Introduction ................................................ ................................................. ...3
1. The golden age of Russian poetry: general characteristics of the period...........4
2. The golden age of Russian poetry: the main representatives .............................. 6
Conclusion................................................. ...............................................nineteen
Bibliography............................................... ...........20
Introduction
golden age Russian poetry Pushkin Griboyedov
In the history of the thousand-year-old culture of Russia, the 19th century is called the "Golden Age" of Russian poetry and the century of Russian literature on a global scale. It was a rise of the Spirit, a cultural upsurge that can rightly be considered the great Russian Renaissance.
The 19th century fully expressed the synthesizing, philosophical-moral, conciliar-collective character of Russian culture, its patriotic-ideological character, without which it loses its ground and destiny. It manifests itself everywhere - from universal cosmic quests to almost practical "instructions" for answering the age-old Russian questions: "Why? Who is to blame? What to do? And who are the judges?"
Literature in the 19th century is the most influential form of national culture. This is the time when its largest representatives created, who gave spiritual food to two centuries of all mankind! Thus, Paul Valéry called Russian literature of the 19th century one of the three greatest marvels of human culture.
Poets A.S. Pushkin, V.A. Zhukovsky, K.N. Batyushkov, D.V. Davydov, F.N. Glinka, P.A. Katenin, V.F. .A. Bestuzhev, V.K.Kyukhelbeker, A.I. Odoevsky, P.A. Vyazemsky, A.A. .Venevitinov and others. Their poetry left a noticeable mark in Russian literature.
Thus, this topic is still quite relevant today.
The work consists of introduction, main part, conclusion and bibliography.
1. Golden age of Russian poetry: general characteristics
Since the beginning of the 19th century, an unprecedentedly high patriotic upsurge has been observed in Russian society; it contributed to a deepening of understanding of national characteristics and the development of citizenship. Art actively interacted with public consciousness, forming it into a national one. The development of realistic tendencies and national features of culture intensified.
The engine of the development of Russian literature of the 19th century, which continues to "work" to this day, was poetry. The works created at that time by brilliant poets to this day remain unsurpassed masterpieces of the classics, examples of the highest poetic skill, magnificent standards of the greatness of the Russian word and the Russian language. The beginning of the "Golden Age" can be called 1808, because already in some of the first mature works of Zhukovsky, the individual intonation, so characteristic of poetry that has become "higher", is very clearly visible. In the early 1920s, Byron's influence was noticeable, and such a form of expression as a poetic story became popular. Pushkin's work is a huge success, poetry monopolizes the book series. A whole galaxy of remarkable poets acted along with him and around him: Batyushkov, Kuchelbeker, Ryleev, Yazykov, Vyazemsky, Delvig, Baratynsky and others. Each of them contributed to the common cause of the rise and renewal of Russian literature. What was the peculiarity of the Russian "golden age"?
Firstly, the breadth and grandeur of the tasks set for ourselves. Secondly, the high tragic tension of poetry and prose, their prophetic effort. Thirdly, the inimitable perfection of form.
The first and third of these features are expressed with the utmost clarity by Pushkin. The universality of his genius made him a symbol of the Russian national ideal. The "Golden Age" in Russian poetry is also commonly called "Pushkin's Time".
The second feature of the "golden age": the tragic, prophetic tension of poetry and prose - even stronger than Alexander Pushkin himself, is expressed by his direct heirs. The poems of this time are very original, in contrast to what earlier previous eras borrowed more. The period of this creativity in Russia coincides in time with the era of the birth of romantic poetry in Western Europe. But it is not romanticism that gives him direction. The poetry of the golden age was more formal, selective and almost flawless, but very classical.
Most of what was written by our classics in the 19th century has long become a literary reader. Today it is impossible to imagine a person who would not know and read such a cult novel in Pushkin's verses as "Eugene Onegin" or Lermontov's great poems "Demon" and "Mtsyri". Dozens of poems memorized from the school bench still evoke feelings of warmth and joy in our hearts, these poems, just like many years ago, continue to breathe and live in our souls. They continue to warm us, give us hope, help us not to lose heart; they are always ready to be our guiding light.
