For Batyushkov, the main criterion for evaluating a work of art is the concept of "taste". Batyushkov's "taste" is manifested in the unity of form and content, which is almost always present in his poetry. Batyushkov demands accuracy and clarity from the poet. Batyushkov himself is attracted not only by bright colors. In his dynamic paintings, we almost physically feel specific details: “happy Ile de France, plentiful, rich in water”, “a huge god of the seas”, “a thick shadow under this elm tree” ...

Batyushkov does not invent new words (which we will see in Yazykov's work) and very rarely new combinations ("ruins of luxurious attire"). The poet boldly uses in his poems archaisms (“straight agreement”, “zane”), Slavicisms (“right hand”, “vesi”, “stogny”); philosophical "lexicon" ("proportionality", "phenomena", "balance"); colloquial expressions.

In his elegy "Tauris" (1815) we find the same peculiarities of style; with “sublime phraseology” (“under the sweet sky of a midday country”, “under the roof of a quiet night”), everyday words (“rural garden”, “simple hut”) peacefully combine.

The author boldly inserts proverbs into the poetic text (“And happiness lives only there, // Where there are no us crazy ones”, “The day is long, painful for a lazy fool, // But short, on the contrary, useful for a wise man”; “Here there will be a meeting not according to dresses").

Contemporaries in Batyushkov's poems especially appreciated harmony, musicality, "sweetness". “No one has the charm of euphony to such an extent as he,” wrote V.A. Zhukovsky. - Gifted with a brilliant imagination and a refined sense of expression and subject matter, he gave authentic patterns of style. His poetic language is inimitable ... in the harmony of expressions. “Italian sounds, what a wonderworker this Batyushkov is”, “charm and perfection - what harmony,” Pushkin wrote admiringly, making his remarks on Batyushkov’s “Experiments”.

The smoothness and musicality of the rhythm is what especially captivates Batyushkov's poetry. So, in Batyushkov's poem "The Song of Harald the Bold" (1816), the picture of sailing on a stormy sea receives sound coloring due to the constant alliteration "l" - "r" - the intensification of the injection of these sounds is characteristic of the entire poem. Here is just one stanza:

There were only three of us on the light boat;
And the sea heaved, I remember, mountains;
The black night at noon loomed with thunders,
And Gela gaped in the salty wave.
But the waves in vain, raging, whipped,
I scooped them with a helmet, I worked with an oar:
With Harald, oh friends, you didn't know fear
And they flew into the peaceful marina with a boat!

In this poem, sound repetitions are also interesting (Wall, Stanina, pier, whipped), which give the verse greater expressiveness. Phonetic harmony is the background against which Batyushkov's poetic originality manifests itself with amazing force.

The rhythmic effect is achieved in various ways. The poet loves the anaphora:

To him alone, - all the warriors broadcast, -
He alone will lead us to glory.

("an excerpt from the 1st song" of "Jerusalem Delivered") (1808).

He also resorts to inversion (“I left the foggy Albion on the shore” - the arrangement of the words depends on the rhythm of the verse); intersperses various iambs (often six-, five- and four-foot); likes truncated adjectives:

You sang stormy abuse, and the Eumenides are pale
All the horrors of war were revealed by gloomy views ...
Scattered... gentle beauty...
That roses are young, dedicated to Cyprida ...
And what do my bewitched eyes see?

"To Tass", 1808

Batyushkov boldly combines different vocabulary, different styles. In the late Batyushkov, this diversity of usage “performs the most important task of destroying the harmonious image of the world,” writes N. Fridman, “Batiushkov needs the reader to experience the depth of loss with the greatest vividness of memories, so that he recognizes the beautiful before losing it.”

Summarizing all that has been said, one can determine the historical and literary significance of K.N. Batyushkov in the words of V.G. Belinsky: “Batiushkov contributed much and much to the fact that Pushkin was what he really was.

