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. Batyushkov's merit is that he avoided both external decorativeness, forced exoticism, panache with ancient 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. The realization 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.

1. 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" composed " 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 of 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».

Creativity Ryleeva:

“The history of literature, like any history of organic development, knows no leaps and always creates links between individual brilliant figures,” wrote literary critic S. A. Vengerov. – Batyushkov is one of such connecting links between the Derzhavin and Pushkin eras. It was impossible to go directly from the thunderous and solemn structure of poetry to the caressing music of Pushkin's poems and their "frivolous" content, from the point of view of odes and hymns. Here Batyushkov prepared this transition. Devoting himself to "light poetry", he killed the taste for grandiosity, and freed Russian verse from heaviness, giving it grace and simplicity.

Like his contemporaries Karamzin and Zhukovsky, Batyushkov was preoccupied with the formation of the Russian literary language. “Great writers,” he said, “form the language; they give it a certain direction, they leave in it the indelible stamp of their genius - but, conversely, language has an influence on writers. The process of formation of Russian national identity in the era of the Napoleonic wars was crowned with the historical triumph of Russia. For Batyushkov, as for many of his contemporaries, this triumph was proof of the spiritual power of the nation, which should also be reflected in the language of the victorious people, because "the language always goes on a par with the success of weapons and the glory of the people." “Perform a wonderful, great, holy deed: enrich, form the language of the most glorious people, inhabiting almost half of the world; equate the glory of his language with the glory of the military, the success of the mind with the success of weapons, ”Batiushkov addressed his fellow writers.

In his poetry, Batyushkov began to fight against the grandiloquence and pomposity of the literature of classicism. In "The Speech on the Influence of Light Poetry on the Language, delivered upon joining the Society of Lovers of Russian Literature" in Moscow on July 17, 1816, Batyushkov sought to bring the poetic word out of the narrow boundaries of ornateness. “Important births do not at all exhaust all literature,” he said, “even Lomonosov, this giant in the sciences and in the art of writing, testing the Russian language in important births, wanted to enrich it with the most tender expressions of Anacreon’s muse.” In contrast to the solemn ode, the epic poem and other "high" genres of classical poetry, Batyushkov defended an honorable place in the sun for the genres of "light poetry" - anthological lyrics, elegy, friendly message. He called it "charming luxury" and emphasized that such poetry existed among all peoples and gave "new food to the poetic language." "The language of an enlightened people should ... not consist of only high-sounding words and expressions", in poetry "all kinds are good, except for the boring."

The poetry of small genres, according to Batyushkov, requires much more work on the word, since "the Russian language, loud, strong, expressive, has still retained some severity and stubbornness." “In large genres of poetry (epos, drama), the reader or viewer, carried away by the essence of what is happening, may not notice the errors of the language.” In light poetry, “every word, every expression” the poet “weighs on the scales of strict taste; rejects the weak, falsely brilliant, unfaithful and teaches to enjoy the truly beautiful. In a light kind of poetry, the reader demands possible perfection, purity of expression, harmony, smoothness; he demands truth in feelings and observance of the strictest propriety in all respects.

In his poetry, Batyushkov competed with Zhukovsky and developed the poetic language in the opposite direction. Batyushkov did not share Zhukovsky's enthusiasm for the poetry of German and English sentimentalists. Batyushkov's creative method is closer to the French classics of the 18th century. The theme of Platonic love is alien to him, he is skeptical about the mysticism of Zhukovsky's ballads, about the chanting of the other world. Zhukovsky's style, expressing the fluid and changeable world of the soul, depriving the word of concreteness and objectivity, is contraindicated for him. He does not accept Zhukovsky's epithet, which does not clarify the objective quality of the object, but muffles and blurs it: "thoughtful skies", "quiet luminary". Batyushkov affirms, on the contrary, earthly passion, sensual love, brightness, brilliance, festivity of the world, and in the poet's word he appreciates the ability to grasp the objective sign of an object: "A muddy source, a trace of a furious storm."

“The direction of Batyushkov's poetry is completely opposite to the direction of Zhukovsky's poetry,” says V. G. Belinsky. - 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; for certainty and clarity are the first and main properties of his poetry.

“Graceful voluptuousness is the pathos of his poetry,” Belinsky notes. - True, in his love, in addition to passion and grace, there is a lot of tenderness, and sometimes a lot of sadness and suffering; but its predominant element is always passionate desire, increased by all the negativity, all the charm, full of poetry and grace of pleasure.

Let's, friends, enjoy

Let's get married with roses.

Lisa! It's sweet to drink with you

With a nymph frisky and alive!

Oh let's put our hands on

Let's join mouth to mouth.

Souls in flames will merge,

Then we rise, then we die! ...

("Merry Hour")

According to Gogol, Batyushkov “was completely drowned in the luxurious charm of the visible, which he heard so clearly and felt so strongly. Everything beautiful in all images, even invisible ones, he seemed to be trying to turn into a tactile bliss of pleasure. If in Zhukovsky's lyrics we do not meet a portrait of a beloved, but only feel the soul of the "genius of pure beauty", her incorporeal but beautiful spirit, then Batyushkov has the opposite:

Oh memory of the heart! you are stronger

Reason of sad memory

And often with its sweetness

You captivate me in a distant country.

I remember blue eyes

I remember golden curls

Carelessly curly hair

My shepherdess incomparable

I remember the whole outfit is simple,

And the image of a sweet, unforgettable

Traveling with me everywhere...

("My genius")

However, the objectivity of Batyushkov's poetry is always painted in romantic, dreamy tones. After all, poetry, from his point of view, is “a true gift of heaven, which gives us the purest pleasures in the midst of the worries and thorns of life, which gives us what we call immortality on earth – a lovely dream for exalted souls!” Batyushkov defines inspiration as "a rush of winged thoughts", as a state of inner clairvoyance, when "the excitement of passions is silent" and a "bright mind", freed from "earthly bonds", soars in the "under heaven". The poet is a child of heaven, he is bored on earth: he opposes everything earthly, instantaneous, mortal, “sublime” and “heavenly”.