But, perhaps, the most important achievement of our ingenious creators of the 19th century is the creation around poems - the aura of poetry, an aura that still connects our present day with its beginning with its invisible thread. The beginning that we unconsciously use in everyday life, the beginning that is present in all our affairs. After all, it was they who, for many years in a stubborn and unequal struggle, still managing to win, laid the foundation, and then gave us freedom of thought, speech and choice. The "Golden Age" of Russian poetry gave impetus to the development of subsequent generations, and if it weren't for it, we would not have had the Silver Age. There would not be those brilliant and talented poets and poetesses, there would not be our greatest writers who were inspired by the works of the creators of the last century and from where they drew strength, thoughts and plots, but for their masterpieces. Masterpieces that we admire and re-read over and over again.
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Yazykov Nikolai Mikhailovich Yazykov N.M. (1803-1846) was born into a noble family, studied at the Mining Cadet Corps and the Institute of Railway Engineers in St. Petersburg, and later at the Faculty of Philosophy of Dorpat University. Poems written by Yazykov in Dorpat reflected the free-thinking and oppositional moods of the advanced noble youth. Having moved from Derpt to Moscow in 1829, Yazykov became close to the circle of future Slavophiles and was imbued with repentant-religious moods. A serious illness that forced the poet to be treated abroad for a long time, homesickness, intensified the pessimistic moods characteristic of the elegies he wrote in the late 1830s and early 1840s. Yazykov (sometimes without apparent reason) called poems of the most diverse poetic structure elegies: politic invectives, creative declarations, lyrical miniatures, and landscape lyrics.
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Elegy of Liberty is a proud inspiration! The people do not listen to you: It is silent, holy vengeance, And it does not rise up against the king. Before the hellish power of autocracy, Submissive to the eternal yoke, Hearts do not feel unhappiness And the mind does not believe the mind. I saw slave Russia: In front of the shrine of the altar, Rattling chains, Bowing her neck, She prayed for the king. 1824. Elegy The storm of the people is still silent, The Russian mind is still fettered, And oppressed freedom Conceals impulses of bold thoughts. O! For a long time the age-old chains will not fall from the ramen of the homeland, Centuries will ominously pass - And Russia will not wake up! 1824
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Elegy Happy is he who, from his youthful days, Is wretched with living feelings, Walks along a country road To his mysterious dream! Who with a judicious soul Without bitter experiences has learned All the poverty of life under the moon And did not trust anything! Why not me such a share Defined by heaven? Walking across the field of life, I say: my paradise, my beauty, And I see only my bondage! 1825 Elegy A night shadow has fallen on the mountains and forests, The skies are darkening, only the clear west shines, - It smiles a cloudlessly beautiful, Calmly, joyfully ending day. 1842
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Odoevsky Alexander Ivanovich (1802-1839) Odoevsky A.I. was the offspring of an ancient princely family. Kinship and close friendship connected him with Griboyedov. A member of the Northern Society, Odoevsky took part in the uprising on December 14, 1825. After the defeat of the uprising in the casemate of the Peter and Paul Fortress, he was at a loss for some time, but soon he regained his conviction that his cause was right. His best poems, with their belief in the triumph of revolutionary ideals, were written during the period of Siberian penal servitude. The top of this lyric is the famous "The answer of the Decembrists to Pushkin" - the poem "Fiery sounds of prophetic strings ..". At the Petrovsky plant, where Odoevsky was serving hard labor, his "Elegy" was created, concluding reflections on the meaning and significance of the struggle waged by the noble revolutionaries. In 1833, Odoevsky was sent as an ordinary soldier to the Caucasian Corps. Here he met N.P. Ogarev and M.Yu. Lermontov. Six years later, the Decembrist died of malignant malaria.
