavy thoughts crowds;
The memory is silent before me
Its long develop scroll:
And, with disgust reading my life,
I tremble and curse
And I complain bitterly, and bitterly shed tears, -
But I do not wash off the sad lines.
And here is a poem by Pyotr Andreevich Vyazemsky “Our life in old age is a worn robe.”
Our life in old age is a worn robe:
And ashamed to wear it, and sorry to leave;
We got along with him a long time ago, a long time ago, like brother and brother;
You can't fix us and fix us again.
As we grew old, so did he;
Our life is in rags, and he is in rags too,
It is all painted with ink, sprinkled,
But these spots are dearer to us than all the patterns;
In them are the offspring of a pen, which in the days
We are bright joy or cloudy sadness
All your thoughts, all your sacraments,
They passed on their entire confession, their entire story.
There are also traces of the past on life:
Complaints and penalties are written on it,
And a shadow of sorrow and misfortune fell on her,
Heart memory still lives in loss,
I still love my old life sometimes
With her damage and her sad turn
I groom my bathrobe with love and honor.
These two poems are separated by almost half a century. Pushkin's poem was written in 1828, when the author was 29 years old. Vyazemsky wrote his poem in the interval between 1875 - 1877, that is, at a mature (82 - 84) age. It is known that poems are a direct reflection of the mood of the author, they convey the spiritual shades of his life.
What was the year 1828 for Pushkin? It was a difficult period in the poet's personal life, a difficult period of his relationship with the authorities. The long-standing investigation into the freedom-loving poem "Andrey Chenier" continues, where Pushkin was accused of extreme revolutionary views, a bold, criminal poem "Gavriiliada" appears from the point of view of the official church. The Department of Civil and Ecclesiastical Affairs accuses Pushkin of publishing his poems "before censorship is permitted." On August 18, 1828, the capital's governor-general Golenishchev-Kutuzov ordered the chief police officer: “to oblige the well-known poet Pushkin to subscribe, so that he would no longer dare to release any works, without consideration and omission of them by censorship, to the public under the danger of a strict penalty, and between to inflict silent supervision on him. Pushkin was forced to give a humiliating signature that clearly defined his "new status". All this could not but affect the poet, who felt completely alone.
Vyazemsky, in his old age, was left almost alone - almost none of the friends of his youth remained. He was always humbly content with the role of a secondary poet, not daring to lay claim to the laurels of Zhukovsky and Pushkin. “As I wrote, because it was written: this is how I lived, because I lived,” Pyotr Andreevich said about himself, admiring the “asceticism” of his friends. The last years of his life were monotonous and monotonous: “Now it’s too late and too early. Late - because the iron has cooled down, but it must be forged while it is hot, until it has amused itself with new names, new objects. Early - because the time has not yet come when the old is so old that it may seem new and young, ”he wrote about the proposal to write his memoirs. Pyotr Andreevich, indeed, every year became more and more lonely. One by one, his friends left, and he remained an old-timer who survived his era.
Vyazemsky suffered from prolonged insomnia, the blues became one of the main themes of his later poems. Vyazemsky's nervous illness was aggravated by the deaths of his relatives (eight of his nine children died), loneliness, and his oblivion as a poet. Despite this, the themes of his later work were varied: from landscape and philosophical lyrics to political and satirical poetry. Vyazemsky called himself a "thinking poet." He died on November 10, 1878 in Baden-Baden, only a few weeks before the release of the first volume of his collected works - "an exhibition of his life." He once wrote: “My speech is still ahead: you just have to wait for a convenient hour, and it will strike without me, but it will strike.” This hour has struck, and it is time for all of us to remember the forgotten names from our distant past, among which is the name of Prince Vyazemsky
Let's move on to comparing these poems. Both poems can be attributed to philosophical lyrics, since they directly raise questions of the meaning of life, its significance for a person.