Batyushkov is a romantic Christian. Romantics emphasized the religious dual world in the perception of everything around. This dual world also determined the special, romantic nature of Batyushkov's "Epicureism". The subsoil of his festive worldview is a sense of the frailty and transience of everything earthly. His Epicureanism is fed not by a pagan, but by a different, tragic philosophy of life: “Life is a moment! Not long to have fun." And therefore, his light poetry is far from the genres of parlor, affected poetry of classicism or the pagan sensuality of the poets of the Ancient World. Joy and happiness Batyushkov teaches to understand and feel in a special way. What is "happiness" in a fleeting life? Happiness is the perfect feeling. That is why Batyushkov's epicureanism is not grounded, not materialized, and the carnal, sensual principles are spiritualized in him. When Batyushkov calls for "golden carelessness," when he advises "to look for fun and fun," then he is not talking about gross passions, not about carnal pleasures. Everything that is earthly perishes, everything earthly is worthless if it is not warmed, not permeated with a dream. A dream gives it grace, charm, sublimity and beauty: “We will dream in sweet bliss: / A dream is a direct mother of happiness!” ("Advice to friends").

In his article on the Italian Renaissance poet Petrarch, Batyushkov writes that “the ancient poets,” referring to the pagan poets of antiquity, “were idolaters; they did not have and could not have... lofty and abstract concepts of spiritual purity, of purity, of the hope of seeing each other in a better world, where there is nothing earthly, transient, low. They enjoyed and sang their pleasures. “They have an end to everything after death.” Batyushkov contrasts the ancient poets with the Christian Petrarch, who in his youth lost his Laura and dedicated his best works to her memory. “For him, Laura was something immaterial, the purest spirit, poured out from the bowels of a deity and clothed in earthly charms.” In Petrarch, “in every word one can see a Christian who knows that nothing earthly can belong to him; that all the labors and successes of man are in vain, that earthly glory disappears like the trace of a cloud in the sky ... ".

Here Batyushkov reveals the nature of his "Epicurean" poetry, his bright joys and sorrows. His merry song, - wrote Y. Aikhenwald, - often fell silent, because "with the cheerful inspiration of the spirit, Batyushkov remarkably combined his constant companion, who at times only retreated into the shadows - sincere sadness":

We find laurel there

Or the cypress of sorrow,

Where roses were looking for happiness

Blooming is not for us.

("Answer to Turgenev")

He supplemented the meager and timid earthly joys, strengthened them with a dream, a dream: "Dreaming is the soul of poets and poems." In the second period of his work, Batyushkov moved from pleasure to a Christian conscience, but even here he did not abandon his former pathos. Conscience for him is a passion. And Christianity does not doom him to a pale and dull life. Good is not humility, good is active and passionate: it is "the soul's direct voluptuousness." Batyushkov's life did not cease to be bright even when faith "spilled saving oil into the lamp of pure Hope."

With Batyushkov, the style of “harmonic precision” entered Russian poetry, without which it is impossible to imagine the formation of Pushkin. It was Batyushkov who developed the language of poetic symbols that give life aesthetic completeness and beauty. It was created by Batyushkov by muffling the objective meaning of words. The rose in his poems is a flower and at the same time a symbol of beauty, a bowl is a vessel and a symbol of fun. In the elegy "To a Friend" he says: "Where is your falern and our roses?" Falern is not only the wine loved by the ancient poet Horace, and roses are not only flowers. Falern is a reminder of a vanished culture, of the poetry of antiquity with its epicureanism, the glorification of earthly joys. Roses are a memory of a carefree youth, a celebration of life that has died down. Such poetic formulas are far from the cold allegories of classicism: here a subtle poetic synthesis of a concrete-sensual image (“rose”) and its semantic interpretation (“celebration of life”) is carried out. In the allegory, the material plane is completely disabled; in Batyushkov's poetic symbol, it is present.

Like a lily of the valley under the sickle of a murderous reaper

Bows his head and withers,

So I was sick waiting for the untimely end

And I thought: Parks hour will come.

Already the eyes of Erebus were covered with thick darkness,

My heart was beating slower.

I withered, disappeared, and young life,

It seemed as if the sun had set.

("Recovery")

In the elegy, the very process of the birth of a poetic symbol (“formula”) is exposed: the flower bows its head like a man, and the man withers like a flower. As a result, "lily of the valley" acquires an additional poetic meaning (its own poetic etymology): it is both a flower and a symbol of a young, blooming life. Yes, and the "deadly reaper's sickle" in the context of emerging associations begins to hint at death with its merciless scythe, as it appears in a common mythological image-personification.

Such “poeticisms” roam Batyushkov from one poem to another, creating a sense of harmony, the poetic loftiness of the language: “the flame of love”, “the cup of joy”, “rapture of the heart”, “heat of the heart”, “coolness of the heart”, “drink the breath” , "languid gaze", "fiery delight", "mysteries of charm", "maiden of love", "bed of luxury", "memory of the heart". There is a purification, an elevation of the poetic style: “curls” (instead of “hair”), “cheeks” (instead of “cheeks”), “shepherd” (instead of “shepherd”), “eyes” (instead of “eyes”).

Batyushkov also works a lot on the phonetic harmony of Russian speech. With annoyance, he likens the spoken language of his era to “bagpipes or balalaika”: “And the language itself is rather poor, rude, smells like Tatar. What kind of s, what kind of w, what kind of u, sch, at, try? O barbarians! Meanwhile, according to Batyushkov, every language, including Russian, has its own harmony, its own aesthetic harmony. It is only necessary to reveal it with the help of God-given talent. Batyushkov works hard to give the poetic language a smooth, soft and melodious sound, characteristic, for example, of Italian speech. And our poet finds no less expressive hidden possibilities in the Russian language:

If the lily leaves

Cling to your chest,

If bright rays

In the fireplace the fire will flash,

If the flame is hidden

I ran across the cheeks ...