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An elegy on the death of Griboyedov Where is he? Who to ask about it? Where is the spirit? Where is the ashes? .. In a distant land! Oh, let the flow of bitter tears water His grave, Warm it with my breath; With insatiable suffering I will cry with my eyes into its dust, I will be filled with all my loss, And I will press a handful of earth, taken from the grave, as my friend! As a friend! .. He mingled with her, And she is all dear to me. I am there alone with my anguish, In inviolable silence, I will surrender to all the impetuous power of My love, holy love, And I will grow to his grave, The grave is a living monument ... But under other skies He died and was buried, And I am in prison! Because of the walls I'm torn in vain by my dreams: They won't carry me away, And the drops of tears from my hot eyelids won't fall on his turf. I was in chains, but those hopes Look at the gaze of his eyes, Look, squeeze his hand, the sound of speeches Hear for a moment - Lived the chest, like inspiration, Filled me with delight! Imprisonment has not changed, But from hopes, as from fire, Only smoke and corruption remain; They are fire to me: for a long time they have been burning everything they don't touch; What a year, what a day, then the ties are torn, And I, it’s not even given to me In the dungeon to cherish the ghosts, To forget a moment with a cheerful dream And dispel the sadness of the heart Dreaming with a rainbow wing. 1829.
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You know them, whom I loved so much, With whom I shared the dark time... You know them! Like me, you shook their hands And conveyed to me a friendly conversation, Known to my soul for a long time; And again I listened to the native sound, It seemed that I was in my homeland, Again in the circle of fellow prisoners-friends. So travelers go on a pilgrimage Through the fiery-sandy ocean, And palm trees shade, icy free waters Beckon them into the distance ... only sweet deceit Charms them; but their forces are invigorating, And then the caravan passes, Forgetting about the heat of the flaming grave. 1836
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Gavriil Romanovich Derzhavin was the last among the largest representatives of Russian classicism. He was born on July 3, 1743 in the family of a small Kazan nobleman. The entire fortune of the Derzhavin family consisted of a dozen souls of serfs. Poverty prevented the future poet from getting an education. Only at the age of sixteen was he able to enter the Kazan gymnasium, and even then he did not study there for long. In 1762, Gabriel Derzhavin was called up for military service. Poverty had an effect here too: unlike most of the undergrowth of the nobility, he was forced to start serving as a private, and only ten years later he received an officer rank. At that time he was already a poet. Isn't it a strange combination: an ordinary tsarist army and a poet? But being in a soldier's environment, and not in an officer's environment, allowed Derzhavin to feel what is called the spirit of the Russian people. He was extremely respected by the soldiers, sincere conversations with people from Russian peasants taught him the perception of people's need and grief as a state problem. Glory came to Derzhavin only at the age of forty, after the appearance of the ode "Felitsa". He was favored by Catherine II - Felitsa - and was soon appointed to the post of governor of the Olonets province. But Derzhavin's bureaucratic career, despite the fact that he was not abandoned by the royal grace and received more than one position, did not work out. The reason for this was Derzhavin's honesty and directness, his real, and not traditionally feigned, zeal for the benefit of the Fatherland. For example, Alexander I appointed Derzhavin Minister of Justice, but then removed him from office, explaining his decision by the inadmissibility of such "zealous service." Literary fame and public service made Derzhavin a rich man. He spent his last years in peace and prosperity, living alternately in St. Petersburg, then in his own estate near Novgorod. Derzhavin's brightest work was Felitsa, which glorified him. It combines two genres: ode and satire. This phenomenon was truly revolutionary for the literature of the era of classicism, because, according to the classic hierarchy of literary genres, ode and satire belonged to different "calms", and mixing them was unacceptable. However, Derzhavin managed to combine not only the themes of these two genres, but also vocabulary: in "Felitsa" the words "high calm" and vernacular are organically combined. Thus, Gavriil Derzhavin, who developed the possibilities of classicism to the maximum in his works, became at the same time the first Russian poet to overcome the classicist canons.
