The theme of the poet’s creativity and fate in Tsvetaeva’s lyrics.

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The theme of the poet’s creativity and fate in Tsvetaeva’s lyrics.

Marina Ivanovna Tsvetaeva entered the poetry of the Silver Age as a bright and original artist. Her lyrics are a deep, unique world of the female soul, stormy and contradictory. In the spirit of her time, with its global changes, Tsvetaeva boldly experimented in the field of rhythm and figurative structure of verse, and was an innovative poet. Tsvetaeva’s poems are characterized by sharp transitions, unexpected pauses, and going beyond the stanza. However, the flow of feelings of the lyrical heroine gives the poems plasticity and flexibility, feminine softness and changeability.

The collection “Evening Album” was published when the poetess was 18 years old. It included youthful poems showing the development of the author’s creative individuality. They were not reflected historical events in the country, only peace of the soul, its aspirations and hopes.

Tsvetaeva always strived to be honest in her work and believed that the poet is free to write what he wants. She herself was a poet from God. Creativity and the ability to write poetry were the essence of her existence. Deprivation of this opportunity was tantamount to death for her. She could not help but write, she said that her poems “write themselves,” “they grow like stars and like roses.”

The lyrical heroine of Tsvetaeva is a person of enormous energy and strength. All her feelings are directed upward - towards the light, towards the universal mystery, towards perfection, which is why the image of a mountain is often found in her lyrics. When reading her poems, a feeling of flight arises; the reader is captured by a powerful stream of Tsvetaeva’s talent:

Along the highlands,

Along the hills,

Together with the dawns,

With bell towers...

The poetess was convinced that the poet is a creator huge world, he must always remain himself in order to tell people something intimate, hidden from them:

We know, we know a lot

What they don't know!

In the poem “You, Walking Past Me...” Tsvetaeva talks about her dissimilarity from ordinary people, the motive of contrasting the poet and the “crowd” arises:

You walking past me

To not my and dubious charms, -

If you knew how much fire there is,

How much life is wasted...

How much dark and menacing melancholy

In my blond head...

The poet lives with his heart and nerves naked; the poetess’s gift of poetry is both unearthly happiness and a curse. She calls ordinary people “lucky and fortunate.” The poet needs to give up ordinary life, he lives in another world, but in this one he is absurd, helpless and ridiculous. The poet is unique, and his death is a great, irreparable loss for people.

Tsvetaeva believed that the ability for all-consuming love is also part of God’s gift to the poet, his distinctive feature. The poet embraces the whole world with his love; there are no restrictions for his love.

The poet has a special vision; he can see the secret, hidden, like a clairvoyant. The poet lives in his own time and space, in the “principality of dreams and words”; dreams are reality for him. Tsvetaeva has many “dream-like” poems, where she is an islander or lives in “seventh heaven”; in her dream she has a “dream ship”. Intuition, prophecy, foresight - all this is at the disposal of the poetess as tools for creating poetry:

The eye sees the invisible distance,

The heart sees the invisible connection,

Echo drinks - an unheard of rumor.

As a rule, the poet’s relationship with time is tragic, since, as she puts it, “the poet is an eyewitness to all times of history,” but he is a prisoner of the time in which he has to live. The poetess speaks about this in the poem “Sneak by...”:

Or maybe the best victory

Above time and gravity -

Walk so as not to leave a shadow

On the walls…

Maybe a refusal

Take? To be erased from the mirrors?..

The poems that Tsvetaeva wrote about her contemporary poets, dedicated to Blok, Akhmatova and others, are striking in their accuracy in determining their significance in poetry and in their subtle analysis of their talent. She writes to Anna Akhmatova:

We are crowned to be one with you

We trample the earth, and the sky above us is the same!

And the one who is wounded by your mortal fate,

Already immortals descend to the mortal bed.

Marina Tsvetaeva loved Pushkin’s work very much, admired his courage and ability to defend his opinion. She wrote the cycle “Poems to Pushkin”. The poetess believed that

My poems are like precious wines,

Your turn will come.

1. Novel “Hero of Our Time.”
2. Fate as the driving force of the plot in “The Song about the Merchant Kalashnikov.”
3. The fate of the poet in society.

