Crazy years faded fun
It's hard for me, like a vague hangover.
But, like wine - the sadness of bygone days
In my soul, the older, the stronger.
My path is sad. Promises me labor and sorrow
The coming turbulent sea.

But I don't want, oh friends, to die;
I want to live in order to think and suffer;
And I know I will enjoy
Amid sorrows, worries and anxieties:
Sometimes I'll get drunk again with harmony,
I will shed tears over fiction,
And maybe my sunset is sad
Love will shine with a farewell smile.

A. S. Pushkin wrote this elegy in 1830. It belongs to philosophical lyrics. Pushkin turned to this genre as an already middle-aged poet, wise in life and experience. This poem is deeply personal. Two stanzas make up a semantic contrast: the first one discusses the drama of the life path, the second sounds like an apotheosis of creative self-realization, the high purpose of the poet. We can easily identify the lyrical hero with the author himself. In the first lines (“the fading joy of crazy years / it’s hard for me, like a vague hangover.”) the poet says that he is no longer young. Looking back, he sees behind him the path traveled, which is far from perfect: the past fun, from which heaviness in the soul. However, at the same time, longing for the bygone days fills the soul, it is intensified by a sense of anxiety and uncertainty about the future, in which “work and sorrow” are seen. But it also means movement and a fulfilling creative life. "Work and Sorrow" is perceived by an ordinary person as hard rock, but for a poet it is ups and downs. Work is creativity, grief is impressions, events that are bright in significance and bring inspiration. And the poet, despite the years that have passed, believes and waits for the “coming turbulent sea.”

After lines that are rather gloomy in meaning, which seem to beat out the rhythm of a funeral march, suddenly a light flight of a wounded bird:
But I don't want, oh friends, to die;
I want to live in order to think and suffer;

The poet will die when he stops thinking, even if blood runs through the body and the heart beats. The movement of thought is true life, development, which means striving for perfection. Thought is responsible for the mind, and suffering for feelings. “Suffering” is also the capacity for compassion.

A tired person is weary of the past and sees the future in a fog. But the poet, the creator confidently predicts that "there will be pleasures between sorrows, worries and anxieties." What will these earthly joys of the poet lead to? They give new creative fruits:
Sometimes I'll get drunk again with harmony,
I will shed tears over fiction ...

Harmony is probably the integrity of Pushkin's works, their impeccable form. Either this is the very moment of creation of works, the moment of all-consuming inspiration.. Fiction and tears of the poet are the result of inspiration, this is the work itself.
And maybe my sunset is sad
Love will shine with a farewell smile.

When the muse of inspiration comes to him, perhaps (the poet doubts, but hopes) he will fall in love again and be loved. One of the main aspirations of the poet, the crown of his work is love, which, like the muse, is a life partner. And this love is the last. "Elegy" in the form of a monologue. It is addressed to "friends" - to those who understand and share the thoughts of the lyrical hero.

The poem is a lyrical meditation. It is written in the classical genre of elegy, and the tone and intonation correspond to this: elegy in Greek means “plaintive song”. This genre has been widespread in Russian poetry since the 18th century: Sumarokov, Zhukovsky, later Lermontov, Nekrasov turned to it. But Nekrasov's elegy is civil, Pushkin's is philosophical. In classicism, this genre, one of the "high", obliged the use of grandiloquent words and old Slavonicisms.

Pushkin, in turn, did not neglect this tradition, and used Old Slavonic words, forms and turns in the work, and the abundance of such vocabulary does not in the least deprive the poem of lightness, grace and clarity.
past = future
old = older
promises = portends (promises)
future = future
“the coming worried sea” is a metaphor from the canon of the funeral church service: The Sea of ​​\u200b\u200bLife, erected in vain by the misfortunes of the storm, ...

But Pushkin strives from this sea not to a “quiet haven”, but again to the element of feelings and experiences.

others = friends
know = know
worries = worries
sometimes - a word that is never used in colloquial speech, but it can often be found in Pushkin:
... O women of the North, between you

She is sometimes
("Portrait")

Sometimes eastern rhetoric
Here he spilled his notebooks
("In the coolness of the sweet fountains...")