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PLAMIDE Do not burn me, Plamida, You are the quiet blue fire of your Eyes; from their kind I will not defend myself now with anything. Even if I were the king of the universe, Or the most strict sage, - Pleasantness, beauty slain, I was your prisoner, slave. Everything: wisdom, scepter and orb I would give love as a pledge, I would sacrifice glory to you And I would die at your feet. But I hear you ask, Plamida, A few rubles as a deposit: I abhor the trade of the species, The fire in my soul has gone out. 1770 NINA Do not kiss me so passionately, So often, gentle, dear friend! And do not whisper all the time Your love caresses in my ear; Do not fall on my chest in delight, Embracing me, do not die. The flame of the most tender passion is modest; And if it burns too much, And the feeling is full of pleasures, - It will go out soon and will pass. And, ah! then suddenly boredom will come, Ostuda, disgust for us. I want to kiss a hundred times, But you kiss me only once, And then decently, so, impassively, Without any sweet contagion, As a brother kisses his sister: That our union will be eternal. 1770
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Chains Do not complain, my dear, from the chest that you dropped by chance dear chains: There is no sweeter liberty in the world for people; Fetters are painful, although they are golden. So enjoy here you are the freedom of the saint, Living in freedom, like a breeze in a clearing; Fly through the groves, sprinkling the waters with a stream, And, than in Petropolis, be happier on Zvanka. And if you, too, under the burden of whose shackles Nature ever orders to be subjected, See that they are weaved by love only of their flowers: This captivity is more pleasant than freedom itself. A playful desire If lovely girls So could fly like birds, And sit on knots, I would like to be a knot, So that thousands of girls can sit On my branches. Let them sit and sing, Make nests and whistle, Bring out the chicks; I would never bend, I would always admire them, I would be happier than all the knots.
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Lvov Nikolai Alexandrovich Lvov, Nikolai Alexandrovich - writer and artist (1751 - 1803), member of the Russian Academy from its foundation. Belonged to the literary circle of Derzhavin, Khemnitser, Kapnist. His works were published in "Aonides", "Friend of Enlightenment" (1804), "Northern Herald" (1805). Translated Anacreon and published it, together with the original and notes by Eugene Bulgaris (1794). Other works of Lvov: "Russian 1791" (in prose); "The Song of the Norwegian Knight Harald the Brave" (in verse, St. Petersburg, 1793); "Collection of Russian Songs Set to Music by Prach", "Russian Chronicler", "Detailed Chronicle". Lvov was also an outstanding, although not professionally trained, architect, and painter, and engraver (aquatint) and publisher of works on architecture. His main architectural works: the Cathedral of St. Joseph, in Mogilev (built in memory of the meeting of Catherine II with Emperor Joseph II), the plan and facade of the Petrograd Post Office (1782 - 1786), the Cathedral of the Borisoglebsky Monastery in Torzhok (1785 - 1796), churches in the villages of Pryamukhino and Nikolsky Novotorzhsky district, the Priory Palace in Gatchina, built according to the method of earthen buildings invented by him (from earth and lime). Lvov participated in drawing up drawings for Derzhavin's poems and composed a drawing of the Order of St. Vladimir. He published: "Discourse on perspective" (1789; from Italian) and "Four books of Palladian architecture" (1798).
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SNIGIR Autumn time has come. Do not sing, sad snowman! Do not sing, as you used to sing, Do not sing, my kind friend! Let the peacock, with its fluffy tail, Be famous for its trumpet! Rooster and vociferous at night, And you, my friend bullfinch, do not sing. Their songs and iron hearts Will feel a huge voice! The souls of your melody are tender... Do not sing, my bullfinch friend, for an hour. Autumn time has come. Do not sing, dull with negirek! Do not sing, as you used to sing, Do not sing, my kind friend! Winter will not last long, Then we will tighten it again with you, Spring is afraid of roosters, Your voice will call love. And with her everything, everything will start, The earth will melt and the seas, And the rose will press against the cornflower, They will come to listen to the bullfinch. Autumn time has come. Do not sing, sad snowman! Do not sing, as you used to sing, Do not sing, my kind friend! 1790s
The cultural development of each country reached its active development precisely at the time when fundamental changes significant in history took place in it. This has not bypassed our country either. The "golden time" of Russian culture led to the fact that the people acted as ardent rebels against the dictatorial regime of government power. Such feats were encouraged by their poets of the golden age, in whose works the disobedience of the people to the current situation was clearly expressed. As a result of this, active popular unrest and the advent of Bolshevik power took place.