The theme of fate as life path personality is heard in one way or another in the works of the vast majority of writers. However, quite often in literature one encounters a slightly different understanding of fate, fate, destiny, beyond which a person is hardly able to escape. This is exactly how the ancients understood fate. Despite this, their beliefs and ideas occupied and continue to occupy the minds of masters and thinkers of later eras. The motif of fate, appearing in various guises - trials, fate, life's path - is one of the significant themes in the works of M. Yu. Lermontov.

In the chapter “Fatalist” of the famous novel “A Hero of Our Time,” the motif of doubt, characteristic of the writer’s work, is intertwined with the theme of fate. This doubt becomes the plot, the starting point of the plot, the drama of which gradually increases. Reflecting on predestination, Lermontov’s hero compares the attitude towards it of people of previous eras and his contemporaries, who did not firmly believe in anything: “What willpower was given to them by the confidence that the whole sky with its countless inhabitants was looking at them with participation, although mute, but unchanging !” Let us remember: in ancient Greek myths, for example, each hero had patron gods who took part in the fate of their charges. However, even the gods were unable to undo what was ordained by fate.

However, Lermontov’s heroes argue only about whether the time of a person’s death is predetermined. Already the ancients accepted the possibility that a person is capable of managing his own life: in Virgil’s Aeneid, Dido, abandoned by Aeneas, commits suicide, but according to fate, the queen of Carthage was supposed to live longer.

In “Fatalist,” Lermontov’s characters come to the conclusion that predestination exists—the pistol was loaded, and yet Lieutenant Vulich remained alive. At the same time, the “strange imprint of inevitable fate” that Pechorin imagined in the expression on Vulich’s face actually turns out to be a harbinger of the officer’s tragic and absurd end at the hands of a drunken Cossack.

The very title of this chapter of the novel is associated with the idea of fate, fate: a fatalist is a person who believes that the events of life are predetermined. But, in addition to the problem of the existence of rock, Lermontov touches on the theme of the confrontation between man and fate. Reflecting on predestination, Pechorin believes that “true pleasure” “is met by the soul in every struggle with people or fate...”. Of course, it was precisely the desire to experience such pleasure that pushed him, “like Vulich,” to “tempt fate.” The heroes of myths also resisted fate: but the difference between them and Lermontov’s heroes is that mythical heroes often knew what awaited them, but nevertheless went towards fate. As for Vulich and Pechorin, they do not know what awaits them. “Do what you must, what will happen, what is destined” - this is the position of the ancient heroes. In Lermontov's novel the situation is fundamentally different: the heroes enter into a kind of game with the unknown, but not because it is necessary, but for the sake of thrill. And yet the motif of fate weighing heavily on a person sounds powerfully in “Fatalist”: “... Apparently, it was written like that in his family!”

The motif of fate is also invisibly present in Lermontov’s poem “Song about the Merchant Kalashnikov.”

Don't pour wine over the heart of a roast,

The Black Duma must not be spoiled! —

Oprichnik Kiribeevich, who fell in love with someone else's wife, sighs fatalistically.

But he could well have found himself a rich and noble bride - there would hardly have been any parents who would have refused to marry their daughter to the Tsar’s favorite. I would live for my own pleasure with my young wife, enjoy the royal favors and not know grief! And Stepan Paramonovich with his Alena Dmitrevna could live “happily ever after” - yes, you know, fate...

And the little head is mediocre
She rolled onto the chopping block covered in blood.

A clear allusion to fate, which in folk poetry was often called “talan”. “Talentless little head” - as if Stepan Paramonovich, as a mythical hero, had a sad end predetermined in advance. However, his opponent also had an unenviable fate. And the beautiful Alena Dmitrevna, a faithful wife, whom men stare at - she also had a sad fate:

In this wide world I am an orphan:
My dear father is already in the damp ground,
My mother lies next to him,
And my elder brother, you yourself know
On someone else's side he went missing,
And my little brother is a little child,
A small, foolish child...

Evil fate also takes away her husband, her only protector.

However, it should be noted that the poem contains not only the motif of fate, but also the theme of a person’s free choice. Even though Kiribeevich fell in love with Alena Dmitrevna against his will, he is, of his own free will, trying to achieve her reciprocity, which is contrary to the laws of God and people. And Alena Dmitrevna of her own free will chooses loyalty to her husband. Stepan Paramonovich's decision to meet Kiribeevich in a fist fight is also his own decision.