This merit alone on the part of Batyushkov is enough for his name to be pronounced in the history of Russian literature with love and respect.

Questions about the work of K.N. Batyushkov

1. In what genres does Batyushkov try his hand?
2. What is the main idea of ​​his "Anacreontic" lyrics?
3. What type of satire does Batyushkov use?
4. In what genre does his talent flourish with particular force?
5. What new things did Batyushkov bring to Russian poetry?
6. Can it be argued that Batyushkov managed to recreate the "anthological" verse?
7. Is it possible to agree that Batyushkov created the beauty of the “ideal” form with his poetry?
8. What distinguishes Batyushkov's poetic language?
9. Do you agree with Belinsky’s words that in Batyushkov’s lyrics “the old and the new lived together side by side without interfering with one another”?
10. Did Batyushkov manage to create his own “school”?
11. What is the main difference between Batyushkov's poetry and Zhukovsky's poetry?
12. How can one determine the role of Batyushkov and his significance in the history of Russian poetry?

Konstantin Nikolaevich Batyushkov In the lessons on Batyushkov’s work, the teacher will have to solve several methodological tasks: to acquaint students with the top works of the poet, to tell about the main facts of the biography and the main motives of his lyrics, to draw the attention of schoolchildren to the difference between Batyushkov’s romanticism and Zhukovsky’s romanticism, and also to continue teaching tenth graders to interpret the lyrical text, preparing students for writing. When getting acquainted with Batyushkov's poems, students may experience difficulties related to the interpretation of mythological, biblical names and titles, which are numerous in the poet's lyrics. Therefore, in order to ensure the correct perception and understanding of program works, the teacher must accompany the study of poems with competent historical, cultural and biographical comments. In the first lesson on Batyushkov's lyrics, students will get acquainted with the most important facts of the poet's biography and will study texts, the main motive of which is optimistic, joyful. They are written in the spirit of the then popular Epicureanism and Anacreontics.

The lesson can be started with an immersion in Batyushkov's poetry, remembering what was learned in the ninth grade. For this, a miniature concert is possible, where such poems as “Recovery”, “Elysium”, “My Genius”, “To Dashkov”, “Separation”, “Arbor of the Muses”, “There is pleasure in the wildness of forests ...

(The poem is a translation of one stanza from Canto 4 of Byron's Childe Harold's Pilgrimage). The teacher can read the elegy "To Friends", which contains the poet's life and poetic credo: "And he lived exactly as he wrote ..." In Batyushkov's article "Something about the poet and poetry" we find the same thought: and write as you live,” which is a free translation of the Latin aphorism “TaIs pogshsh idy oghaio: diaNz upa” - the speech of people is what their life was like. Questions to the class to identify primary perception (questions can be written on the board before the miniature concert and discussed after it) 1. What did you find most interesting, important in Batyushkov's poems?

What was unclear, required comments? 2.

What moods did Batyushkov's poems evoke in you? How do you think they are similar to Zhukovsky's lyrics and how do they differ from it? The teacher's story about the pages of Batyushkov's creative biography can be arranged in literature notebooks in the form of a reference entry: May 18, 1787- K. N. Batyushkov, who belonged to an old noble family, was born in Vologda.

The future poet was brought up in St. Petersburg in private foreign boarding houses, he spoke many languages. Batyushkov's literary pursuits were encouraged by his uncle, the then-famous writer M. N. Muravyov. 1803- Entering the service in the Ministry of Public Education. Rapprochement with N.

I. Gnedich. Interest in the art of antiquity, the poetry of Greece and Rome. 1805- the first appearance in print on the pages of the Moscow magazine "News of Russian Literature". 1807 Year- Batyushkov's entry as a volunteer into the army, participation in the battle of Heilsberg (in Prussia). Injury, evacuation, serious illness.

Return to the regiment. 1808 Year- participation in the Russian-Swedish war that took place on the territory of Finland. 1809-1812- rapprochement with Karamzinist writers: V. A. Zhukovsky, V. L.