What is the golden age
The formation of the idea of overthrowing the existing state system fell on such an era. Its features found their re-creation in the historical culture of Russia, which observed at the end of the 19th century. In such a golden age of Russian poetry, there is a rapid rise in domestic education, the flourishing of various forms of art and the greatest achievements in the field of Soviet science. It achieved its significant development thanks to the social structure of the country. The fact is that at that time Russia was a completely estate state. Estate principles were included both in the state structure and in the then legislation.
Acting as the first estate, the nobility had the privileges contained in the "Letter of Complaint". At that time, Russian culture was strongly based on the noble intelligentsia. Such a stratum of the population showed its active attitude towards maintaining the proclaimed ideas of the French Revolution, which were based on such important points as freedom, fraternity and equality.
Features of the golden age
The intensive development of industry and the establishment of new capitalist factories and enterprises played a significant role in that period of time. At that time, there were no official channels that would allow everyone to express their opinion on the work of government representatives. Also, the public did not have the opportunity to use the services of representative institutions, an independent judiciary and a more responsible government.
It is these factors that formed the basis of the works, the authors of which were the poets of the golden age of Russian poetry, pushing the people towards the desire for self-expression through the use of cultural mechanisms. Therefore, this period became the era of the development of Russian literature. This art form acted as a reliable and effective way of expressing the opinion of the entire public.
Alexander Pushkin can be considered the main personality of that time. His work contributed to the emergence of many talented poets, including Baratynsky, Tyutchev, Zhukovsky and Batyushkov. With their works, such poets of the golden age managed to create a bright and pure spirit of Russian culture. In the literature of that time, the concept of moral independence was actively spreading, which was based on overcoming estate and class restrictions.
A clear expression of enlightenment ideas can be observed in the writings of Bestuzhev and other figures of the past. The "golden age" of Russian culture is considered an important stage that had a tangible impact on the development of realism, both in literature and in other varieties of art. This direction left a deep mark in this era, clearly expressing all the seriousness, sincerity and problematic nature of that time.
Then there were such literary geniuses as
- Chekhov
- Dostoevsky,
- Lermontov and others.
The main trend in which new ideas were embodied was literature and fine arts. Thus, one can observe the creation of a certain artistic encyclopedia of the complexities of Russian reality.
» » Famous Poets of the Golden Age
When someone once again confesses his love for the poets of the Silver Age, I am tempted to ask - what do you like from the Golden Age? Just don’t say “Pushkin and Lermontov!”, It’s even more banal (though where? Where?) Than “Blok and Yesenin” ... Yes, this is a strange phenomenon (aka Phenomenon) - people usually “love” what is cozy located under their very noses, and to be too lazy to reach out even at the distance of this very hand. But this is a different topic, and today - the top 10 Russian poets of the "Golden Age". And for the hundredth time - my loved ones and my sight. Therefore, today we will manage without Pushkin and Lermontov, and even, God forgive me, without Boratynsky ...
Top 10 Russian poets of the "golden age", why I like them
1. "Namba van" for Russian poetry of both the XIX and XX, and even for that insignificant part that does not yet exist in the XXI century chanson - this is not Pushkin, and not Lermontov, and not, forgive me, Boratynsky, and not even Derzhavin, in which he still seethes, thunders and foams with might and main in the 18th century (and for this he is good, valuable and pleasant - both the century and Derzhavin). This is Nikolai Karamzin. I can already hear the screams - what? as? what did he write? sappy sentimental rhymes! against Pushkin! Lermontov! Boratynsky! Yes, my dear dogs, Nikolai Mikhailovich Karamzin. Because he gave everyone listed here and below the most important thing, without which the poet is worse than a lowing animal - language. Karamzin banished from the Russian language the pompous style in which it was customary to write "piitika" by pathetic imitators and imitators of Lomonosov, Trediakovsky and the same Derzhavin - all these archaisms, "heroisms" and "rossisms" that jingled like bells. Consistently and painstakingly, with all sorts of magazines and almanacs, Karamzin drilled into the heads of his contemporaries and mastered in them one thought, one - poetry must be written in "living colloquial language", and not in "special piit". For which, by the way, he was the idol of Pushkin, and also Zhukovsky, and Vyazemsky, etc., etc.
