Where the table was food, there is a coffin
From the ode "On the Death of Prince Meshchersky" (1779) by the poet Gavrila Romanovich Derzhavin 1743-1816):
The son of luxury, coolness and neg,
Where, Meshchersky, have you hidden yourself?
You left this life shore,
You have gone to the shores of the dead...
Where the table was food, there is a coffin;
Where feasts were heard clicks,
Tombstones howl there
And pale Death looks at everyone ...
Allegorically about the close proximity of the tragic and the joyful, about the fragile, thin line between life and death.
Encyclopedic Dictionary of winged words and expressions. - M.: "Lokid-Press". Vadim Serov. 2003 .
See what is "Where the table was food, there is a coffin" in other dictionaries:
And Derzhavin looks at everyone palely. On the death of the book. Meshchersky ... Michelson's Big Explanatory Phraseological Dictionary
Where the table was food, there the coffin stands And pale death looks at everyone. Derzhavin. On the death of the book. Meshchersky … Michelson's Big Explanatory Phraseological Dictionary (original spelling)
From the ode “On the Death of Prince Meshchersky” (1779) by the poet Gavrila Romanovich Derzhavin (1743 1816): Son of luxury, coolness and softness, Where, Meshchersky, have you hidden yourself? You left the bank of this life, You retired to the banks of the dead ... Where the table was food, there the coffin stands; Where …
- - a famous poet, statesman and public figure of the second half of the past and the first quarter of this century (b. July 3, 1743, d. July 8, 1816). His ancestor, Tatar Murza Bagrim, in the 15th century, during the reign of Vasily ... ... Big biographical encyclopedia
The fundamental property of Russian literature is that it is the literature of the Word. Words of the Logos. Its thousand-year history opens with the "Sermon on Law and Grace" by Metropolitan. Hilarion (XI century). Here the Old Testament "Law" (nationally limited, closed ... Russian history
Gavriil Romanovich (1743-1816), the greatest Russian poet of the 18th century. On his father's side, he descended from the Tatar Murza Bagrim, who emigrated in the 15th century. from the Great Horde. Born in Kazan, in a family of small landed nobles. He received a meager education (first from ... ... Literary Encyclopedia
Russian poet. Born into a poor noble family, he studied at the Kazan Gymnasium (1759–62). From 1762 to ...
I Derzhavin Gavrila Romanovich, Russian poet. Born into a poor noble family, he studied at ... ... Great Soviet Encyclopedia
From the ode “On the Death of Prince Meshchersky” (1779) by Gavrila Romanovich Derzhavin (1743 1816): Where there was food on the table, there is a coffin; Where feasts were heard cliques, Tombstone faces howl there, And pale death looks at everyone. Allegorically: about the deadly ... ... Dictionary of winged words and expressions
- (Greek αντιθεσις opposition) one of the methods of stylistics (see Figures), which consists in comparing specific ideas and concepts interconnected by a common structure or internal meaning. For example: "Who was nothing, he will become everything" ... Literary Encyclopedia
Reading the verse “I am sitting behind bars in a damp dungeon” by Pushkin Alexander Sergeevich is a real pleasure for all connoisseurs of Russian literature. The work is filled with a sense of hopelessness and romantic longing. Pushkin wrote this poem in 1822 while in exile in Chisinau. The poet could not come to terms with the "exile" in such a wilderness. Despite the fact that Siberia was a harsh alternative to this imprisonment, Alexander Sergeevich felt like a prisoner. He was able to maintain his place in society, but the feeling of suffocation did not leave him. It was these emotions that inspired the poet to write such a gloomy and desperate work.
The text of Pushkin's poem "I'm sitting behind bars in a damp dungeon" from the first lines immerses the reader into the world of the author, full of impotence in the face of circumstances. The poet compares himself to an eagle who spent his life in captivity. Pushkin extols the strength of the spirit of a bird, which, having been born in captivity, nevertheless strives upwards, away from this dungeon. The poem almost entirely consists of an eagle's monologue. He seems to be teaching us, and Pushkin himself, that freedom is the best thing that can be. And you involuntarily heed this lesson. The work sets up philosophical reflections on the willpower of an oppressed person.
I am sitting behind bars in a damp dungeon.
A young eagle bred in captivity,
My sad comrade, waving his wing,
Bloody food pecks under the window,
Pecks, and throws, and looks out the window,
As if he thought the same thing with me;
He calls me with his eyes and his cry
And he wants to say: “Let's fly away!
We are free birds; it's time, brother, it's time!
There, where the mountain turns white behind the cloud,
There, where the sea edges turn blue,
There, where we walk only the wind ... yes, I! .. "
A freedom-loving handsome Russophobe who despised the world, a student of Pushkin killed by a sniper from a mountain, and other knowledge gained in school lessons and from educational television programs that urgently need to be forgotten
Lermontov in the auditorium of Moscow University. Drawing by Vladimir Milashevsky. 1939
1. Lermontov was born in Tarkhany
Not; the second cousin of the poet Akim Shan Giray wrote about this, but he was mistaken. In fact, Lermontov was born in Moscow, in the house of Major General F.N. Tolya, located opposite the Red Gate. Now at this place there is a monument to Lermontov, sculptor ID Brodsky.