("Ghost")

“We have the first line before us,” writes I. M. Semenko. - "If the lily leaves." The quadruple li-li-li-li forms the sound harmony of the line. The syllable li and the sound "l" itself passes through the line as a dominant note. The central place is occupied by the word "lily", fixing the emerging musical image with a visual representation of beauty. The word “if” also becomes perceptibly harmonic, which also begins with an iotized vowel (it ends with “lily”). "If", the first word of the line, also echoes its last word - "sheets". The most complex sound pattern is obvious.”

When Pushkin in Batyushkov's elegy "To a Friend" read the line: "Love and they and cheeks," he exclaimed: "Italian sounds! What a wonderworker this Batyushkov is!” and later said: “Batyushkov… did for the Russian language what Petrarch did for Italian.” Indeed, knowledge of the language of Italian poetry gave Batyushkov a lot. But one should not think that the poet mechanically transferred Italian consonances into Russian poetic speech. No, he was looking for these consonances in the very nature of his native language, he revealed poetry in its Russian sounds. This is the sound in the first lines of the passage he translated from Byron's Childe Harold:

There is pleasure in the wildness of the forests,

There is joy on the seashore,

And there is harmony in this dialect of shafts,

Crushing in the desert run.

The absence in the fourth verse of the accent on the second foot of the iambic tetrameter is not accidental: combined with smooth whistling and hissing sounds (“crushing”), it depicts the interrupted run of a sea wave. The rumble of the sounds “r” penetrating the verses, as if periodically bumping into the stone-hard “d”, crumbles in the hiss of the finale, like a sea wave that has faded on the shore in spray and foam.

O. Mandelstam in 1932 wrote poems about an imaginary meeting with Batyushkov, in which he created a living image of the Russian poet:

He chuckled. I said - thank you -

And I did not find words from embarrassment:

No one has these sounds bends,

And never - this talk of shafts ...

Our torment and our wealth,

tongue-tied, he brought with him -

The noise of poetry, and the bell of brotherhood.

And a harmonic shower of tears.

End of work -

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Elegy has become one of the leading genres in Zhukovsky's poetic work. It was in tune with the interest of sentimentalists and romantics in the dramatic content of a person's inner life. At the same time

Theon and Aeschines" (1814)
“This poem,” Belinsky wrote, “can be viewed as a program for all of Zhukovsky’s poetry, as a statement of the basic principles of its content.” The poem juxtaposes different

Love lyrics by Zhukovsky
In 1805, an event occurred that was destined to play an important role in the life of Zhukovsky and in its own way affect the fate of all domestic literature, on the Russian understanding of the spiritual nature of people.

Zhukovsky's civil lyrics
In the early summer of 1812, Napoleon's troops crossed the Neman and invaded Russian borders. In August, Zhukovsky left his native land as a lieutenant of the Moscow militia. He spent the night of August 26 in

Ballad creativity of Zhukovsky
From 1808 to 1833, Zhukovsky created 39 ballads and received the playful nickname "balladnik" in literary circles. These are mainly translations of German and English poets (Burger, Schiller, Goethe, Uhland,

Zhukovsky as a teacher and educator of the heir
Since 1817, a sharp turn began in the life of Zhukovsky, forcing him to postpone his poetic work for a long time in the name of another, no less, and perhaps even more significant in his head.

Zhukovsky's poems
During these years, he was mainly busy with translations of the epic of European and Eastern peoples, among which the main place is occupied by the still unsurpassed translation of Homer's Odyssey. At the center of translation

Zhukovsky V. A. Full. coll. op. In 12 volumes - St. Petersburg, 1902; Zhukovsky V. A. Sobr. op. In 4 volumes - M.; L., 1959-1960; Zhukovsky V.A. lyrics

The formation of Batyushkov the poet
He was born on May 18 (29), 1787 in Vologda in the family of an impoverished but well-born nobleman Nikolai Lvovich Batyushkov. His mother, Alexandra Grigorievna, descended from the Vologda nobles Berdyaev

The first period of Batyushkov's work
In the autumn of 1809, Batyushkov created the satire Vision on the Banks of Lethe, the resounding success of which opens the mature stage of the poet's work. In Lethe, the mythological river, whose waters bring oblivion to earthly life

The second period of Batyushkov's work
But the black shadows of a big story were already approaching the "small" world of the cheerful Batyushkov's poetry. The storm of the Patriotic War broke out over Russia. In August 1812, Batyushkov went to the besieged enemy.

Batyushkov K. Ya. Works / Ed. L. Ya. Maykov, with the participation of V. I. Saitov. - St. Petersburg, 1885-1887. - T. 1-3; Batyushkov K. N. Full. coll. poems / Enter, Art., prepared. text and notes.

The Phenomenon of Decembrism in Russian Culture in the 1820s
Russian and especially Soviet science has made great efforts to study the Decembrist movement. Abundant source materials have been found and published, the class origins of Decembrism have been studied,

Poetic quest of the Decembrists
Dreaming, like all romantics, of beneficial moral and spiritual changes in their Fatherland, the Decembrists believed that it was these changes that would lead to the healing of age-old social ulcers, among which

Poetry and letters of the Decembrists / Comp., Introduce, Art., Note. S. A. Fomicheva - Gorky, 1984; Decembrist poets. Poems. / Enter, art. N. Ya. Eidelman, comp., biographies, references N. G.