2. But the “real main poet”, who “can’t tear off beautiful poems”, for me, among all this host, ambush and a den of talents, will always be Konstantin Batyushkov. Because his poems, no matter how you twist and turn - "not a single flaw." They are beautiful. They are melodic. They are not empty, and at the same time light - a deceptive impression is created that a person wrote them "from a sheet, by inspiration, just like that" - no "strain", no forcedness, no "battle with the word and rhyme". Yes, it’s not without reason that he literally laid down his life for his poems - he burned out from perfectionism and dissatisfaction ... Well, after that somehow I don’t even want to return to my already written one and somehow try to improve it - it’s scary - with.
3. "Honorable third place", and in some ways his first, among me is the prince-father Petr Vyazemsky. Many "literary scholars" blaspheme him as a "great amateur", swear that he has not created anything "great and just big", that all his poems are an inflated collection of writings "just in case" ... But this is how he is - sticks out from all his poems in all sides a huge, powerful individuality. Perhaps, in this he does everyone - both Pushkin, and Lermontov, and, forgive me, Lord ... And his rhymes are "big" and he easily violates the "rules of grammar" at the request of size and greater expressiveness. But the word is sharp, tenacious, biting. Like a surgeon - a cold mind and a firm hand, and cuts in the right place. And Pushkin, and Zhukovsky, and Batyushkov envied this (to themselves, although sometimes out loud) - and all of them, by the way, were his friends. It would be more like our poetry of such dilettantes.
4. The mockingbird is known for its skillful imitation of other birds and even the human voice. So is poetry Vasily Zhukovsky, "singer of devils", as he called himself for his addiction to "grave" plots. His original works, IMHO, suffer from excessive lightness - simple thoughts, simple words, simple sizes ... Everything is simple. Like a kilo of fluff. But as soon as he takes someone else's work, even just a plot - by Schiller, Goethe, Byron, Southey, etc. - both meaning, forms, and grandeur appear. Moreover, this is not "just a translation", but at best a "free translation", or "arrangement" - exactly what Zhukovsky took and created "something of his own". Therefore, he is not a parrot, but a mockingbird. The best part of his poems are just translated ballads.
5. It happens like this - something beautiful grows, smells fragrant in the air, and everyone around gasps and waits - it will grow, and then it will be ... But it does not grow - except that it stupidly increases in size. Nikolay Yazykov always masterfully mastered rhyme and rhythm, and began with cheerful half-joking messages and youthful touchy complaints about "I loved you, but now I don't love you, and I'm telling you about this for a hundred and fifty times." Very nice, sometimes even "better than Pushkin!". But ... years passed, and Yazykov kept writing messages and complaints, and over the years they became less cheerful and youthful, and more bile and senile grumbling. The apogee was his "Slavophile poems", which many contemporaries perceived as "rudeness beyond the bounds of a foul" or even "poetic denunciations". However, for all his inability to create something big and serious (and he was aware of this and suffered greatly from this), Yazykov remained a master of virtuoso rhyme and syllable until his death ... Well, this also happens.
6. Well, here's Homer - he, in fact, is known only as the author of the dilogy "Iliad - Odyssey". Milton is the creator of Paradise Lost. But Panikovsky could not steal a goose at all. But each of these works is a mega-masterpiece, for the honor of creating which any poet will hang himself but no. That's how it is Alexandra Griboedova- everything that is not "Woe from Wit" is vaudeville on the verge of vulgarity, excerpts from some pathetic tragedies, and poems in case. On the other hand, "Woe" is such a block that the people have long ago taken away into quotes and catchphrases, and this is a sure sign of the genius of the work. In addition, "a different Alesan Sergeyich" was the first to portray the type of Russian intellectual - smart, suffering, freedom-loving, as well as pompous, talkative and, in fact, useless ... For us Russians, this thing is stronger than "Faust" Goethe.