Willingly or unwillingly
You killed Movo's best servant,
Movo of the best fighter Kiribeevich? —

the angry tsar asks menacingly, and Kalashnikov honestly answers: “I killed him of my own free will.” Both the reprisal against his opponent and the merchant’s sincerity before the Tsar, in whose hands his life is, is Kalashnikov’s free choice. But, on the other hand, is the choice of Lermontov’s heroes so free? In ancient Greek myths, heroes always have a choice, but they inevitably follow the destined path. Everyone chooses in accordance with their beliefs, character, and value system. Kalashnikov’s high moral ideals triumph over his “lack of talent”: having completed his earthly journey, he lives in the memory of the people. Kalashnikov boldly faced the gaze of fate, firmly believing that he was doing as he should:

“What is destined to happen will come true;
I will stand for the truth to the last!”
The poet is dead! - slave of honor -
Fate has reached its conclusion! —

Isn't there a certain similarity of motives? And again fate... The author clearly shows that this fate is the work of the people surrounding a person who is exceptional in his talents. But where does such an unfair attitude towards talent come from? The envy of ordinary people, their gloating at the sight of the misfortunes of a genius, the desire to humiliate him, to interrupt his flight, to trample him into the dirt - what lies at the basis of this? And this gift itself, mysterious and fatal - where does it come from?

Since the eternal judge
The prophet gave me omniscience...

Lermontov does not give unambiguous interpretations of what fate is. And who has the right to give them? Its eternal motif runs through the work of the great Russian writer, like a sad and majestic melody, and everyone catches in it what is in tune with his soul.

In the 30s of the 19th century there was an “era of timelessness”. Historians say that it occurs when one social idea leaves, and another does not have time to form. Lermontov, being a poet, did not indifferently perceive reality and expressed all his thoughts and experiences in poetry.

Subject fate of a generation is present in the poet’s entire work, including his lyrics. One of the main poems related to this problem can be considered "Duma". The name itself, meaning reflection, tells us about the genre of this work. The personal pronouns used by Lermontov (“our”, “we”) imply his belonging to the generation about which he writes: because a person cannot be free from society. With the help of the words: “I look sadly at our generation!”, we understand the author’s attitude towards his contemporaries; he is not indifferent to the society around him. After reading these poems, we can accurately characterize the poet’s generation. It is cowardly and cold (“... it will grow old in inaction”, “... and life already torments us like a smooth path without a goal...”, “... pleasing neither our taste nor our eyes...”, “And we hate, and we love accidentally"). The poem also helps us understand the social affiliation of many of Lermontov’s generation (“We are rich, barely out of the cradle...”), their moral position (“... In the face of danger they are shamefully cowardly and in the face of power they are despicable slaves,” “They are shamefully indifferent to good and evil, in At the beginning of the field we wither without a fight..."). These people have “dried up their minds with fruitless science,” they are bored with the activities that their ancestors liked, they are not pleased with either poetry or art, they are unhappy. To sum it up, the poet considered it right to pronounce a sentence at the end of his work, which the generation around him turned out to be worthy of:

This means that these people did not leave behind a trace, new discoveries, good deeds, they lived an empty, thoughtless, windy life, and because of this they will not receive any reward from their descendants.

No more harsh characterization is given to the generation in the poem “How often surrounded by a motley crowd...” .- in both the first and second poems, the poet emphasizes the insensitivity and callousness of people. The lyrical hero hates such a society, he is uncomfortable in such an environment.. At the end, just like in “Duma,” Lermontov addresses the generation and already menacingly, without hiding his indifference. This speaks of Lermontov’s incompetence with the fate of his generation, about his caring and the desire to change people.

In many other verses, we can also find mentions of this problem. For example, in "Both boring and sad" ( “And life, as you look around with cold attention, is such an empty and stupid joke...”), in “ Poet"

Word and poetry have always served as weapons, so Lermontov resorted to such methods, trying to reach the people who make up society and the rulers who rule their people. The poet portrayed his generation as he really saw it, and wrote what he felt, which is why his poems turned out to be so sincere, filled with concern for the future generation of Russia.