Artistic world of Krylov
On February 2, 1838, the anniversary of Krylov was solemnly celebrated in St. Petersburg. It was, according to the fair remark of V. A. Zhukovsky, “a national holiday; when it was possible to invite all of Russia to it,

Life and career of Krylov
Ivan Andreevich Krylov was born on February 2 (13), 1769 in Moscow and came from chief officer children, whose fathers sometimes achieved a noble rank at the cost of hard field service. Andrey Prokhoro

Worldview origins of Krylov's realism
Krylov came to the fable in his mature years, having gone through the difficult path of creative search known to us in line with the educational ideology of the 18th century and having experienced its deep crisis at the turn of the century. The essence of this crisis

Poetics of Krylov's fables
Turning to the fable genre, Krylov decisively modified it. Before Krylov, the fable was understood as a moralizing work, resorting to an allegorical illustration of moral truths. Predecessor

Krylov I. A. Full. coll. op. / Ed. D. Poor. - M., 1945-1946. - T. 1-3; Krylov I. A. Fables. - M., 1958; Belinsky V. G. Ivan Andreevich Krylov // Collected. op. - M., 1955. - T

Griboedov's personality
Often, both lovers of Russian literature and professional connoisseurs of it, a perplexed question arises: why such a gifted person, it would seem, a great writer - in essence and by vocation - created

Griboedov's childhood and youth
Alexander Sergeevich Griboedov was born on January 4 (15), 1795 (according to other sources - 1794) in Moscow into a well-born, but impoverished noble family. His father, a weak-willed man, participates in household chores

Griboyedov and the Decembrists
By the autumn of 1824, he was finishing work on a comedy and experiencing unheard-of literary success. The manuscript of "Woe from Wit" is being torn to pieces. At Odoevsky's apartment, his Decembrist friends, with the help of a nan

Woe from Wit" in Russian criticism
What did Griboedov's contemporary critics write about Woe from Wit, how did they understand the main conflict of the comedy, how did they evaluate the central image of Chatsky in it? The first negative review about "Woe from Wit",

Famusovsky world
The people of the Famus society are not simple patriarchal nobles like the Rostovs of L. N. Tolstoy or the Larins of A. S. Pushkin. This representatives of the service class, government officials, and their way of life

Drama Chatsky
It is here that the weakness inherent in the entire generation of young people of the stormy and uniquely peculiar time that preceded the Decembrist uprising is revealed. "They were filled with heroic

Drama Sophia
Was it not the Repetilovism that flourished in Famusov's Moscow during Chatsky's travels that caused Sophia to cool off towards him? After all, this girl is smart, independent and observant. She rises

Poetics of the comedy "Woe from Wit"
As the first realistic comedy in new Russian literature, Woe from Wit bears the signs of a bright artistic originality. At first glance, it has a tangible connection with the traditions of classicism,

Repetilov
Chimeras. The verse has acquired an extraordinary flexibility, capable of conveying both the intense oratorical pathos of Chatsky's monologues, and subtle humor, and a lively, involuntary dialogue between the characters: he became in

The idea of ​​a work about the Patriotic War of 1812
At the end of Woe from Wit, Griboyedov drew up a detailed plan of a folk tragedy in verse, or, as some researchers believe, a dramatic poem about the Patriotic War of 1812. "Saved

The death of Griboyedov
"Woe from Wit" was a work nurtured by the author for many years. After the completion of the work, a period of mental fatigue set in. Participation in the Russian-Persian war took a lot of strength,

Griboyedov A.S. Full. coll. op. In 3 volumes / Ed. N. K. Piksanova - Pg., 1911-1917; Griboyedov A.S. Op. In 2 volumes / Under the general. ed. M. P. Eremina. - M., 1971; Griboyedov A. S. Izbranne

The artistic phenomenon of Pushkin
As we have already noted, a necessary condition for the entry of new Russian literature into the mature phase of its development was the formation of a literary language. Until the middle of the 17th century, such a language in Russia would

Lyceum lyrics by Pushkin
Alexander Sergeevich Pushkin was born in Moscow on May 26 (June 6), 1799, on the day of the bright feast of the Ascension of the Lord. “This information about the place and time of Pushkin’s birth can be regarded as some

Youth. Petersburg period
In the summer of 1817, the first graduation of the pupils of the Lyceum took place. At first, Pushkin hesitated in choosing a path in life, he wanted to enter the military service. But friends dissuaded him, and he decided to be an official

Ruslan and Ludmila"
Youthful liberty and freedom found a full-blooded artistic embodiment in the last work of the St. Petersburg period - in the poem "Ruslan and Lyudmila". Working on it, Pushkin entered into a competitive

Youth. Southern period. Romantic poems and lyrics
Pushkin left Petersburg at a difficult period in his life, connected not only with the irresistible grievances that he had to endure. There was a natural age-related turning point - a crisis of transition from youth

Elegy "The light of the day went out ..."
On the night of August 19, 1820, on the way to Gurzuf on the military brig "Mingrelia", Pushkin wrote the elegy "The luminary of the day went out ...", opening the romantic (Byronic) period of his work in the years of the southern

Poem "Prisoner of the Caucasus" (1820-1821)
Pushkin “almost immediately feels the need to go beyond narrowly personal limits, to see and show in personal the general, inherent not to him alone, but to a whole generation, he wants to put before readers instead of St.

The poem "The Fountain of Bakhchisarai"
In the next poem, The Fountain of Bakhchisarai, Pushkin used Crimean impressions - a local legend about Khan Giray's unrequited love for the Polish princess Maria, captivated by him. Especially successful in the poem of the eye

Lyrics of the southern period. Pushkin and the Decembrists
From the Crimea, in September 1820, Pushkin arrived in Chisinau, where Inzov was transferred as governor of Bessarabia. Pushkin treated his official duties carelessly, and the good-natured Inzov looked at

Robber brothers "(1821-1822)
As always with Pushkin, any extreme is counterweighted, so this time too. Doubts among the people are balanced by work on a historical theme. Pushkin creates a poem-ballad "The Song of the Prophetic Oleg

Pushkin in Mikhailovsky. creative maturity
“Who is the creator of this inhuman murder? Do those who have drawn the authorities into this measure realize that there is exile in the countryside in Russia? One must definitely be a spiritual hero in order to stand against this

Count Nulin"
Pushkin finished Boris Godunov in November 1825, about a month before the Decembrist uprising. In this tragedy, he showed the well-known naivety of the romantic view of the course of history, according to which

Pushkin on the appointment of the poet and poetry
The tragedy of "Boris Godunov" ended Pushkin's self-determination as the first mature national poet in the history of Russian literature. It is no coincidence that it is from the Mikhailov period that it opens on TV

Pushkin's love lyrics
V. G. Belinsky believed that Pushkin’s love feeling is “not just a feeling of a person, but a feeling of a person-artist, a person-artist. There is always something especially noble, meek, tender, bl

Liberation. Poet and king
On November 19, 1825, Alexander 1 suddenly died in Taganrog. The news of his death reached Mikhailovsky around December 10. Pushkin had a hope for release. He decided, using the perio

Poem "Poltava"
In 1827, Pushkin began work on the historical novel Peter the Great's Moor, based on family legends about his maternal great-grandfather - a pet, "godson" and great helper.