Pushkin's poem is a lyrical play - confession, revelation. In its final printed version, Remembrance contains 16 verses. In the draft version of the poem, there were 20 more lines, which Pushkin discarded during publication. They revealed the exact content of memories in detail, gave hints of indications of real prototypes. By discarding these details, Pushkin made his poem more generalized and philosophically valid.
The poem of Vyazemsky, like Pushkin, also has lyricism, since most of the attention is paid to the description of the feelings of the lyrical hero.
The temporal and semantic background of Pushkin's work is the atmosphere of the night, which creates the color of the lyrical narration. Night for poets-philosophers is the main condition for in-depth knowledge of the world and oneself. She often appeared like this in the philosophical plays of German romantics and Russian philosophers. After all, it is no accident that the demand for philosophical poetry was voiced with particular force precisely after 1825. In the years of tragic reassessment of values, in the critical years for Russian culture, for any independent mind, painfully looking for a way out of the unresolved and insoluble contradictions of life, there was almost the only worthy way left: to go from the surface to the depth, to begin the work of research, the in-depth work of knowledge and self-knowledge. . This is becoming a common consciousness for the majority of the Russian intelligentsia. The fact that Pushkin did not directly come out with the demand for "poetry of thought" does not change matters. It lived in him, it was his inner conviction and aspiration, and that is why it was reflected in his creative searches.
The poem "Recollection" is addressed to the inner life of a person, saturated with in-depth psychologism. "Memories" is the poetry of thought, and at the same time this poem is deeply psychological. It is easier for a lyrical hero to turn to memories at night, when “the noisy day will fall silent”, when “a shadow will cover the night”. In Pushkin, the night exists in time and with its own signs: it is not just there, it is coming, it is in motion, the reader almost sees it - "a translucent shadow will cover the night." For Pushkin, the night is not only a condition for knowing oneself, but also something valuable in itself. It exists on its own, becoming something material. All these features give living warmth and concreteness to the recognition of the lyrical hero, which is the content of the poem.
In Vyazemsky's poem there is no indication of a specific time, memories pass in succession, they flooded, carried away, plunged into a past life.
Pushkin and Vyazemsky raise the problem of the past, the problem of memories. But their attitude to these memories is completely opposite. Let's dwell on this in more detail.
Pushkin’s “long scroll” of memories does not bring joy and pleasure, because it is full of everything that the hero would like to forget, to delete from his life:
And with disgust reading my life,
I tremble and curse
And I bitterly complain, and bitterly shed tears
Maybe that's why they come to him at night, when the day's worries cease to distract and do not let him forget. Pushkin's lyrical hero is disgusted with his past: he has made many mistakes, he is ashamed of his actions, but he cannot renounce the past, he cannot change anything:
But I do not wash off the sad lines.
All the past is his past, although not a particularly pleasant one. "Lines" is a metaphor for his past life. In the "hours of tedious vigil" "snakes of heart remorse" burn in it. This is conscience - a strict judge, the best guide in his life. She does not give him peace, she drives a whole series of "heavy thoughts", suppresses his mind with longing. And although this memory is "silent", it is so strong that it makes the hero tremble and curse the past life.
A detailed metaphor is used in the poem by Pyotr Vyazemsky: life is a dressing gown. His dressing gown is a symbol of life, a “worn dressing gown” is a symbol of life in old age. How does the lyrical hero relate to her? Unlike the hero Pushkin, he cherishes this life, for him, already old and remembering his life, even the sad events of the past have charm:
I still love my old life sometimes
With her damage and her sad turn
Losses and sad turns of life do not upset him, because they are also part of his life, so he cherishes them, like a fighter cherishes his cloak shot in battle. The hero of the poem is also a little “ashamed” (“and ashamed to wear”), remorseful for some moments of life, but life itself is more valuable to him (“it’s a pity to leave”), because it is his own. The hero, philosophically wisely, understands that now it is impossible to rewrite it again, lose it outright, but must be accepted as a brother. For him, the "ink" of life is much more valuable than expensive patterns, because everything is experienced personally, felt personally and makes up the richest baggage. Vyazemsky expresses gratitude for his life:
It has legends, it contains our native review.