2. Lermontov left Moscow University due to persecution
Allegedly, the poet was persecuted in connection with the so-called Malov story that happened in March 1831, when M. Ya. Malov, a professor of criminal law, was boycotted by students and forced to leave the audience during a lecture, for which they were punished. Not; in fact, Lermontov decided to continue his studies at St. Petersburg University, for which he left for St. Petersburg in 1832. In his letter of resignation, he wrote: “Due to domestic circumstances, I can no longer continue my studies at the local university, and therefore I humbly ask the board of the Imperial Moscow University, after dismissing me from it, to provide me with a proper certificate for transfer to the Imperial St. Petersburg University.” (However, Lermontov did not study there, but entered the School of Guards Ensigns and Cavalry Junkers.)
Marching of the cadets of the School of ensigns and cavalry cadets. Lithograph from a drawing by Akim Shan Giray. 1834 From the album "M. Y. Lermontov. Life and creation". Art, 1941 3. Lermontov was killed as a result of a conspiracy, on the orders of Nicholas I. It was not Martynov who shot at the poet, but a sniper from the mountain
All this is baseless conjecture. The well-known circumstances of the duel were described by Prince A. I. Vasilchikov, who left his memoirs, A. A. Stolypin, who compiled the protocol, and N. S. Martynov during the investigation. It follows from them that Martynov challenged Lermontov to a duel because of the insult that the poet inflicted on him. The version about the sniper, in particular, was voiced on the Kultura channel and expressed by V. G. Bondarenko in the last biography of Lermontov, published in the ZhZL series. According to Vasilchikov and Stolypin, who were present at the duel site, it was Martynov who fired. There is no reason to think otherwise.
4. Lermontov felt bad at the cadet school, and he could not write poetry
In fact, although Lermontov spent only two years at the cadet school, during this time he wrote quite a few: a number of poems, the novel Vadim, the poem Hadji Abrek, the fifth edition of The Demon. And this is not counting the specific Junker creativity, which was mostly obscene. In addition, Lermontov drew a lot at the cadet school: more than 200 drawings have been preserved.
Apparently, such an idea of Lermontov's appearance was formed under the influence of his character. So, in memoirs and fiction, there is a mention of Lermontov's gaze from time to time: sarcastic, vicious, persecuting. But most of his contemporaries remembered Lermontov not at all as a romantic handsome man: short, stocky, broad in the shoulders, in an overcoat that did not fit him, with a large head and a gray strand in his black hair. At the cadet school, he broke his leg and then limped. One of the memoirists noted that due to some kind of congenital disease, Lermontov's face was sometimes covered with spots and changed color. However, there are also references to the fact that Lermontov had almost heroic health and strength. For example, A.P. Shan-Girey wrote that in his childhood he never saw Lermontov seriously ill, and A.M. Merinsky, a cadet comrade of the poet, recalled how Lermontov bent and tied a ramrod into a knot.
6. Pushkin was Lermontov's teacher
It is often said that Pushkin was Lermontov's teacher; sometimes they say that, having moved to St. Petersburg and got acquainted with Pushkin's environment, the poet, out of reverence, was afraid to get acquainted with his idol. Lermontov was really impressed by Pushkin's romantic poems and, under their influence, created several of his own. For example, Lermontov has a poem with the same title as Pushkin's - "Prisoner of the Caucasus". In A Hero of Our Time, much is taken from Eugene Onegin. But the influence of Pushkin should not be exaggerated, he was far from the only model for Lermontov.
Pushkin and Gogol. Miniature by A. Alekseev. 1847 From the album "M. Y. Lermontov. Life and creation". Art, 1941 It is sometimes said that even in his death in a duel, Lermontov “imitated” Pushkin, but this is a mystical interpretation not based on facts. The first duel by Pushkin is rather similar to the first one by Lermontov - with the Frenchman Ernest de Barante, who had previously loaned weapons to Dantes' second. The duel between Lermontov and de Barant ended without damage to both opponents, but the poet was sent into exile, from which he never returned.
7. Lermontov wrote “I am sitting behind bars in a damp dungeon…”
No, these are Pushkin's poems. Even school teachers often get confused in the authors of classical Russian poems: Tyutchev’s “Spring Thunderstorm” is attributed to Fet, Blok’s “Under the Embankment, in the Unmowed Ditch” to Nekrasov, and so on. Usually, an author with an appropriate reputation is “selected” for the text; for Lermontov in Russian culture, the halo of gloomy exile, romantic loneliness and impulse to freedom is firmly fixed. Therefore, it seems that Pushkin's "The Prisoner" is more suitable for Lermontov than his own poem of the same name ("Open the dungeon for me, / Give me the radiance of the day ...").
Lermontov, Belinsky and Panaev. Illustration for "Journalist, Reader and Writer". Drawing by Mikhail Vrubel. 1890-1891 State Tretyakov Gallery 8. Lermontov was a poet of genius from an early age.
The poet allegedly took place in early youth, like Pushkin. In fact, Lermontov's early poetic work is largely imitative and contains many direct borrowings that were easily recognized by contemporaries. Belinsky assumed that Lermontov's poems, which he did not like, "belong to his very first experiments, and we, who understand and appreciate his poetic talent, are pleased to think that they [the first experiments] will not be included in the collection of his works."
9. Lermontov, freedom-loving, like Mtsyri, was bored in high society and despised him
Lermontov was really burdened by the unnatural behavior of people in high society. But at the same time he himself participated in everything that secular society lived: in balls, masquerades, secular evenings and duels. Bored, the poet, like many young people in the 1820s and 1830s, imitated Byron and his hero Childe Harold. The notion of Lermontov as an opponent of high society was entrenched in literary criticism in the Soviet era, apparently thanks to The Death of a Poet, which deals with the responsibility of the imperial court for the death of Pushkin.