Pushkin's lyrics of the late 1820s-1830s
In Pushkin's late lyrics, philosophical motifs, thoughts about life and death, repentant moods, forebodings of new storms and worries are rapidly growing: Again the clouds gathered over me

The creative history of the novel by A. S. Pushkin "Eugene Onegin"
In the draft papers of Pushkin during the Boldino autumn of 1830, a sketch of the scheme "Eugene Onegin" was preserved, visibly representing the creative history of the novel: "Onegin"

Historicism and encyclopedism of the novel
“In Onegin,” Belinsky wrote, “we see a poetically reproduced picture of Russian society, taken at one of the most interesting moments in its development. From this point of view, "Eugene Onegin" is

Onegin stanza
A huge role here was played by the soul found by Pushkin, the primary element of the organic and living world of this novel, the “Onegin stanza”. From a purely technical, poetic organization, this is fourteen

The realism of the novel. Individual and typical in the character of Eugene Onegin
The character of Onegin in the first part of the novel is revealed in a complex dialogic relationship between the hero and the author. Pushkin both enters Onegin's way of life and rises above him into another, wider

Onegin and Lensky
With the release of the action beyond the granite embankments of the Neva, beyond the St. Petersburg outposts to the expanses of provincial Russia, Pushkin's novel takes on a deep epic breath. Finally, his one-hero overcomes

Onegin and Tatyana
The relationship between Onegin and Tatiana is based on the principle of antithesis, opposition. But at the heart of this confrontation lies a potential commonality. Like two oppositely charged poles of a magnet, Onegi

Boldinskaya autumn of 1830. "Little Tragedies" "Tales of Belkin"
In 1830, Pushkin received a blessing to marry Natalia Nikolaevna Goncharova. The chores and preparations for the wedding began. Pushkin had to urgently go to the village of Boldino, Nizhny Novgorod province.

Realistic prose style
The style of Pushkin's realistic prose is marked by laconicism, precision, ascetic stinginess of special artistic means. It differs from Karamzin's prose, which makes extensive use of poetic techniques.

Historical Theme in Pushkin's Works in the 1830s
On February 18, 1831, Pushkin married N. N. Goncharova in Moscow, in the Church of the Great Ascension on Nikitskaya. The young couple spent the spring and summer in Tsarskoye Selo, and in the autumn Pushkins moved

Historical story "The Captain's Daughter"
Just as The Bronze Horseman is connected with The History of Peter, Pushkin's The Captain's Daughter grows out of The History of Pugachev. Pushkin the artist in the mature period of his work relies on his own history.

Duel and death of Pushkin
On January 1, 1834, Pushkin wrote in his diary: "On the third day I was granted the rank of chamber junker - which is rather indecent for my age." Such a court position was indeed given to people more

Pushkin A. S. Full. coll. op. – M.; L., 1937-1959. - T. I-XVII; Brodsky Ya. L. A. S. Pushkin. Biography. - M., 1937; Vinogradov V. V. The language of Pushkin / Pushkin. History of Russian literature

Poets of the Pushkin Circle
About Pushkin's influence on Russian poetry, Gogol wrote: “Karamzin did not do the same in prose that he did in verse. Karamzin's imitators served as a pathetic caricature of himself and brought both style and thoughts

Yazykov Nikolai Mikhailovich (1803-1846)
“Of all the poets of Pushkin's time, Yazykov separated most of all,” wrote N.V. Gogol. - With the appearance of his first verses, everyone heard a new lyre, revelry and violence of forces, the boldness of any expression, light

Baratynsky E. A. Poln. coll. poems. - L., 1957. - ("The poet's library". / Large series); Baratynsky E. A. Poems, poems, prose, letters. - / M., 1951; Davydov Denis. Op

Socio-political situation
The uprising of December 14, 1825 led to the isolation from social and literary life of a significant part of the already thin cultural stratum of the Russian nobility. After removing it from the literary

Journalism of the second half of the 1820-1830s
In a situation where the activities of writers' associations and literary societies were officially terminated, magazines became the organizers of the literary forces in Russia. Belinsky then noticed that

Moscow Bulletin" (1827-1830)
The result of Pushkin’s rapprochement with the “archival youths” was the appearance of the journal Moskovsky Vestnik under the editorship of Pogodin. Pushkin published excerpts from "Boris Godunov", "Eugene Onegin", "G

Moscow observer "(1835-1840)
But the “wise-minded” do not lose hope in their printed organ. In 1835 they united around the Moscow Observer magazine. The literary department in it is headed by S. P. Shevyrev. The magazine attracts Pushkin

Telescope" (1831-1836)
After the closure of the journal Polevoy in 1834, the journal of Nikolai Ivanovich Nadezhdin (1804-1856) "Telescope" and its supplement, the newspaper "Molva", came to the fore in the literary life of the 1830s. Nadia

Contemporary" (1836-1866)
This magazine was founded by Pushkin. He wanted to oppose it to the growing strength of "trade" journalism and maintain the high artistic level of literature achieved by him and the writers of his circle. K co

Poetry of the second half of the 1820-1830s
In the development of Russian poetry, this period is associated with attempts to overcome the "school of harmonic accuracy" of the 1810s-1820s. Opposition to it manifested itself already in the article by V.K.