It should be noted that if you group the words from the text into parts of speech, then you can directly follow the train of thought and mood changes using them.
Nouns are almost exclusively abstract:
fun - sadness - work - grief - the future - pleasures - worries - anxieties - harmony - fiction - sunset - love.
There is only one verb in the first column, since this is an exposition, it is static, it is dominated by definitions:
insane - hard - vague - past - older - stronger - dull - worried.
But the second column is full of contrasting actions that convey the movement of the soul:
die - live - think - suffer - get drunk - get sick - flash.
And if you listen only to rhymes, the motive of hops comes to the fore:
fun - hangover
I'll get drunk - I'll get sick - there are even echoes of an orgy.

At the audio level, the text is surprisingly smooth, melodious. Vowels and consonants alternate sequentially, sonorants prevail over sibilants. Melody is generally inherent in Pushkin's poetry.

The poem is written in iambic pentameter in the form of two stanzas of six verses each with sequential rhyme, feminine and masculine. It can serve as a model of the genre both in terms of form and content.

The writing

The elegy testifies to

What state of internal

Enlightenment exalted the spirit

Pushkin...

V. Belinsky

In one article by E. Yevtushenko, I read that every poet can be compared with a musical instrument: Mikhail Lermontov - a sobbing piano, Alexander Blok - a tragic-sounding violin, Sergei Yesenin - a peasant talyanka. But there is a poet who embodies the whole orchestra. Of course, Alexander Sergeevich Pushkin is like a whole orchestra.

The poem “Fun of the Crazy Years Faded…” is one of the first works created by the poet in the days of the Boldino autumn of 1830, it determined the subsequent work of this period.

Pushkin, as it were, examines his life from a height. The poem is both a summing up and an application for the future. It contains a motif that, to one degree or another, has already been touched upon in other verses: reflections on the purpose and meaning of existence. A look into the "past days" brings us back to the end of the sixth chapter of "Eugene Onegin", where we are talking about "easy youth", and bright sadness makes this poem related to the work "On the Hills of Georgia".

When publishing Crazy Years, Extinguished Joy..., Pushkin gave it the heading "Elegy". As you know, in his younger years the poet paid tribute to this genre. However, it was the analyzed poem that became the pinnacle in it.

It is a monologue, the initial words of which state the internal state of the lyrical hero: "it's hard for me." However, gradually the theme expands and turns into a free appeal not only to friends (“O friends”), but also, more broadly, to contemporaries. It seems to me that in this sense, the "Elegy" can be compared with the later poem "I erected a monument to myself not made by hands ..." (1836), where the center will be an assessment of not the life, but the poet's historical work.

The poem begins with a reference to the past:

Crazy years faded fun

It's hard for me, like a vague hangover.

And here is a completely natural comparison (after all, we are talking about a hangover!) “Sorrows of bygone days” with old and strong wine. The poet's thought moves from the past to the present:

My path is sad...

However, this longing of today is already explained by the future:

... Promises me labor and grief

The coming exciting sea.

One image, as if popping up in the mind, gives birth to a new one. The image of the "troubled sea" no longer has anything to do with "dullness". He is a premonition of a future stormy life, where there is a place for thought, and suffering, and creativity, and love.

The whole poem is permeated by the thought of the inevitability and inevitability of changes in human life. Therefore, “sorrows, worries and anxieties” do not cause in the lyrical hero either dreamy regrets about the past youth, or fear of the future. As long as a person is alive, he should not retreat before the difficulties of life:

I want to live in order to think and suffer.

Therefore, the feeling of the coming “grief”, “sad sunset” is consecrated by the idea of ​​“pleasure”, which consciousness, poetic harmony, love and friendship bestow on a person:

... Sometimes I'll get drunk again with harmony,

I will shed tears over fiction,

And - maybe - at my sad sunset

Love will shine with a farewell smile.

Unlike other elegies (for example, “The luminary of the day went out”), in the poem “Crazy years the merriment has faded ...” there are no indications of any biographical situation. The difficult stage of life is left by the author "beyond the threshold" of the poem. The meaning of this great poem lies not in the analysis of any single moment, but in the realization of the fate of a person.

"Elegy" is written in iambic pentameter - a size that, unlike iambic tetrameter, has a greater smoothness, some sort of slow flow. This form meets the requirements of philosophical, lyrics.

The poem struck me with amazing harmony: all the feelings of the lyrical hero are balanced, there is no discord in his soul.