The great Russian poet Lermontov can rightfully be called a poet past and present. The historical theme, the theme of the change of generations, morals, traditions, foundations is one of the most important in his work, and if in the representatives of past generations he saw a role model, an example of strength, courage, patriotism, great ideas and active pursuit of a goal, then contemporary , and even more so future generations caused him doubts and sadness.

Lermontov's historical themes are led by frequent and disappointing reflections on the fate of his generation. The poet is called and beckoned by “the giants of centuries that have passed”, since in his contemporary life he does not see any strong people, no decisive actions: - Yes, there were people in our time, Not like the current tribe: The heroes are not you! But the author does not at all blame the younger generation for passivity, apathy, and pessimism. This is not a fault, this is the tragedy of a generation that had to live in difficult, unstable times. After the defeat of the Decembrists, almost any activity became impossible. In this regard, a natural desire appears in people to withdraw into themselves, to escape from real life into the world of dreams and fantasies. Lermontov himself belongs to this generation, because his works most often are not the reasoning of an outside observer, but the revelations of a person who experiences all the contradictions and difficulties of the time. Young people, Lermontov's contemporaries, are mostly smart, educated, talented people with a warm heart and a desire for freedom and happiness. But in the poem "Monologue" the poet writes how all their noble impulses are extinguished under the burden of a cruel life, a cruel age:

What is the use of deep knowledge, thirst for glory, talent and ardent love of freedom, when we cannot use them? Like the winter sun on a gray sky, So cloudy is our life. So for a short time Her monotonous flow... And it seems stuffy in the homeland, And the heart is heavy, and the soul yearns... Knowing neither love nor sweet friendship, Our youth languishes amid empty storms, And quickly the poison of anger darkens it, And the cup of a cold life is bitter for us; And nothing pleases the soul.

The image of those whose youth languished “in the midst of empty storms,” whose short, monotonous and cloudy life is like “the winter sun on a gray horizon,” serves as a reproach not only to the generation of the poet’s contemporaries, but also reality itself killing any high aspirations and dreams.

In 1841, Lermontov wrote his last poem “ Prophet". The theme of this poem is the high idea of the poetic calling and the misunderstanding of it by the crowd. The sublime theme of the poet's public service is clearly expressed in the image of the Prophet, inspired by a lofty idea and ready to renounce all earthly goods in the name of serving this goal. The prophet sees what the common man cannot see:

The poet was also worried that in this soulless world the high purpose of poetry was being lost. The fiery lyre can no longer penetrate souls engulfed in the deadening cold. The poet, prophet, God's chosen one is doomed to misunderstanding and oblivion

In his poems dedicated to the fate of the generation of the 30s of the 19th century, he regrets that the best forces of his contemporaries are dying. But he also condemns them for inaction, predicts them an inglorious death and contempt

Throughout his life, Lermontov was haunted by an overwhelming feeling of loneliness. The early death of his mother, tragedies in his personal life - all this left an indelible mark on the poet’s soul. In addition, Lermontov was a romantic poet, and in romanticism the motif of loneliness is one of the main ones. It is not surprising that the theme of loneliness in Lermontov’s work is considered one of the main ones. Its sad motif runs through almost all of his works.

In his famous poem " Death of poet" , which was a kind of memorial response to the tragic death of the unsurpassed Pushkin. Lermontov boldly, without ambiguous hints, expresses his opinion about the secular “crowd”, about its passions and desires; in fact, he accuses her of murdering the great poet:

And you, arrogant descendants of the famous meanness of the famous fathers,

With the heel of a slave trampling down the wreckage with the play of happiness of the offended births!

You, standing in a greedy crowd at the throne, executioners of Freedom, Genius and Glory!