Prose of the second half of the 1820-1830s
The prose of the second half of the 1820s-1830s most fully realizes its creative potential in the genres of the story: historical (Russian), philosophical (fantastic), secular, Caucasian and everyday. On the

secular story
The movement towards a secular story began already in the early works of A. A. Bestuzhev-Marlinsky: “Evening at the Bivouac” (1823), which influenced Pushkin’s story “The Shot”, and “A Novel in Seven Letters”, in which

Ya. I. Nadezhdin. Literary Criticism: Aesthetics. - M., 1972; Polevoi N. A Polevoi Ks. A. Literary criticism / Comp., enter, articles and comments. V. Berezina and I. Sukhikh. - L., 1990;

Artistic world of Lermontov
The predominant motive of M. Yu. Lermontov's work is fearless introspection and the heightened sense of personality associated with it, the denial of any restrictions, any encroachments on its freedom. Exactly t

Lermontov's childhood
Mikhail Yuryevich Lermontov was born on October 3 (15), 1814 in the family of army captain Yuri Petrovich Lermontov and Maria Mikhailovna Lermontova (nee Arsenyeva). Russian branch of the Lermontov family

Years of study in Moscow. Youthful lyrics
In 1827, his grandmother brought him from Tarkhan to Moscow to continue his education. After excellent home preparation in 1828, Lermontov was accepted immediately into the IV class of the Moscow University Bl.

romantic poems
Lermontov began to create romantic poems at a young age, and they develop in parallel and in strict accordance with the main themes and motives of his lyrics. It was the time when Pushkin

The last free Slav!
A new stage in the formation and development of Lermontov's poetic epic is associated with the cycle of Caucasian poems of 1830-1833: "Kalli", "Aul Bastunji", "Izmail Bey" and "Khadzhi-Abrek". Here the poet is freed about

Experiences of a realistic poem
The creative path of Lermontov clearly shows the complexity of the Russian historical and literary process, which cannot be reduced to the traditional scheme for Western European literature “from romanticism to realism”.

Dramaturgy Lermontov
Even at a young age, Lermontov began to try his hand at dramaturgy, in the center of which is the fate of a noble, romantic-minded young man who enters into a sharp, irreconcilable conflict with

Lermontov's first prose experiments. The novels "Vadim" and "Princess Ligovskaya"
Lermontov began writing the novel Vadim in 1832. This work is left unfinished. Even the name was given to him by the publisher of Lermontov's literary legacy, after the name of the central character

Historical views of Lermontov
During the Petersburg period, Lermontov's public convictions and his views on the historical fate of Russia were finally formed. They gravitate toward the Slavophilism that was emerging towards the end of the 1830s. Lehr

Death of a Poet" and Lermontov's first link to the Caucasus
Literary fame Lermontov brought the poem "Death of the Poet", after which repeated what happened with Pushkin, but only in an even more accelerated rhythm. The motif of God's judgment sounds in

Lyrics by Lermontov 1838-1840
In late November - early December 1837, the grandmother's efforts were crowned with success. Lermontov was first transferred to the Grodno Life Guards Hussar Regiment in Novgorod, and in the spring of 1838 - in the place of the old

Love in Lermontov's lyrics
Loneliness, disbelief in the possibility of mutual understanding and spiritual kinship gives special drama to Lermontov's love lyrics. It is tinged with drama unknown to him in Russian poetry. He has almost

Lermontov's poems about the appointment of the poet and poetry
In the Petersburg period of 1838-1840, Lermontov turned to poems about the appointment of the poet and poetry. In the poem "The Poet" (1838), he compares poetry to a military weapon, a reliable defender of truth and

Duel and second exile to the Caucasus
This time the circle of literary acquaintances of Lermontov in St. Petersburg expanded even more. He became a frequent visitor to the house of E. A. Karamzina, the widow of the writer, became close friends with the famous prose writer, critic and writer.

Lyrics of Lermontov 1840-1841
And June 1840, Lermontov arrived in Stavropol, where the headquarters of the Russian troops was located. And on June 18 he was sent to the left flank of the Caucasian line. During the assault on the blockages on the Valerik River (

The creative history of the novel "A Hero of Our Time
Lermontov began work on the novel on the basis of his first exile to the Caucasus. In 1839, two stories appeared in the journal Otechestvennye Zapiski - Bela and Fatalist, in the beginning of 1840

The composition of the novel and its meaningful meaning
Did Lermontov accidentally abandon the chronological principle in the arrangement of the stories included in the novel, from the order of their initial publication? Why is The Fatalist at the end of the novel? Why by

Spiritual journey of Pechorin
The spiritual journey of Pechorin, a man with a romantic mindset and character, takes Lermontov through those worlds of Russian life that have long been mastered in romantic novels and short stories.

The significance of Lermontov's work in the history of Russian literature
In his lyrics, Lermontov opened up space for introspection, self-deepening, for the dialectics of the soul. These discoveries would later be used by Russian poetry and prose. It was Lermontov who solved the problem of "poetry we

Lermontov M. Yu. Op. In 6 volumes - M.; L., 1954-1957; M. Yu. Lermontov in the memoirs of his contemporaries. - M., 1972; Belinsky V. G. 1) A hero of our time. Composition by M. Lermontov. 2) St

The formation of creative talent and the life fate of Koltsov
By the will of fate, Koltsov spent his whole life wandering around the villages, villages and "slobodushki" of the Voronezh Territory, absorbing the poetry of folk life with a receptive soul. Alexey Vasilyevich Koltsov was born on 3 (1

Russian songs" Koltsova
In 1846, the first posthumous edition of Koltsov's poems, prepared by Belinsky, was published. In the introductory article that accompanied him on the life and writings of the poet, Belinsky shares the poem

Thoughts of Koltsov
The songful, cosmic-natural view of the world is transformed and complicated in Koltsov's philosophical "thoughts", which, as a rule, were underestimated by democratic criticism. In "thoughts" Koltsov appears samob

Koltsov in the history of Russian culture
Contemporaries saw something prophetic in Koltsov's poetry. V. Maikov wrote: "He was more a poet of the possible and the future than a poet of the real and the present." And Nekrasov called Koltsov's songs "ve

Koltsov A. V. Full. coll. op. / Enter, art. and note. L. A. Plotkina / Prepared. text by M. I. Malova and L. A. Plotkin. - L., 1958. - ("Library of the poet". B. Ser. - 2nd ed.); Koltsov A.V.