Heart memory still lives in loss,
And the morning is fresh, and half a day shine and heat
We also remember at sunset.
Both in Pushkin and in Vyazemsky, the motive of Poetry is visible in the poem: Pushkin’s hero remains faithful to the “sad” lines, and Vyazemsky’s hero keeps on his dressing gown the “offspring of the pen”, who know both “bright joy” and “cloudy sadness”, and "thoughts", and "sacraments", and "reality". Poetry has always been for poets a sincere expression of all joys and sorrows. It is enough to read just a few combinations to see how creativity meant a lot in their lives.
In Vyazemsky's poem, unlike Pushkin's, there are no such painful thoughts of the lyrical hero:
And a shadow of sorrow and misfortune fell on her,
But sad beauty lurks in this shadow.
The hero affirmatively looks at the past, even in the sad, tragic, he was able to see the charm, as in it "our native feedback", "heart memory". These contradictions between the memory of the soul and real life are perfectly emphasized by the oxymoron: “sad charm”, “day sunset”. It seems that the more ups and downs in life, the more expensive this life is for the lyrical hero:
And, like a fighter in his cloak, shot through in battle,
I groom my bathrobe with love and honor.
The lyrical hero of Vyazemsky accepts life completely: not only joys and victories matter to him, but also losses, “and complaints and penalties.” For his senile consciousness, any page of youth is pleasant for rereading. The hero of Pushkin does not experience quiet joy, like Vyazemsky, but the intensity of emotions. He cannot change anything, and all his curses, complaints and tears are in vain. His condition is clearly expressed in the poem. Vyazemsky also has the motive of the irretrievability of the lost and the impossibility of redoing anything: “We cannot be repaired and corrected again.” But the past completely replaces the future and the present for the author's lyrical image, he speaks of it using warm, tender epithets: “our dear feedback”, “heart memory”, “bright joy”, “cloudy sadness”. In such epithets, the lightness of the memories of the lyrical hero Vyazemsky is expressed.
The hero of Vyazemsky's poem is closer than anyone to his author. However, Pyotr Andreevich paid little attention to the “gifts of fate”: “In my long life, I was fired upon by both large praises and large abuse. Everything was enough. I withstood the test and the conspiracy of silence that was staged against me. I was reprimanded: around my grave, in which I was buried alive, there was deep silence. What? Everything is nothing. I didn’t grow up, I didn’t swell from the first, I didn’t lose weight - from others. Nature endowed me with great vitality, both bodily and internal. This may be annoying to my opponents. I am healthy in my health and sick in my illnesses. Strangers cannot give me health, they cannot instill in me ailments from outside. Malignant beliefs and intuitions are powerless over me.
For Pushkin's lyrical hero, memories are a heavy burden that he cannot get rid of. In the past, he does not find "bright joy", and the sadness that comes to him from the past is far from bright. The past hinders him in the present, returning on sleepless nights and tormenting him. How close these feelings are to Pushkin himself, who received a lot of sad sensations from life. It is in relation to memories that the main difference between the poems of Pushkin and Vyazemsky lies.
Let's pay attention to the artistic features of both poems. The language of the poem "Recollection" is to a large extent the language of "Derzhavinsky", a high-sounding language. Yu. N. Tynyanov called such a language "exquisitely archaic." Bookishly uplifted words, the words “traditionally ornate” (“mortal”, “mute hail hail”, “be silent”, “languishing vigil” - these are the expressive signs of this language, which should express not just a thought, but a philosophical, generalized thought. In Pushkin, archaisms seem to be more "objective" and almost not at all abstract. They are not even objective in themselves - this is hardly possible at all - but because they always fall into an objective context. In such a context, they seem to come to life, concretize , absorb something from the material. So, Pushkin's "mute hailstones" are perceived precisely because they are dumb in their relative concreteness. The use of archaisms in the poem emphasizes the seriousness of the hero's experiences. "The translucent shadow of the night" - this epithet, in my opinion , evokes associations with the white nights of St. Petersburg, and we seem to see the scene.