"Elegy", written in 1830, appeared in print four years later. How surprised I was when I read a poem by another great Russian poet, dated 1832, that is, the time when Pushkin's work had not yet been published:

I want to live! I want sadness

Love and happiness out of spite ...

These lines were written by eighteen-year-old M. Yu. Lermontov. Of course, here is a different turn of the theme, a different size. However, these verses, in my opinion, are related.

Like A. S. Pushkin, on whose death Lermontov would write his great poem in five years, the young poet also does not bend under the weight of life, just as does not fear the future, like his great predecessor:

What is the life of a poet without suffering?

And what is the ocean without a storm?

In the lines of the analyzed elegy, in my opinion, one of the main poetic traditions of A.S. Pushkin is reflected, which was creatively developed not only by Lermontov, but by all classical Russian poetry.

The elegy “Crazy years of fun faded ...” is a poet’s meditation, a monologue, the initial words of which are addressed to himself (“It’s hard for me”). But their meaning in the future expands endlessly, turning the poem from a poetic confession into a kind of testament, addressed not only to friends, but more broadly - to contemporaries and descendants. From the "Elegy" a thread stretches to the later poem "I have erected a monument to myself not made by hands ..." (1836), where in the center is an assessment not of life, but of the poet's historical work.

The poem opens with a mental appeal to the past. From him the poet moves on to the circle of experiences associated with the present. Both of these transitions - from an internal monologue, a confession in front of oneself, to words addressed to friends, and from the past to the present and the future - merge in an intricate way in the "Elegy", one of them reinforces the other. Hence - the saturation of the text of the poem with movement, internal dynamics with extreme balance, harmonic harmony of the compositional construction of the whole and individual parts.

At the same time, the inner life of a person appears before the eyes of the poet under the sign of contradictions, movement and change. Hence the chain of emotional contrasts that run through the poem (yesterday's fun, which today has become bitterness; the present and the future, bringing the poet despondency, work, but also "pleasure" - the joys of communication with the world of beauty and art). Moreover, these contrasts are nowhere sharply highlighted or emphasized - the movement of thought from the past to the present, from oneself to the audience, from one poetic image to another in Pushkin's "Elegy" is so natural that it gives the impression of complete artlessness. One image, as if involuntarily emerging from the depths of consciousness, involuntarily, by association, evokes another, contrasting or, conversely, internally connected with the first. So from the "vague hangover" that the poet experiences, the transition to the old "wine" is natural, with which he is compared in the next verse " sadness of the past"but from a metaphorical turnover" the coming rough sea" a direct path leads to a further definition - " anxiety".

The theme of "woe", which is spoken of in the fifth verse, in a slightly modified form (" sorrows") returns in the tenth. In contrast to the elegy "The daylight went out ..." and other elegies of Pushkin of the 1810-1820s, in the poem "Crazy years the fun faded ..." there is no indication of such a private biographical situation - real or symbolic, in which the poet would like to present to the reader.The poem was written in Boldin, in October 1810, in a very difficult socio-political situation for the poet, in the days when, when he was about to get married, he looked back at his past life and at the same time intensely reflected on the fact that awaits him ahead. But this real biographical situation is present in the poem in a "removed" form: it is left, as it were, beyond his threshold. On the other hand, the poet does not pronounce his monologue in a conditional "romantic" setting - on the shore of a lake, on a ship or addressing to a distant beloved: the meaning of the "Elegy" is not in the analysis of this or that special, private life situation, but in the awareness of the common fate of Alexander Sergeevich and his thinking contemporaries. therefore, everything that could distract the reader from the perception of the main meaning of the work, riveting his attention to a more private and secondary one, which Pushkin wanted to do in the poem "Elegy", is discarded in it.

The analysis shows that the work begins with a verse, two unequal in length, but rhythmically balanced parts of which musically form, as it were, two poetic waves running into each other: “ Crazy years // faded fun". Both halves of this verse begin with epithets slowing down their flow, which are internally “endless”, emotionally inexhaustible in their content: being extremely laconic, each of them represents a reduction in many definitions, carries a number of different meanings and “overtones”. The “crazy” years are the years of both “light-winged” youthful fun, and changing passions, and “crazy” hot political hopes and expectations. Their "extinction" and because of the movement of a person from youth to maturity, and because of the historical change in the world around is natural. But it is also tragic for someone who is getting older and who, surrendering to the present, does not cease to keep in his heart a grateful memory of the past and its "troubles".