The originality of Gogol's realism
Gogol's work marked a new phase in the development of Russian realism. First Belinsky, and then Chernyshevsky began to assert that this writer was the ancestor of the "Gogol period" in our

Gogol's childhood and youth
Nikolai Vasilievich Gogol was born on March 20 (April 1), 1809 in the town of Velikie Sorochintsy, Mirgorod district, Poltava province, in the family of a poor Ukrainian landowner Vasily Afanasyevich Gog

The beginning of the creative path. "Evenings on a Farm Near Dikanka"
In June 1828, Gogol graduated from the course at the Nizhyn Gymnasium, and at the end of the year, having secured letters of recommendation from influential relatives, he went to St. Petersburg. He went to the capital with the most

Collection of short stories "Mirgorod"
The success of "Evenings ..." dramatically changed the position of Gogol in St. Petersburg. Delvig, Pletnev and Zhukovsky take a heartfelt part in his fate. Pletnev, who at that time was an inspector of the Patriotic Institute

Gogol the historian
The signs of Gogol's historicism noted back in "Evenings ..." are further developed in the collection "Mirgorod". And this is no coincidence. Work on it coincided with the writer's serious passion for historical

Petersburg Tales of Gogol
In the first half of 1835, Gogol published the collection "Arabesques", which, along with historical and journalistic articles, included three stories: "Nevsky Prospekt", "Portrait" and "Notes

Dramaturgy of Gogol. Comedy "Inspector"
Back in the period of Mirgorod and Arabesques, Gogol felt the need to express his understanding and appreciation of contemporary reality in comedy. On February 20, 1833, he informed M.P. Pogodin: “I did not write

The creative history of Gogol's poem "Dead Souls"
The plot of the poem was suggested to Gogol by Pushkin, who witnessed fraudulent transactions with "dead souls" during his exile in Chisinau. At the beginning of the 19th century, people fled to the south of Russia, to Bessarabia, from different ends.

roads and their symbolic meaning
The poem opens with the entrance to the provincial town NN of a spring cart. Acquaintance with the main character is preceded by a conversation between “two Russian men” about the possibilities of this britzka: “Look at you,” said one friend

Manilov and Chichikov
Let us note that Chichikov peers into the "dead souls" of the landlords as if into a distorting mirror. These people represent fragments of his own soul taken to the extreme and overflowing. That is why with

Korobochka and Chichikov
The box, to which Chichikov was brought by chance, is the exact opposite of Manilov's daydreaming, soaring in a blue void. This is one of those "small landowners who cry for crop failures, losses

Nozdrev and Chichikov
Nozdryov, with whom another "accident" brings Chichikov, is an example of an ugly broad Russian nature. Dostoevsky would later say of such people: "If there is no God, then everything is permitted." Nozdryov has God

Sobakevich and Chichikov
The talent of depicting a person through his everyday environment reaches Gogol's triumph in the story of the meeting between Chichikov and Sobakevich. This landowner does not have his head in the clouds, he stands on the ground with both feet,

Plushkin and Chichikov
In the gallery of landowners presented by Gogol to general shame and ridicule, there is one remarkable feature: in the replacement of one hero by another, a feeling of vulgarity grows, into the terrible mud of which one plunges

The Path of Pavel Ivanovich Chichikov
Chichikov - a living embodiment of the movement of Russian life in the 19th century - is given in a poem with a widely expanded biography. Compared with the determined and relatively frozen characters of the Russian landowner

Dead Souls" in Russian criticism
Dead Souls was published in 1842 and, willy-nilly, found itself at the center of the ongoing epoch-making split in Russian thought of the 19th century into Slavophile and Westernist directions. Slavophiles otry

The story "Overcoat"
Halfway from the first volume of "Dead Souls" to the second is Gogol's last St.

Selected places from correspondence with friends»
Work on the second volume of Dead Souls is slow and difficult. The long-term stay in Rome, the separation of Gogol from living Russian impressions, is having an effect. His letters of this period are filled with appeals

Belinsky's letter to Gogol
In the autumn of 1847, Gogol received an angry letter from Belinsky, which deeply wounded both the talent and noble intentions of the writer. “Russia,” Belinsky argued, “sees its salvation not in mysticism, not in

The second volume of Dead Souls. Creative drama of Gogol
From the second volume, only a few fragments have survived, indicating a significant creative evolution of the writer. He dreamed of creating a positive hero who "would be able to say the almighty word:"

Gogol N. V. Full. coll. op. - M., 1937-1952. - T. 1-14; Gogol N. V. Sobr. op. In 9 volumes - M., 1994; N. V. Gogol in Russian criticism and memoirs of contemporaries. - M., 1959;

The originality of Batyushkov's romanticism. Belinsky about his poetry.

Konstantin Nick. Batyushkov entered the history of 19th century literature as one of the founders of romanticism. His lyrics were based on "Light Poetry", which, in his view, was associated with the development of small genre forms put forward by romanticism to the forefront of Russian poetry.

Born in 1787 in Vologda. He belonged to an old but impoverished noble family.

All Batyushkov's work can be divided into 4 periods:

1802-08 - student

1809 - 12 - original work

1812 - 1816 - spiritual and poetic crisis

1816-23 - attempts to overcome it, access to new frontiers of creativity

So, at first, the general life and aesthetic ideas of the young Batyushkov are combined with pronounced literary tastes. The poet is on the side of those who appreciate "light poetry" and small genres. Poetic reference points are French educational philosophy and ancient authors, which Batyushkov studied during his student years. In 1806, B.'s poem "Dream" was published in the Lover of Literature. B. interprets it as a path to spiritual freedom, because the vanity of life is the lot of fools.