Pushkin, P. A. Vyazemsky. Entry into the "Free Society of Lovers of Literature, Sciences and Arts", where Radishchev's admirers gathered. Fascination with the philosophy of the French enlighteners of the XVIII century.

The fight against the "Conversation of the Lovers of the Russian Word" - an apologist for the literary "Old Belief" and political reactionaryness - in satirical verses ("Vision on the banks of Leta"). Singing the joys of life. Anacreontic and Epicurean motifs. 1814 Year- participation in the foreign campaign of the Russian army, in the "battle of the peoples" near Leipzig, entry with the Russian army into Paris. Poems on patriotic themes ("To Dashkov", "Crossing the Rhine"). 1815 Year- retirement.

Moving to Moscow. 1817- a collection of Batyushkov's works "Experiments in verse and prose" was published. Departure of the poet from Russia for diplomatic service in Italy. Visiting Vienna, Venice, Rome. Service in Naples. Treatment in Italian resorts and in the Czech Republic.

1821- Creation of the last poems. 1822-1855- Batyushkov fell ill with a hereditary mental illness that forever stopped his literary activity. They tried to treat him, took him to the Caucasus and the Crimea, placed him in a hospital for the mentally ill, then transferred him to his relatives in Vologda, where he lived until his death.

July 7, 1855- At the age of 68, Batyushkov dies of typhus. In the center of the lesson is the study of Batyushkov's lyrics of the first period of his work (1805-1812). This is the period of "light poetry".

The poet creates poems that glorify the joys of earthly life, friendship, love, which are combined with the assertion of the poet's inner freedom. In this vein, the poem "My penates" is analyzed. It represents a certain difficulty for the perception of schoolchildren due to the numerous cultural realities from antiquity to modern Batyushkov reality. Therefore, to understand the text, a preliminary historical, cultural and biographical commentary is necessary. The literary sources for the poem were the poems “A mes repguez” (“To my penates”) by Jean-Francois Ducie (1733-1816), a French classical poet, and “La spaPteche” (“Abode”) by Jean Baptiste Gresse (1709-1777), French satirical poet, whose novels were directed against the clergy and monks, and earlier the author of Epicurean epistles.

Questions and tasks for the poem "My Penates" Individual or group pre-home research assignments for class posts 1. Make a biographical and historical and cultural commentary on the poem "My Penates". (When compiling comments, you can use the following sources: Russian poets of the XVIII-XIX centuries. - M., 1985.

T. 6. - S. 673-676. - (Library of world literature for children). Batyushkov K. N. Works / Introduction. Art. and comp. V. V. Gura. - Arkhangelsk: Northwestern book publishing house, 1979. - S. 374-396.) Here is an example of a comment: Penates- patron gods of the hearth (Rom.

myth.). Peren. - house, dwelling, abode. So Batyushkov liked to call his Vologda village Khantonovo on the banks of the Sheksna.

Permes- a stream flowing from Helikon (Olympus) and dedicated to the muses (Greek myth.). "Goddesses of the Permesian gift"- inspiration. Lara- the souls of ancestors, the keepers of the hearth (Roman myth.). Lileta- the fictitious name of the beloved. Aonia- the region of Ancient Greece, where Helikon was located and the Muses lived (Greek.

myth.). sretat- to meet (old-timer). Hence the "presentation" - a meeting. Stygian shores- t.

e. the banks of the Styx, an underground river flowing around Hades (Greek.

myth.); the oath by Styx was considered the most terrible. Parnassian giant- G. R. Derzhavin, author of the poems "The Swan", in which he freely imitated Horace, and "The Nightingale" - examples of intimate lyrics. Pindar- Ancient Greek poet. The comparison of Derzhavin with Pindar and Horace is borrowed from the dedication to Derzhavin of the tragedy by V.