The metaphors used by Pushkin in the poem are quite emotional and expressive: “the snakes of heart remorse burn in me”, “dreams boil”, “heavy thoughts are in abundance”. They convey the overflowing of the hero with feelings; with external inaction, a complex, often painful spiritual life boils in him. The metaphor "scroll of remembrance" conveys how thoughts about the past visit the hero; his inner gaze goes to more and more distant days and cannot stop at something joyful - all memories cause bitterness, shame, self-loathing.
Pushkin's metaphors are of a special nature. They are more free: they are not a ready-made symbol of a philosophical or other meaning, they do not direct a poetic story, but, as a rule, appear as if involuntarily, very organically, in the course of poetic meditation. So it is, in particular, in the poem “Recollection” that interests us.
Vyazemsky's poem seems even more poetic. It uses a huge number of artistic means. How his epithets fascinate us: “bright joy”, “cloudy sadness”, “sad turn”, allowing you to relate to your life in a different way, even if it has mistakes. An oxymoron indicates a certain pliability of the hero before his fate: “sad charm”, “day sunset”. How much meaning do exact comparisons carry: “like a brother with a brother”, “like a fighter with his cloak”, they contain loyalty, devotion to one's life, awareness of its self-worth. The entire poem by Vyazemsky is filled with metaphors that have broad and significant generalizations: the rags of life are the vicissitudes of life, the ink is sorrows, the offspring of the pen is the memory of life. All this is not an end in itself for the author, but evidence of high talent, the talent of a lyricist and philosopher.
Consider the metric of poems. A. S. Pushkin's poem "Recollection" is not divided into quatrains and consists of 16 verses, which are easily divided into quatrains. Vyazemsky's poem consists of six quatrains, clearly separated by spaces. It is also noteworthy that Pushkin's poem is one complex sentence, beginning with a subordinate tense and a condition. And this is not accidental: sad memories do not give pleasure to the lyrical hero, and he “splashes out” them at once, in one breath, in a single impulse to speak out. The hero of Vyazemsky enjoys his memories, so he utters many sentences - confessions. In both poems, complex syntactic constructions are used, including isolated members of the sentence. This is also indicated by a large number of different punctuation marks (comma, semicolon, dash, colon).
In the melody of the verse, especially in the sound of the first line, Pushkin and Vyazemsky can easily hear a perfect similarity. Both poems are written in iambic. In the first line, Vyazemsky has a sponde (double stressed syllable): "Our life in old age is a worn out robe." Both Pushkin and Vyazemsky use cross-rhyming (avav). In Pushkin, every second and fourth lines in the quatrain are written in iambic pentameter, and in Vyazemsky, in six-meter. In both poems, masculine and feminine rhymes alternate equally.
Vyazemsky and Pushkin are two brilliant poets who left a golden legacy to Russian literature and world culture. Having studied the biographies of two poets, having read their poems, I came to the conclusion that there were many similarities between them. The life difficulties caused by difficult relations with the authorities turned out to be the same, and the problems associated with the publication of their works were the same. Both poets felt disgrace from the king.
Pyotr Andreevich, admiring Pushkin's talent, more than once blamed him for the incompleteness of many of his creations. Meanwhile, the prince greatly valued the opinion of Alexander Sergeevich about his work. It was to him that he first read the biography of Fonvizin written by him and was happy with the approval of his friend: “The day Pushkin spent with me was a holiday for me.”
The analyzed poems show that their lyrical heroes treat their past in different ways, evaluate their life baggage differently. The hero of Pushkin is full of grave thoughts, feels remorse, depressed by longing. There is no light in his life, just as there was none in the life of Pushkin himself. The lyrical hero is a reflection of the state of mind of the poet at the end of the twenties. Pushkin could not recover for a long time from the feeling of pain for the death of his friends after their participation in the uprising on Senate Square, problems with tsarist censorship lay on his shoulders as a heavy burden, he was also tormented by the unfriendly attitude of high society, which began to persecute the poet. All this is reflected in the poem.