Love, youth, fun - these are the true values ​​​​of true sages like Anacreon. The poet continues this line in the work of the second period, the period when his “little philosophy”, or the philosophy of the “Little Man”, receives the design. She concluded the conviction that sensual and spiritual earthly pleasures are available to a person with a virtuous soul, that personal happiness is available to a lonely person in dreams, in solitude from the environment. The enjoyment of the gifts of life (Epicureanism) and hedonism (the desire for good, understood as pleasure) become Batyushkov's dreams. The consciousness of the gap between dream and reality makes the poet, like all romantics, isolate his personal inner world, making it a kind of center of the universe. The poet himself felt that in life his imagination could not come true, so he was characterized by skepticism. The combination of aesthetically sublime pleasure and the skeptical consciousness of its fictional nature gives Batyushkov's lyrics an exceptional originality.

"Little philosophy" and "light poetry" in the mind of Batyushkov is not only a worldview, but also a language. The poet proposes to abandon the use of obsolete forms in favor of a clear meaning. In depicting the hero, like Zhukovsky, Batyushkov tends to focus on the inner world, but his hero is more defined, conveyed through visible signs - facial expressions, gestures, movement, posture.

Throughout the lyrics of 9-11 years, an image of sensual youth (“Bacchante”) arises, violently showing passion, but passion is not like a thoughtless triumph of nature, but something elegant, graceful, chaste. The enjoyment of love is transformed into the enjoyment of life, its natural joys. The poem "My Penates" can be considered the result of this period. The poet immerses the reader in a homely environment, engages in a heart-to-heart conversation about what is close and dear to him. No wonder he chooses the genre of the message. In "Penates" Batyushkov combines the dream of beauty and poetry with everyday life. The dream descended to earth and found shelter in a hut. The portrait of the poet, which is drawn in My Penates and other poems, is not identical to the exact biography of Batyushkov himself. His lyrical hero is an unusually passionate young conqueror of hearts, an eternally careless and lazy philosopher, enjoying the company of friends in anticipation of his beloved. Batyushkov himself did not differ in any of the above. However, this does not take away the psychological truthfulness of his hero. The poetic portrait created by Batyushkov is infinitely charming and cheerful. However, things soon change. The year 1612 comes, Batyushkov sees the devastated Moscow, the barbarism and vandalism of France, whose ideals he worshiped. There was nothing to believe in, nothing to base the dream on. In the face of historical catastrophe, the poet refuses to sing of love and joy. The world seemed chaotic to the poet, there was no unifying idea in it. And Batyushkov rushed to look for the positive foundations of the world outlook. Rethinking historical realities, he comes to a new type of elegy - elegiac melancholy receives historical motivation. Tragedy becomes the distinctive worldview of the poet. The poet explains the disappointment in reality by the course of history itself, regardless of the social and social structure. In the elegy "On the ruins of a castle in Sweden", Batyushkov thinks about the vicissitudes of life, asks questions why the best die, and life turns into a "dead dream". The author's innovation lies in the fact that disappointment receives a historical motivation, thanks to which the elegy becomes a meditation on the philosophical and historical theme of the vicissitudes of a ruthless fate. The result of sad reflections on the fate of man is "To a friend", addressed to Vyazemsky. Earthly life is not eternal pleasure, but eternal loss. In search of a way out, Batyushkov comes to religion and begins to think of earthly existence as a preparation for otherworldly bliss.

Interest in ancient literature, in the pursuit of perfection of form, harmony of parts, plasticity. According to these signs, Belinsky is ready to call him a classic, because Zhukovsky's romanticism is vague and indefinite. He does not accept contemporary reality that does not satisfy the ethical or aesthetic ideals of the poet. He affirms the personality and its inner principle as the highest value, calls for independence and freedom from the lies and pettiness of the world. Early romanticism takes shape in a course that becomes one of the varieties of the romantic trend as a whole - elegiac or dreamy romanticism. The poetry of B, like that of Zhukovsky, reflected the early stage of the socio-historical turning point that began in Russia. It is characterized by great inconsistency, an internal struggle between progressive and regressive tendencies.

Belinsky argued that the originality of the romantic form is determined by the original idea: 1. the idea of ​​freedom, 2. a free person, 3. a person in his own dignity, independent of class rank. The understanding of freedom corresponds to the nature of a romantic protest against the existing reality; they do not accept the world around them. Contrasting the “dreamy” world with the real one, the romantic seeks to embody this world in images. Therefore, the romantic image, reflecting the elements of reality, becomes the embodiment of the elements of the romantic world created by the poet's imagination, his dreams and ideals. The lyrics take on the character of a poetic confession, a creative diary.

In the poem "To Friends", which is a dedication to "Experiences", Batyushkov asks to accept a list of his poems, in which one can find feelings, history.

The main role in romantic creativity is occupied by the emotional coloring of the word, while the objective meaning of the word is weakened.

B uses romantic epithets: a sweet dream, a terrible moment, a dear homeland, a sad experience.

The article "Something about the poet and poetry" - Batyushkov begins with a romantic definition of poetry as "a combination of imagination, sensuality, dreaming." He considers poetry as the poet's subjective response to ongoing phenomena. The source of poetry is man.

The second article B "Speech on the influence of light poetry on the language" - such poetry benefits the language and education. The struggle for the high perfection of poetry is the civic service of the poet. Social struggle is not conducive to the success of literature.

B was right in his desire to raise the importance of Russian light poetry - simple human feelings, earthly joys, personal freedom, independence from court ties ("My penates").

He influenced Pushkin's poetry. Was his teacher in poetry, as can be seen in the Lyceum poems. Everything that was essential in his (as well as Derzhavin and Zhukovsky's) poetry was transfigured by Pushkin's poetry, reworked by its original element. Batyushkov for the first time, before Pushkin, gave an anthological style in which he showed all the possibilities of the Russian language. After that, Pushkin should not have taken too big a step forward to start writing in such anthological verses. The perfection of Pushkin's anthological verse is a perfection for which he owes much to Batiushkov. The influence of Batyushkov on Pushkin is especially noticeable in the verse, so artistic and artistic: without Batyushkov as his predecessor, Pushkin would hardly have been able to work out such a verse for himself. Batyushkov did a lot to ensure that Pushkin was what he really was. He handed him an almost finished verse.