A. Ozerov "Oedipus in Athens". Ozerov calls Derzhavin a poet who agreed with the guy Pindar on the philosophy of Horace, "whose poetry is noisy, fast and wonderful, like a Suna waterfall."

On the Su River, not in Karelia, there is the Kivach waterfall, sung by Derzhavin in the ode "Waterfall". Plato and Agathon- in Karamzin's play "Athenian Life" the Greek philosopher Plato and his friend, the tragedian Agathon are depicted.

Cradle of Glory- in 1802 Karamzin published several articles on Russian history. The article “On Love for the Fatherland and National Pride” contains the following words: “Glory was the cradle of the Russian people, and victory was the herald of its being.” Sylph- the spirit of air (germ.

myth.). This refers to I. F. Bogdanovich, the author of the then popular poem "Darling". Mielesky- Yu. A.

Neledinsky-Meletsky, poet of the Karamzin circle, author of popular songs. Phaedrus- Latin fabulist of the 1st century AD. e. Pilpay (Bidpay)- An ancient Indian fabulist. Dmitriev- AND.

I. Dmitriev, poet and fabulist, the closest associate of Karamzin, who wrote in the "light", Horatian genus. Chemnitzer- I. I. Khemnitser, poet, author of fables and poetic tales, who combined didacticism and sensitivity.

Phoebus- Apollo, god of the arts. Charites- three sisters, daughters of Zeus, the goddess of grace, friendship and a cheerful life (Greek myth.). Pierides- muses. Fortune goddess of fate (Rom.

myth.). "Lay down the burden of sorrows"- a hint at the tragically established relationship between Zhukovsky and M. A. Protasova. Bacchus- the god of winemaking, wine and fun, a friend of the muses. In his honor, "bacchanalia" were organized, characterized by unbridled and revelry (Greek.

and Rome. myth.). Aristippus- Greek philosopher-hedonist of the 5th-4th centuries BC. e., who considered the goal of life reasonable pleasure. "Aristippus' grandson" - here P.

A. Vyazemsky, so named for the glorification of the cult of pleasures. "While the gray-haired God of time is running after us"- the image of a running gray-haired god was inspired by the Italian poet Ariosto. parks- goddesses of fate, spinning the thread of human life (Greek myth.

). When the thread breaks, the person dies. "Voice of hired faces"- refers to the choir, the funeral of the dead.

Tsevnitsa- shepherd's flute. Peren. - poetry in general. 2. Select words and expressions from the poem that carry an archaic or historical meaning.

What mood do they give to the text? Make a lexical comment to them (petuny, fat, incense, skudel, etc.). 3. Find in the text of the poem words and forms of different parts of speech that differ from the norms of the modern Russian language. What character do they give to the text?

Pick up synonyms for them from the modern language (paternal - paternal, gold - gold, dark - dark, found - found, etc.). Questions and tasks for frontal work with the class 1. What is this poem about? What semantic parts can it be divided into? What is the mood of each part?

How do Anacreontic and Epicurean motifs appear in it? 2. What earthly joys does the poet glorify in the poem? What is his attitude to the meaning of life, independence and human dignity? 3. Why does Batyushkov believe that the "home" world, even marked by the stamp of poverty, is more moral and purer than "luxurious" reality? How does this characterize him? 4. What is the author's attitude towards love? What is it for a poet? 5. What is his attitude towards creativity? What poets and why does he consider his teachers? 6. How does the author feel about life and death? What is the source of his optimism? 7. Describe the language and style of the poem. How is it close and how does it differ from the creative manner of Derzhavin and Zhukovsky? 8. What genre would you classify this poem as? Specify in it the characteristic features of this genre. 9. Confirm with the text the description of the poem “My penates” given by Pushkin: “This poem breathes with some kind of intoxication of luxury, youth and pleasure, the syllable trembles and flows - the harmony is charming.” (Pushkin A. S. Complete collection of works. - 1958. - T. 7. - S. 581.) 10. Compare "My Penates" by Batyushkov and "Gorodok" by Pushkin.