The lyrical hero of Vyazemsky is a man who looks differently at the difficulties of life. He knows how to treat pains and troubles wisely, he appreciates life in its very essence, he is sensitive to every moment. And this is not accidental either. Vyazemsky experienced too many losses: the loss of children, relatives and friends. During the memorial service for Alexander Sergeevich, Vyazemsky and Zhukovsky put their gloves in the coffin. Then Pyotr Andreevich left the church and burst into tears. People who knew him were amazed by this. Perhaps this was the only time that this often arrogant and cold man, who always hid his feelings under the guise of irony, gave vent to tears. Later, no one ever saw them. Vyazemsky was very upset by the death of Alexander Sergeevich: “Pushkin was not understood during his lifetime, not only by people indifferent to him, but also by his friends. I confess and ask for forgiveness from his memory, I did not consider him to such an extent capable of everything. How much generosity, strength, deep, hidden self-sacrifice was in this suffering soul. After the death of Pushkin, motifs of loneliness and longing for the past appear in Vyazemsky's poems.
In general, these poems of two lyceum friends are two sides, two different views on life. One - sharp, uncompromising - in the young Pushkin, the other - logical, wise - in the mature Vyazemsky. Both views are correct and justified.
Mikhail Yuryevich Lermontov, being a special person, gifted with a sharp, thinking mind, clearly saw the huge distance that separated him from the rest of society in the 19th century. At the age of 26, Lermontov was able to know the human soul very deeply, he was able to understand the world around him, but he himself was not understood by anyone. This misunderstanding, constant spiritual loneliness was reflected in the poet's work, becoming one of the main motives of his lyrics. It is worth noting that this theme in Lermontov, being romantic, is revealed from two sides, both in the style of Byron and in his own.
For example, the poem "And boring and sad ...":
And boring and sad, and there is no one to give a hand
In a moment of heartbreak...
Love... but who? for a while, it's not worth the trouble, & it's impossible to love forever.
Do you look into yourself? - there is no trace of the past:
And joy, and torment, and everything there is insignificant ...
What passions - after all, sooner or later their sweet affliction
Will disappear at the word of reason;
The lyrical hero of his poems, not finding pleasure in communicating with other people, painfully feeling all the hypocrisy and pettiness of their characters, despises the rest of society and tries to separate from it, while understanding all the futility of a lonely existence.
This causes even more indignation and anger of the hero.
A similar vision of loneliness is presented in the poem "I go out alone on the road ...":
I go out alone on the road;
Why is it so painful and so difficult for me?
Waiting for what? do I regret anything?
I don't expect anything from life
And I do not feel sorry for the past at all;
I'm looking for freedom and bye!
I would like to forget and fall asleep!
The hero, despising worldly joys and pleasures, arbitrarily cuts himself off from the rest of the world, preferring not to start any strong relationships, dooming himself to loneliness. And therefore, without having close people, the lyrical hero from a logical point of view does not see any meaning in life.
But here in the poem "Stans" the lyrical hero moves away from the world and remains alone not by his own will, but by the will of fate. He is full of life, he feels both love and suffering, but still he is alone.
I am destined to love to the grave as a creator!
But by the will of the same creator
Everything that loves me must die
Or, like me, suffer to the end.
So for sure, I'm under the blow of fate,
Like a rock, I stand still
But no one thought to endure this struggle,
If he shakes my hand;
I am not the master of feelings, but of my deeds,
I'm unhappy, let me be - unhappy alone.
Here is an example from the poem "Let me love someone":
Let me love someone
Love does not color my life.
She's like a plague spot
On the heart, it burns, although it is dark;
We are driven by a hostile force
I live by what death is to others:
I live - as the lord of the sky -
In a beautiful world - but one.
As a result, the motive of loneliness was very close to M.Yu.
Attention!
Thank you for your attention.
If you notice an error or typo, highlight the text and press Ctrl+Enter.
Thus, you will provide invaluable benefit to the project and other readers.