7. Approximately all the same can be written about Nikolai Gnedich. Well, yes, a man is forever a bust of the "translator of the Iliad." But how he translated it - for two hundred years no one dared to repeat it, except for Veresaev, who, let's put his hands on his heart, "didn't work out", and Minsky, who since the 19th century, EMNIP, has not been reprinted at all. (They say that a certain Salnikov translated in 2011, but I didn’t see it, I don’t know.) With all these of his “fell, and the armor thundered on the fallen”, or “he threw him to the ground with a powerful hand” Gnedich captured the very essence of the great poem “about war as about life", and each line in his translation fights, fights and fights ... Well, yes, the philoluchs of the scolding that "do not piracy!". Well, firstly, go and translate "as it should" (you can't see something), and secondly, this is a disadvantage of Gnedich the translator, but a plus for Gnedich the poet.
8. It is very difficult to remain in the "memory of descendants" if you are a relative, and even worse than that - the uncle of a genius who, quite rightly, is a head taller and more gifted than you. But don't forget completely, completely! Didn't deserve it Vasily Lvovich Pushkin, beloved, by the way, the uncle of his nephew Sashenka (and not only for sweets and pampering, but also for poetry too). Didn't deserve at least for "Dangerous Neighbor", an absolutely wonderful poem about ... a fight in a brothel between two admirers of one lady of easy virtue. Everyone admired this thing - Vyazemsky, Zhukovsky, and Batyushkov. Some even developed the "ZOG theory" - like, such a weak poet as Vaska Pushkin would not compose such a thing, he stole it somewhere. But this is already gossip - uncle, as everyone knows, had the most honest rules ...
9. Young talents - they "give hope", and in their works "they are looking for inclinations." And it's good when they grow up, justify their hopes and develop inclinations. And if, how Dmitry Venevitinov so they die young? Yes, the poems are fresh, "not without meaning", even and light. But what would grow out of all this - a "new Pushkin", as some insist, or some Boratynsky simply deftly constructing verses "a poet of the second plan"? This is known only to Allah alone... But what remains allows you to believe in the best, and the dead poet will never deceive this faith.
10. Not everyone can be brilliant professionals and cold-blooded craftsmen. Anton Delvig the baron was an impressionable, enthusiastic man, outwardly timid and inwardly "vulcanized". And his poems are 146% amateurish, just as timid, heavily faceted, sometimes naive and generally similar to the work of a big child, carefully copying the "best examples", sticking out his tongue from zeal. But it is precisely this cute dilettantism that gives Delvig's poetry such a strange, unique charm that it sharply distinguishes even among all of the above - no, he is not better, he is different ...
Literature in the 19th century was perhaps the only form of expression of the opinions and aspirations of the common people. That is why it has absorbed politics, philosophy, ethics and aesthetics. Writers and poets became spiritual mentors, leaders, defenders of ordinary people. It was no coincidence that E. Yevtushenko asserted that "a poet in Russia is more than a poet."
The golden age of poetry began its countdown with the poems of V. Zhukovsky and K. Batyushkov, combined the names of E. Baratynsky and N. Nekrasov. It is traditionally considered that this century ended with the work of F. Tyutchev. But A. S. Pushkin always remains the central figure.
For the first time, the lyrical hero was subjected to a deep psychological analysis, the poets sought not only to describe the feelings of their hero, but literally, to bare their soul.
On the other hand, poetry, even more than prose, becomes a conductor of social and political ideas. Already in the 40s of the century, critical realism takes on more and more distinct forms. Populist poets appear, expressing the protest of the humiliated and insulted, advocating for cardinal changes in society.
Poets of the "golden age" of Russian literature
E. A. Baratynsky, V. A. Zhukovsky
O founders of the romantic trend in Russian poetry, who made a huge contribution to the development of such poetic genres as ballads, elegies, messages. Their work served as a good school for the education of a whole galaxy of Russian poets, including such geniuses as Pushkin, Lermontov and Nekrasov.
E. A. Baratynsky
Selected poem:
V. Zhukovsky
Selected poem:
A.S. Pushkin- an incredible value, rightfully occupying a leading place among the galaxy of brilliant poets. It is Pushkin who is considered the founder of the Russian literary language, it was his bold experiments with the word, the forms of the lyrical work that gave world culture real masterpieces. Mixing styles of language, skillfully combining different genres, Pushkin became the forerunner of the development of realistic art.