Do they have grounds for comparison? Conclusion. In the poem, the poet glorifies simple earthly joys, love, friendship, creativity. He is interested in the inner life and dignity of a person, attracted by the world of the hearth. Batyushkov confronts luxury and poverty, arguing that the intimate world is nobler and more exalted than brilliant reality, wealth and fuss, secular gossip and intrigue. The main values ​​of life, according to Batyushkov, are love and creativity.

In his "penates" he wants to see only like-minded people and friends - Zhukovsky and Vyazemsky, carefully protecting the world of "his humble hut" from "human envy". Questions and tasks for the poem "Joy" (free translation of the poem of the same name by D. B. Casti, Italian poet (1721-1803) 1.

What is the mood of the poem? How does the rhythm and metrics of the text help to create this mood? 2. Give a historical and cultural commentary on the poem, explain the mythological images found in it. What meaning is given to the text by numerous mythological realities?

Favorite Kipridin- a favorite of Aphrodite (Cyprida), who set foot on the ground from the sea foam on the island of Cyprus. Lyra Tiisskaya- by the name of Tiya, the beloved of Apollo (Greek.

myth.). stones- the patron goddess of the arts and sciences (Roman myth.). graces- the same as haritas.

Phyllida- the conditional name of the beloved. cythera- one of the names of Aphrodite; one of the islands where there was a cult of Aphrodite. Pathos- a city in Cyprus, the favorite residence of Aphrodite and the focus of her cult. 3. Prove that the poem is anacreontic in nature.

4. What eternal values ​​does the poet proclaim in this poem as the most important? Why? 5. Describe the phonetic features of the poem. What character gives the text an abundance of sounds "r" and "l"? 6. Individual homework. Compare Batyushkov's poem "Joy" and Zhukovsky's poem "Song" ("Charm of the past days. .. "). Are there grounds for comparison here? In the final part of the lesson, you can analyze with the class the poem "Bacchante", highly appreciated by Belinsky (see "Works of Alexander Pushkin", articles 2, 3). It is an imitation of the 9th episode from the poem by E.

Guys "BёgShStemen1; 8 ёeVensh" ("Changing the clothes of Venus"). Batyushkov provides the poem with a note: “Erigone, daughter of Icarius, whom Bacchus seduced, turning into a grape brush ...” Questions and tasks for the poem "Bacchante" 1.

What mood does the poem evoke? What images and pictures did you see? 2. Give a cultural commentary to the text. What character is given to the text by mythological images? Erigone- the daughter of the Athenian Ikaria, whom Bacchus taught winemaking.

Evre- warm southeast wind. Brazenly- here: suddenly. Lanites- cheeks.

Tympanum is an ancient percussion instrument. Evoe!- a wild cry issued by the participants of bacchanalia. 3. By what artistic means does the author paint a picture of bacchanalia? What is their role in the text?

4. What is the image of the young bacchante? What attracts her? 5. What is the image of the lyrical subject of the poem? 6. Describe the phonetic features of the text.

What mood does the abundance of sounds “r”, “l”, “v” give him? 7. Describe the vocabulary and syntax of the text.

How do they manifest his inner tension, energy, plasticity, the riot of the Bacchus holiday? 8. What poetic meaning is revealed by the ring composition of the text? 9. Prove that the poem is anacreontic in nature. Lesson conclusions. Batyushkov's early work is imbued with feelings of joy in life, optimism, and love. He is a singer of earthly joys, pleasures, a singer of the world of elegant antiquity.

His early poems are an example of artistic skill, they are distinguished by impeccable language, melody, and inner grace. According to Belinsky, Batyushkov gave Russian poetry "the beauty of an ideal form". The critic notes the "plasticism of forms", "sculpture", "elasticity", "sweet sound writing", "harmony of the verse".