It is characteristic that in the autograph that has come down to us, with the poet's corrections, the first verse was read differently at first: “ Passed years crazy fun» (III, 838). Metrically, this initial version does not differ from the final one: here again the same division of the verse into two half-lines separated from each other by an intra-verse pause (caesura), both of which begin with epithets that slow down the flow of the verse. But the epithet "passed years" is internally more unambiguous, poor in content, it does not give rise to such a deep emotional response in the soul of the reader, does not awaken in him those broad and diverse, including tragic, associations that less definite, but more complex, gives rise to. emotionally meaningful metaphorical epithet of "crazy years". And in the same way, the formula "extinguished joy", saturated with a sense of internal dissonance, bearing an echo of the struggle and suffering experienced by the poet, sounds stronger and more expressive than the formula (also metaphorical, but more traditional for the language of the romantic elegy of the 1820s - 1830s) "crazy fun"

In this search for the ultimate polysemy, emotional expressiveness, poetic weight of a single word - one of the general laws of the poetics of Pushkin's verse of the 1830s. The impression of a wide inner space that opens up in every word of the poet is created by the fact that not only behind the entire poem as a whole, but also behind any of its individual “bricks”, the reader feels an almost endless perspective of the personal experience that gave rise to them. It is no coincidence that in a conversation with Gogol, Pushkin - arguing with Derzhavin - argued that "the words of the poet are already his deeds": behind the word in Pushkin there is a person with an infinitely deep and complex inner world, a world that determines the poet's choice of precisely this (and not another!) of the word, which is, as it were, its smallest particle. Therefore, in Pushkin of the last, 1830s, there are no "neutral" words that do not carry a deep poetic meaning in themselves, which could be omitted or replaced by others without much difficulty: each of them is not only a "word, but also a" deed "of the poet, a clot of emotional and intellectual energy, born of an unusually intense and richly lived life and bearing the imprint of the fullness of spiritual life, the moral height of the poet's personality.This is exactly the case in the Elegy.

The two tragic discharges that give inner tension to the first verse of the Elegy are to some extent emotionally balanced by the slow flow of this verse, the feeling of that inner harmony created by the rhythmically monotonous construction of both of its half-lines and their musical, euphonic sound (created by the beauty of the movement of sounds within each verse ). The reader hears two dull, distant rumbles, heralding the approach of a thunderstorm, but it has not yet broken out. In the next, second verse: I'm hard like a vague hangover"- the drama and tragic tension of the first verse intensify. Its beginning ("It's hard for me") is imbued with deep, stifled pain: after the slow harmonic flow of the first verse, it sounds like a deep, mournful sigh, and its emphasized "dissonance" (combination of consonants mn - t - w—l) creates an almost physical sensation of suffering experienced by the poet.

Pushkin's other corrections are noteworthy, captured in the autograph that has come down to us: a more definite, at first glance, but also more unambiguous in semantic terms, the epithet "heavy" hangover (besides, it literally repeats the definition given at the beginning of the verse "It's hard for me", and therefore gives the poet’s thoughts are a kind of internal “one-dimensionality”), the poet replaces first with “languid”, then with “vague hangover”, achieving the same internal ambiguity of the found definition described above, the complexity and breadth of the associations it evokes; the words "My day is gloomy" at the beginning of verse 5 are replaced by an incomparably more succinct formula - " My path is sad", and the traditionally elegiac "think and dream" - bold and unexpected " think and suffer". The direct, affirmative form in the last couplet: "And you, love, at my sad sunset / You will look again with a farewell smile," gives way - after a series of intermediate options - to a less definite, but at the same time having a large internal emotional "subtext" : " And maybe - at my sad sunset / Love will flash with a farewell smile» (III, 838). As a result of such few, but extremely expressive corrections, the Elegy acquires that rare harmony of content and form that we feel in it.