In this and his other poems, Lermontov seems to separate his lyrical hero from secular society. He is incomprehensible and bored by the tinsel of the world, its empty “polished” conversations, balls, dinners, gossip; Among this noisy, serene crowd, Lermontov’s lyrical hero does not find anyone who could understand him, he is lonely and incomprehensible in the world:

For the lyrical hero Lermontov, there is no happiness in love either. Through all his works devoted to this eternal theme, the motif of loneliness inextricably follows. The poet’s lyrical hero in love is accompanied, for the most part, by betrayal, deceit, betrayal and bitter disappointment:

Loneliness does not leave the poet even when he is in love and his feeling is mutual. This is his tragedy. The motif of loneliness is also present in Lermontov’s depiction of the generation around him: “I look sadly at our generation!” ; This is what the poet’s lyrical hero says about him. With bitterness, Lermontov discovers that basically the generation is becoming the continuer of the traditions of their fathers, the essence of which lies in secular “parties”, careerism, hypocrisy and servility. Indifference and inaction are what the young generation around the poet lives by. All of Lermontov’s work is filled with pain for his fatherland, love for everything that surrounds him and longing for a person close to him in spirit.

And the fate of the poet in the lyrics of M. I. Tsvetaeva

The collection “Evening Album” was published when the poetess was 18 years old. It included youthful poems showing the development of the author’s creative individuality. They did not reflect historical events in the country, only the world of the soul, its aspirations and hopes.

Along the hills,

Together with the dawns,

With bell towers...

The poetess was convinced that a poet is the creator of a huge world; he must always remain himself in order to tell people something intimate, hidden from them:
We know, we know a lot

What they don't know!

In the poem “You, Walking Past Me...” Tsvetaeva talks about her dissimilarity from ordinary people, and the motive of contrasting the poet and the “crowd” arises:
You walking past me

To not my and dubious charms, -

If you knew how much fire there is,

How much life is wasted...

How much dark and menacing melancholy

Now walk around the world

Wherever you want, God is with you...

Akhmatova’s style is distinguished by restraint, lack of pretentious details, and a small number of metaphors. The focus on spoken language gives the poems sincerity and sincerity. Akhmatova in her poems adheres to the principle of clarity and specificity of details. In many of her works, the poet used folklore stylizations, apt and precise folk expressions.

Akhmatova’s lyrics are not outdated and now, just as human feelings cannot become outdated, they were and will be the pride of Russian poetry.

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LESHGRLD OSHNA LENIN AND OSCHEBA OF THE LABOR RED BANNER STATE USSHERS1GGET

As a manuscript

GRIGORYEVA Eleyaa Nkkolaeyaza

THE THEME OF JUDGMENT IN RUSSIAN CHIC OF THE FIRST THIRD OF THE LENTH CENTURY

Spadiality 10.01.01 - Russian literature

dissertations for competition scientific degree candidate of philological sciences

Leningrad 1990

The work was carried out at the Department of History of Russian Literature of the Leningrad Order of Levin and the Order of the Colorful Banner of Labor State University.

Scientific supervisor - Doctor of Philology, Professor V.M. Markovich

Official opponents - Doctor of Philology

Leading organization - Pskov State Pedagogical Institute

£ 063.57.42 for the award of the scientific degree of Candidate of Philological Sciences in Leningrad state university(199164, Leningrad, Universitetskaya embankment, II).

The dissertation can be found at Scientific library named after A.M. Gorky Leningrad State University.

J.S.Bilikkis

Candidate of Philological Sciences I.V. NekiroBsky.

Academic Secretary of the Council of the Caucasus of Philological Sciences

A.I.VVDSHIROV

I, "Lyrics of the first third of the 19th century" is a constant subject of attention modern researchers. However, the distribution of this B^f is distributed unevenly. So, the theme of fate, a very cherished one, and, as we will try to show, one of the most important for the larikha of this period, is not directly devoted to that one work. “We should talk about paired steps taken for the purpose.”, a number of Soviet literary scholars who lead the study of this topic: in the works of D.D. Blagoy, S.G. Bocharov, V.V. Vinogradoz, L.Ya. Gineburg, V. A. A. Grekhpev, G. A. Gukovskgo, A. M. Gurevich, E. E. Lobedkva, Yu. M. Yastman, G. P. M&kogoveshso, Yu. .S."."Eilakh, I.M.Seienno, B.V.Tomashevsky, I.M.Toibin, N.V.Frvdkak, L.G. Attribute, Yu.N.Chumakova and others bshga esveschonk philosophicism of some Russian poets of the early 19th century, clarified the arnnz of their artistic systems with these views.