“His verse is often not only heard by the ear, but also seen by the eye: one wants to feel the twists and folds of his marble drapery.” These qualities of Batyushkov's poetry allowed Pushkin to exclaim: “Italian sounds! What a wonderworker this Batyushkov is! »

Batyushkov was born on May 18, 1787 in Vologda. He belonged to an old but impoverished noble family. B.'s mother belonged to the Berdyaev family. in 1795, the mother dies of mental illness (B. expects madness). B.'s father, a great book lover who collected a rich library on his estate, managed to give his son a good image. B studied in private French and Italian boarding schools, which affected his literary tastes. M.N. Muravyov had a great influence on him, shaping his literary interests. Young B. acquired extensive knowledge in the field of antique, French, Italian literature.

Having communicated a lot with M. N. Muravyov, B came up with an idea of ​​the ideal of a person in whom a highly moral character, the ability to self-denial are combined with a love of life. An enlightened and humane writer, Karamzin's predecessor in the creation of Russian sentimentalism, a connoisseur of ancient literatures, a trustee of Moscow University, M. N. Muravyov developed the doctrine of a person's innate moral sense, of happiness as a feeling of a pure conscience. Under the influence of the teachings and lyrical poetry of M. N. Muravyov, “sensibility” and morality were inoculated into Epicureanism in Batyushkov’s lyrics of those years. The poet's Epicureanism included, as absolutely necessary, the enjoyment of spiritual joys. Batiushkov once faced a difficult choice between "his own well-being" and the "misfortune" of another. This was due to his inseparable love for Anna Furman, a pupil of A. N. Olenin. Already preparing to marry the girl he passionately loved, the poet found the strength to refuse her as soon as he realized that she did not love him and her consent to marriage was forced. He survived several tormenting years, not disclosing the reasons for his strange, as it seemed, behavior, so as not to bring the girl the displeasure of the family who took care of her.

Military service occupied a large place in his life. He was a participant in 3 wars, considered the war a negative experience for poetry: 1) Campaign to Prussia (1807) 2) In the Swedish campaign. Campaign to the Alan Islands (1809) 3) European campaign (1813-1814). B. did not make a military career and became a civil servant. He served in the Russian embassy in Italy. It was there that the mental illness began, which he was afraid of all his life. Friends placed B. in a psychiatric clinic, where his sister was constantly by his side, who a little later fell ill herself. B.'s illness was violent. But he wrote and drew.

B. - a man of not very happy fate - and poetic. and life. He did not have his own family. he was replaced by a family of sisters and nephews. And he is a poet of one book in 1817, the two-volume "Experiments in verse and prose" B was born a great poet, but remained within the boundaries of one book. His tragedy is in the incompleteness of his life path. After all, he did not have time to express himself to the end. Many considered B. a strange person. The meaning of strangeness is in the duality of character: 2 hours, one is kind, generous, sweet, the other is evil, treacherous, greedy. A type of strange h-ka - premature old age of the soul, the cause of which was disappointment, because he had a too vulnerable and sensitive soul.

2 PERIODS LYRIK BATYUSHKOV stand out.

1st period - hedonistic.In the first half of his creative life, before the war of 1812, B worked out his own "small", in his words, philosophy. An admirer of Montaigne and Voltaire, B uniquely combined skepticism with sensitivity and hedonism. Paradoxically, it was the cruel historical experience that gave rise to the life and poetic philosophy of B - the humane epicureanism of his youth, the deification of personal happiness.

The poet has never been a supporter of revolutionary enlightenment with its grandiose plans for a reasonable reorganization of the world. Disappointment in the "age of Enlightenment" brought B closer to his older contemporary - Karamzin. But B's position differed from Karamzin's not without fatalism. According to Karamzin, a person and his life are an inevitable mixture of shadow and light, good and evil, sadness and joy, continuously turning one into another and inseparable from each other. Hence the "melancholy" of Karamzin. Karamzin felt precisely pity for the person, and not admiration for him (his sentimentalism is based on this). According to God, the meaning of life is in the joy it gives.