The emotional power of a poem is inseparable from the nature of the chain of metaphors and poetic similes that runs through it. Researchers have repeatedly noted that, unlike romantic lyrics, where the metaphor is often designed to deliberately catch the reader’s attention, impress him with its brightness and surprise, Pushkin in the works of the 20s (and even more than 30s) is the most willingly resorts to metaphors of the "ordinary" type, going back to constant, everyday use. The strength of such metaphors lies not in external brilliance and bright, unexpected imagery, but in naturalness and involuntaryness, which give the poet's speech universal humanity, sincerity and maximum persuasiveness. These are the numerous metaphors and comparisons with which the "Elegy" is saturated - "faint joy of the mad years", a comparison of the bitterness left by the past in the poet's soul with a "vague hangover", and his sorrows with the "wine of bygone days" or the image of "the troubled sea » future. Here (and in other cases) Pushkin uses such comparisons and metaphors that are based on general, stable associations, and therefore do not amaze or dazzle the reader with their unusualness and whimsicality, do not require him to understand special, additional work of thought and imagination, but easily enter our consciousness, awaken in the soul an oncoming emotional flow.

The poet reveals to the reader his personal state of mind and at the same time encourages the reader to put himself in his place, to perceive the poet's story about himself, about his past, present and future as a story also about his, the reader's life path, his feelings for experiences. An appeal to the reader's (or listener's) spiritual experience, to the ability to respond to the poet's words, filling them from within with the content of one's own spiritual life, is a common feature of lyric poetry. In the "Elegy" and in general Pushkin's work of the 1830s, it manifests itself with particular force. Speaking about the deepest, greatest and most complex issues of human existence - about the past, present and future, about life and death, about thought, love and poetry and about their place in human life - the poet simultaneously refers to the most simple, ordinary and everyday. Thus, the general questions of human existence raised in the poem lose their abstractness for the reader. Between great and small bitterness from the consciousness of fading hopes and the usual hangover, sadness and fermented wine, death and evening sunset, love and the smile of the passing day - the poet establishes the same closeness and correspondence that really exist between big and small, between the general cycle of human existence. and everyday, private, transient phenomena in a person's life.

"Elegy" written iambic pentameter, a size that (as well as six-foot) Pushkin especially willingly used in the 30s. In contrast to the faster, dynamic iambic tetrameter, which is used to write most of Pushkin's poems and "Eugene Onegin", iambic pentameter and six-meter iambic are sizes that seem to have a "slow" flow. Therefore, they best met the requirements of Pushkin's "poetry of thought." In the "Elegy", as in most other cases, where Pushkin in his meditative lyrics resorts to iambic pentameter (for example, in the poem "October 19, 1825" or in the later "Autumn"), the impression of meditation and the slow flow of the verse corresponding to it is created not only by the greater length of the latter in comparison with the verse of iambic tetrameter, but also by the abundance of epithets, and also by the fact that Pushkin everywhere strictly observes the word division (caesura) after the second foot (i.e., the fourth syllable) in the line. As a result, each verse breaks up into two rhythmically balanced segments. When read aloud, their pronunciation causes a change in melodic rises and falls in the voice.

At the same time, one of the secrets of the aesthetic impact of Pushkin's iambic pentameter (in particular, in the "Elegy") is in the complex unity of the "correct", harmonically harmonious and diverse, fluid, changing rhythmic pattern. By itself, a separate line of iambic pentameter with a caesura is asymmetric: the caesura divides it into unequal segments of 2 and 3 feet (i.e., 4 and 6-7 syllables). Thus, it consists (as noted above in connection with the analysis of the opening verse of the "Elegy") of two rhythmically balanced, although actually equal in length parts. But, in addition, in the “Elegy” with verses, where we meet two strong rhythmic stresses that subjugate the rest, weaker ones (“Mad Years” // faded fun), verses with three stresses alternate (“My path is dull. // Promises me labor and grief"), and with verses consisting of 5 - 8 short words ("It's hard for me, // like a vague hangover"; cf. also the previous example), - lines consisting of 4 and even 3 words, among which there are no words and particles of a service nature, and therefore each individual word acquires a special weight ("The coming worried sea").

Some lines of the poem syntactically form a single whole, others break up into two different (albeit sacred in meaning) phrase segments (cf. the above: “My path is dull ...”). Finally, the entire poem as a whole does not form two metrically similar stanzas, but two unequal segments of 6 and 8 verses. Between them there is a sharp semantic and intonational shift: after the slow flow of the first lines with a general intonation of mournful reflection, there is an energetic denial, combined with the appeal: “But I don’t want to die, O friends.” But in terms of their meaning, both parts of the poem quite naturally, logically pass one into the other. But at the same time, they are antithetical in content, the poet's life appears in them in various aspects that complement each other, and only taking into account and comparing both of these aspects allows the poet to strike an artistic balance, to express his general, final attitude towards it. The internal antithetical nature of both parts of the poem corresponds to the difference in their rhythmic pattern. The slow motion of the first part, where the poet analyzes his state of mind and at the same time, as it were, gradually, with difficulty, finds the words necessary to convey the dramatic nature of his personal and literary life, which he keenly feels, is replaced in the second part by a different intonation - more energetic, imbued with a general affirmative beginning. .