They say that Pushkin opened a window to the world for poetry. No, it was open before him. But it was Pushkin who erased all the partitions that separated poetry from ordinary life. From now on, everything that surrounds an ordinary person becomes a topic for poems: desires and love, nature and seasons, fairy tales and proverbs, historical events and, most importantly, the person himself, with his understanding of beauty, boundless love for his native land and deepest patriotism.
Selected Poems:
M. Yu. Lermontov... Perhaps one of the most mysterious and mystical personalities in the history of Russian literature. In the lyrics of Lermontov, the features of romanticism are clearly visible, his lyrical hero is full of experiences, thoughts and aspirations, is always in a spiritual search, full of despair and suffers from loneliness. It can be said that Lermontov's work prepared a smooth transition from the traditions of romanticism to a realistic depiction of a lyrical hero. At the same time, Lermontov's poetry is thoroughly permeated with symbols, half-hints, divinations. It is no coincidence that it was Lermontov's work that served as the starting point for such a literary trend as symbolism.
Selected Poems:
A. N. Pleshcheev- Russian poet, whose work fell on the 40s of the XIX century. It is considered one of the founders of revolutionary lyrics, since his poems were literally permeated with revolutionary democratic ideas. On the other hand, the contribution of A. Pleshcheev to the development of Russian poetry as a translator is invaluable. Thanks to his translations, the Russian public got acquainted with Stendhal and Zola, Heine and Beranger. Together with Pushkin and Nekrasov, A. Pleshcheev is also considered the founder of literature for children.
Selected Poems:
I. Z. Surikov- the brightest representative of the so-called "peasant" literature. One of the first natives of the people, who during his lifetime managed to release his poetry collection. He helped many other poets and writers from the people.
Selected Poems:
I.S. Nikitin- Russian poet, in whose work social themes and lyrical themes were harmoniously intertwined. He wrote about everything: about the difficult existence of the peasants, about the beauty of Russian nature, about love. Many of his poems have been set to music.
Selected Poems:
A.A. Fet- one of the founders of the direction of "pure art" in Russian literature. The lyrics of A. Fet are far from social ideas, from reality. The poet knew how to completely immerse himself in the world of emotions, experiences, brilliantly described Russian nature. In the later work of the poet, an important place in his lyrics was given to philosophical questions.
Selected Poems:
A.N. Maikov and A.K. Tolstoy
Poets who worked at about the same time as I. Nikitin, A. Fet. The historical theme is vividly represented in the works of both. Only A. Maikov was more drawn to the history of Byzantium and Greece, while A.K. Tolstoy was in love with Russian history. By the way, it was A. K. Tolstoy who was one of the creators of the satirical image of Kozma Prutkov.
Selected Poems:
ON THE. Nekrasov- the great Russian poet, who was the first to completely devote all his work to the people - "I dedicated the lyre to my people." It was in his poems that for the first time the voice of the people sounded so loudly, in his lyrics, mercilessly and without embellishment, the whole horror of the existence of the "little man" was shown.
The work of Nekrasov marked the beginning of a new stage in Russian literature - folk, about the people and for the people.
Selected Poems:
F.I. Tyutchev- Russian poet, whose work is often opposed to the work of A. Pushkin. Tyutchev's poems are the same odes and poems by Pushkin, but in an incredibly compressed version, which is why they seem so dynamic and rich to us. The nature of the image of the lyrical hero has also changed. If Pushkin's hero is hot, fiery and ebullient, then Tyutchev's hero is, on the contrary, out of reality and above the ordinary. Tyutchev's work marked the transition from the traditions of realistic art to new, decadent moods and the birth of the Silver Age of Russian poetry.
Selected Poems:
Thus, in Russian poetry of the 19th century, two main trends coexisted: realistic - with a strong civic position and a clear attachment to the realities of the day. The main representatives of this direction were N. Nekrasov, I. Nikitin, A. Pleshcheev. The second direction adhered to the concept of "pure art" - this is the work of poets immersed in philosophy and psychology: A. Fet, A. Maikov, A. Tolstoy and F. Tyutchev.
Both trends continued to develop in the 20th century, giving rise to many literary movements and forming the basis for the emergence of the "Silver Age" of Russian poetry.