The lyrics of this period are born from a feeling of unsatisfactory action. Action and the ideal are equally significant for both romantics and realists. But he differed in realism and romanticism in his dominant. For realism, the main thing is the figurative reproduction of objective reality in relation to the ideal of the artist. For a romantic, it is a figurative recreation of the ideal in relation to action. Craving for the unattainable and the main thing is the dream of an ideal world. B. has discord between the ideal and reality. The main thing is the dream of another world.

The program verse of this period is “The Dream” of 1810. He worked on the verse for 13 years and revised it 4 times. A dream for B is a shield from evil sadness, this is what gives the poet bliss and happiness. The poet calls the dream "daughter of the silent night." Imagination takes him to the Selm woods. From this world, he is carried by a dream to the image of his beloved woman. Plunging into the "romantic" mists, the poet forgets the sad action. A dream can give solace. The poet opposes the happiness of a dream to the “empty brilliance of glory” and the “shine of vanities”. "Dreaming is the soul of poets and poems" - the cult of dreams.

The main genre of this period is Message .(“to Gnedich”, “to Zhuk-mu”, “to Vyazems”, etc.). In the Epistle to Chloe, the poet opposes his hut, where he retired with Chloe, to the “light”, he broke with the cat. The romantic antithesis of the high world of the human personality and the imperfection of reality are expressed.

The verse "My penates" was written in 1811-1812, published in 1814. The whole verse is built on the opposition of the modest position and lifestyle chosen by the hero, "wealth with vanity." The hero finds happiness "in an unknown country" in love and friendship, in wine and fun, in reading poets and in poetic TV. A dream of another world, of another h-ke. In verse, images of antiquity, the realities of the ancient world. B. assimilates the philosophy of antiquity. The hero is not afraid of death, throws her a daring challenge.

Feature of the hero of the lyrics B. 1st period: not a double of the author. A clear contrast between the real and the "other" world. The qualities of the hero and the author are opposite. The hero is the embodiment of a dream. The hero is immersed in some kind of conditional literary action. The ideal is in antiquity.

The beloved of the hero B. appears in the lyrics under a conditional literary name or is expressed by the pronoun SHE.

B. writes about earthly, sensual love - this is “graceful erotica”.

The erotic theme is given by the poet to the lyrical hero and has not an autobiographical (and also not genre), but an aesthetically broader function.

Love for Batyushkov, like beauty, is the “personification” of life, an image, a symbol of earthly life. The qualities that the hero of the Batyushkov lyre is endowed with are designed to symbolize the fullness of physical being. This is youth, a feeling of love, beauty.

The beloved of the Batyushkov hero is always perfectly beautiful. Her lips are certainly scarlet, her eyes are blue, her "cheeks" glow like roses, her curls fall in a golden or chestnut wave; her hands are lilies, etc. She is fragrant and adorned with fragrant flowers. Batyushkov claims that beauty is the most important of the properties of life and belongs only to it. Batyushkov's admiration for beauty has a deeper meaning than the aestheticism and eroticism of light poetry of the 18th century ("poésie fugitive"). The love of Batyushkov's lyrical hero (to which Belinsky drew attention) is fanned with a halo of spirituality. There is "a lot of tenderness in it," Belinsky wrote, "and sometimes a lot of sadness and suffering."

The lyrical hero of Batyushkov is often given as some kind of ancient character, burning incense before the altar of domestic gods, pursuing a Bacchante at the Erigone festival, etc. He is depicted using the material and spiritual attributes of antiquity, its life and mythology, surrounded by muses, nymphs, altars, idols gods.

Antiquity was for Batyushkov the ideal of harmonious relationships between man and the world. That is why the importance of the ancient theme is so great in his poetry.

The border between 2 periods of TV-va B. was 1812.