Another feature of the poetic structure of the "Elegy" is also interesting. Almost each of the couplets that make up both parts of it, from an external point of view, is logically and syntactically complete, could live an independent life outside the context of the poem, as a separate work. But with its logical completeness, each of the couplets of the "Elegy" is imbued with an emotional and, accordingly, intonational movement, which does not find completion in it. The conciseness of individual phrasal segments contrasts with their emotional richness, with the strength and depth of the experience reflected in them. The emotional pressure penetrating them, each time causes the necessary development of thought in the future. And only in the last couplet that completes the poem, the internally restless, disturbing and pathetic intonation is replaced by a calm and bright, reconciling poetic chord.

Romantic worldview and romantic elegy (as one of the central genres of romanticism poetry) usually reflect the struggle of arguing feelings that lead in opposite directions in the soul of a lyrical hero. In Pushkin's Elegy, the contradictory forces in the poet's soul are brought to an inner unity, to a complex harmony. The poet recalls the past with pain, but does not demand that it return, and the very thought of the inevitability of the past does not cause him bitterness or indignation. He is aware of the "despondency" of the present and at the same time accepts both the "work" and the "pleasures" that it brings him. Human thought, reason in his understanding do not oppose life: they are among its highest and noblest manifestations, they bring a person not only sorrow, but also pleasure. The beginnings, which in the romantic worldview were torn, hostilely opposed to one another, are balanced in Pushkin's Elegy, have become elements of a complex spiritual unity of a thinking person.

Despite the generalization and conciseness of the formulas with which the poet draws his past and present, the Elegy captures the living image of the great poet, as we used to imagine him at the top of his creative maturity. This is not a passive, dreamy, but an active, active nature, already from a young age, wide open to the outside world - its "pleasures", "cares" and "anxiety". Poor internal forces more than once forced her to cross the "reasonable" measure - this is evidenced by bitter memories of past "crazy" years. At the same time, the trials and sorrows experienced did not make her bend under her weight: the poet does not close his eyes to them, just as he steadfastly and courageously looks towards the new trials awaiting him. Accepting them as an inevitable tribute to the historical life of his era, he is ready to adequately accept the very suffering, illuminated for him by the high joy of thought. Consciousness of the severity of his life path and the life path of other people around him does not encourage him to selfishly withdraw into himself, does not cause him to “cool” or indifference to human joys and sufferings in the poem “Fun of Crazy Years Faded Joy”. The analysis outlined above is presented in the following source.

Poem Elegy ("Crazy years of extinct fun ..."). Perception, interpretation, evaluation

The poem was written by A.S. Pushkin in 1830. The genre of the work is indicated in the title, the style is romantic. We can attribute this poem to philosophical lyrics.

Compositionally, it consists of two parts, antithetical in their meaning. The first part is a poetic analysis of the past and a look into the future. Here the poet also uses the antithesis: in the past there was everything - sadness and fun. But the fun is over, youth with its follies is gone forever, leaving behind only a "vague hangover." The sadness of the past is still alive in the soul of the lyrical hero. Therefore, in his voice there are dreary notes. He tries to look into the future, but it is dull and gloomy, full of works that, it seems, will not give due satisfaction. The lyrical hero looks forward with anxiety, longing, despair possesses his soul, he anticipates grief, thinks about death. In a word, the attitude of the hero here is quite within the framework prescribed by the genre of romantic elegy.

However, in the second part of the poem, according to T.P. Buslakova, the antithesis ""to die - to live" is removed due to the choice of the hero: "I want to live in order to think and suffer." Real life turns out to be wider, richer and more diverse than romantic consciousness. Along with suffering, it includes both pleasure, and a harmonious state of mind, and creative impulses, and love. At the end of the poem, the lyrical hero again recalls death, but he is reconciled with life: love, according to him, is the highest manifestation of life.