Covered by a strong patriotic feeling, B voluntarily joined the army in 1813, was an adjutant to General N. N. Raevsky, participated in the battle of Leipzig and entered Paris together with the Russian troops. However, Father B took the events of the war in many ways differently than most of his contemporaries. Despite the victorious course of the war, bitterness and disappointment grew in him. The horror of the crimes of the “educated barbarians” (French) who invaded Russia overshadowed his joy and pride in victory. In this, B was alone - in Russian society, the mood of a general upsurge and bright hopes dominated. The same year 1812, which sharply increased the general activity, gave impetus to the Decembrist movement, plunged Batyushkov into gloomy thoughts. He is disappointed in the ideas of the Enlightenment. B-a is no longer attracted by Epicureanism, even in that elegant form that admired him from M. N. Muravyov. The poet now considers the only means of salvation christian religion. Earthly life for B is temporary life. Ch-ka he considered a wanderer on earth.

B. develops philosophy of asceticism in the earthly world he sees no hope for joy. The task of the h-ka is to survive all earthly suffering. B's religiosity is mournful, the hero B. was too attached to earthly life. Lyrics of the 2nd period - a conscious renunciation of Epicureanism and a dispute with the 1st period

The main genre of lyrics of the 2nd period - elegy genre .

There are 2 types of elegies: intimate(“Shadow of a friend”, “My genius”, “Separation”, “I feel”, etc.) and Historical("transition of Russian troops through the Neman", "crossing through the Rhine")

An “intimate” elegy is an elegy of disappointment. The feeling of sorrow is due to unhappy love, loss of friendship, personal spiritual experience. B achieves here not only emotional intensity, but also genuine psychologism.

The lyricism of B's ​​most intimate elegies is very soft, gentle, restrained. The lyric self-disclosure is realized not so much by immersion in oneself, but by the image of the outside world, which awakens the feelings of the poet. So, in "Recovery" and especially in "My Genius" the compositional center is the image of the beloved woman, to whom the poet's grateful delight is directed.

Discord m / y with an infinitely attractive world and a soul, which in its anguish is alien to pleasure, for the first time in Russian poetry, is the basis of the composition itself.

All of his later TV is permeated with a sense of acute tragedy, a sense of the irreversibility of happiness. Overwhelmed by the fear of the revolution, its violence and destructive power, he fears for Russia. It is possible that in the catastrophic exacerbation of the hereditary mental illness that turned Batyushkov out of life in the early 1820s, his awareness of the existence of secret December societies played a role. The son of his older friend and teacher, M. N. Muravyov, Nikita Muravyov was one of the organizers of the movement, and this aggravated the poet's anxiety. But here, too, an insoluble contradiction arose before B. According to his general political views, he was a liberal. The feudal reaction, the eradication of the “free spirit” aroused by the revolution, disgusted him, forced him to sharply criticize the internal and external policies of the Russian autocracy.

The charm of poetry B is in the amazing interweaving of the illusory and the real.

B himself is clearly aware of the unreality of his utopia (after all, a modern person can no longer become an “ancient” person), but he endows his dream with all the colors of life, its best saints - love, joy, pleasures, youth, beauty.

The life of Batyushkov's hero's lyre is given as a notorious utopia, as a "beautiful world of fiction" (V. V. Vinogradov's expression). Hence - the deliberate use of motifs, plots, images of ancient and new European lyrics.

B. became a constructive element for the development of poetry. We can find the e-mail of his TV-va in Brotsky, Tyutchev, Annensky, Lerm-va and other writers.

We can determine the historical and literary meaning of B in the words of Belinsky: “Batyushkov contributed a lot to the fact that Pushkin was what he really was. This merit alone on the part of B. is enough for his name to be pronounced in the history of Russian literature with love and respect.

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

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

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

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

3. Italian Renaissance (Petrarch, Ariosto).

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

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

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

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

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

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

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 (Oleg the Prophet, 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».