The poem is written in iambic pentameter. The poet uses various means of artistic expression: epithets (“faint merriment of mad years”, “vague hangover”), comparison (“like wine - sadness of bygone days”), metaphor, alliteration and assonance (“love will flash with a farewell smile”).

Poem "Crazy years faded fun ..." was written by Pushkin on September 8, 1830 in Boldino. Alexander Sergeevich gave him the genre name "Elegy". At this time, the poet again offered his hand and heart to Natalya Goncharova and received consent. To put things in order before marriage, he went to his father's estate. Pushkin was forced to stay there for three whole months due to the cholera epidemic. It was a very fruitful period in the life of the poet, which went down in history as Boldin autumn.

The basis of the work "Crazy Years Faded Fun ..." is Pushkin's philosophical reflections on the end of the bachelor's freemen and a new stage in his life path. "Elegy" consists of two parts, contrasting in meaning. In the first stanza, the poet regrets the past days of stormy youth and realizes that now "the coming turbulent sea" does not bode well for him. The fact is that the financial affairs of the Pushkins and Goncharovs left much to be desired. The poet understood that he would have to work hard to provide for his family.

Flashed youth causes sadness not only because it has passed. The older the poet becomes, the more he realizes his mistakes and wasted time. This sadness is getting stronger.

But the second stanza suddenly sounds optimistic. Despite the life ahead "between sorrows, worries and anxieties", the lyrical hero believes that pleasure, harmony and love are still waiting for him. The last two lines of the poem connect the sadness of the first part and the optimism of the second into a beautiful final chord: "Love will shine with a farewell smile".

A positive ending is not typical for a romantic elegy, but is traditional for Pushkin, who accepted life with all the troubles and joys. Any event could become a source of inspiration for a poet. To create, he needs changes in his life, even suffering. So the hero proclaims: “I want to live in order to think and suffer”.

The poem “Fun of Crazy Years Faded Fun ...” is a monologue of a lyrical hero who is completely identified with the author. It is written in the most convenient size for philosophical lyrics - "slow" iambic pentameter with alternating feminine and masculine rhymes. Traditionally, in such poems, poets use high-flown bookish vocabulary. Pushkin did not break the tradition by using the following words in the text: “promises”, “past”, “friends”, “future”, “I know”, “anxiety”. However, the poem is easy to read and understand.

Pushkin used in a very original way symbols romantic poetry: stormy sea, wine, hangover, sunset. Everything seems to be mixed up here. It begs the comparison of fun with wine, while Pushkin - "vague hangover", and even "faded", although youth is usually associated with dawn, morning or afternoon. At the same time, sorrow is compared to wine. Word "excited" more suited to the youth, the past of the hero. And for the poet, it correlates with "the coming sea". But these inconsistencies echo the images of the second stanza and create an integral impression. In the future, the poet will not revel in the follies of youth, but in harmony. The sunset of life will be colored by love.

In the work “Crazy Years, Extinguished Fun ...” Pushkin did not do without his favorite technique - antitheses. Sadness is opposed to fun, death to life, pleasure to worries. The images in the first stanza are mostly negative, while in the second stanza they are filled with positive.

The first part of the "Elegy" is devoted to the past and is static. Therefore, it has only one verb - "promises". But there are many epithets: "crazy years", "vague hangover", "extinguished fun", "troubled sea". In the second stanza, a lot of verbs give the author's thoughts liveliness and optimism: “I don’t want to die”, “think”, “suffer”, “I know”, “they will”, “shine”. Almost all nouns in the poem are abstract: sadness, work, grief, love, fun, worries, fiction. This is due to the depth of philosophical generalization in the poet's thoughts.

Like most of Pushkin's poems, "Crazy Years Faded Fun ..." is surprisingly musical. The vowels "o", "y", "e" prevail over the deaf and hissing consonants, and their successive alternation creates a beautiful, thoughtful rhythm.

As you know, in his younger years Pushkin wrote many romantic elegies. “Fun of Crazy Years Faded Fun ...” is rightfully considered the pinnacle among the works of this genre.

• "The Captain's Daughter", a summary of the chapters of Pushkin's story
• "The daylight went out", analysis of Pushkin's poem
• "I remember a wonderful moment ...", analysis of Pushkin's poem