Thus, the relevance and novelty of this study is determined by the need to establish what role “destiny” played in the lyrics of this period. It should be taken into account that in Soviet literary criticism the category “fate” was often “interpreted as a kind of poetic “pseudonym” for the socio-historical determinism of man ^. Reducing the shadow to problems of narrow roads impoverished it; the concept of “fate” became synonymous with “environment”, “everyday life”. The scientific - philosophical - aspect of it was not taken into account. Consequently, a new interpretation of the meaning of the topic being studied is required.

Objectives and parts of the work: I) to show that the lyrical theme of fate opened up for Russian poets the possibility of putting a person in direct relationships with the universal laws and elements of existence, 2) to reveal the nature of these relationships in different stages development of Russian poetry of the indicated period, 3) to identify the dependence of that other reaction of the conflict “man and fate”

1 See, ngpr.; Eerkovsky N.S. About "Belkin's Tale" // Berkovsky N.Ya. About Russian literature. L, 1985. P.55; Blagoy D.D. The fate of Batshkov//Eatishsov K.N. Essays. M.; L., 1934; P.7. An extreme expression of such views is the article: Makarenko A.S. Fate//Record of the 7th Dmurt Pedagogical Institute named after the 10th anniversary of the UAO. Izhevsk, 1955. Issue 10. C.22I.

from the principles of this particular poetic school, 4) analyze the individual forms of artistic expression of the theme of fate by different authors.

The theme of fate (like any other) can be presented in a poetic text as external, that is, as expressed lexically and even introduced as a certain motive of the lyrical theme (meaning, for example, the presence in the text of the image of Parka and Fortuna), but not affecting the main poetic meaning of this work. The theme can also become the main ideological core of the work, regardless of whether it is expressed lexically or not. In this case, we define fate as internal).

Considering that it is not possible to cover within the framework of the work all the lyrics of the period of interest, the author of the dissertation proceeds from the fact that the central figure of this stage in the development of poetry is A. S. Pushkin. And, recognizing this, he singles out several lyric poets whose work can provide a sufficiently indicative catalog for comparison with Pushkin’s lyrics within the framework of the selected: those:.sh. Such material must be given first. lyrical creativity K.N. Batyushkov and V.A. Chukovsky - predecessors and, to a certain extent, teachers of Pushkin. Studying the theme of fate in their lyrics makes it possible to describe the “stage” that preceded Pushkin in the evolution of the theme. And so that the conclusions that characterize this aspect of the work of Batyushkov and Chukovsky receive a broader historical and typological significance, a comparison with another poet of the same generation, but of a slightly different orientation, is introduced. The most suitable object for such a comparison seems to be the lyrics of N.I. Gnedich. Then the transition to the creativity of the poses of Pushkin’s generation appears. From them, those whose lyrics turn out to be an indicative “background” are selected; they revealed the originality of Pushkin’s solutions. For this purpose, a comparison with the work of E.A. Baratynsky, the greatest of Pushkin’s peer poets, as well as with the lyrics of the poet’s younger contemporary - D.B. Venevitinov, one of the founders of Russian philosophical romanticism. The choice of these two names seems all the more appropriate since we have two before us. nozta-sheligala different types, variously embodying philosophical themes. Consideration of Pushkin’s lyrics against this background allows us to predict

put the development of one of the most important philosophical themes of Russian poetry.

All that has been said is correct and the structure of this work. Sos-topg dissertation consisting of an introduction, three chapters and a conclusion. The volume of the main text is 135 pages, including 157 titles.

The importance of the work lies in the fact that its separate provisions and conclusions can be used during development general course and the summary of Russian literature is daring from the half of the 19th century and I have special courses devoted to both the work of some of the analyzed authors and the development of Russian lyric poetry of the indicated period.

Adrobadnya rabo.tn, On the topic of the dissertation1, a report was also made on the subject. conference of teachers of the Faculty of Science and Technology of Leningrad State University (1U8E) l at the postgraduate student seshgars of the Department of History of Russian Literature of Leningrad State University (IS8S). The basic positions of the dyassert-tsai are reflected in publications.

In this regard, the degree of study of the problem is characterized, the relevance of the research is substantiated, goals for the task of the work are formulated, and the tradition of developing the theme of fate, which has developed to early XIX prisoner

Trying to find a certain starting point in the development of these fates in Russian lyric poetry, the researcher inevitably comes to the work of A. P. Sumarokov. It is well known that the Russian XVIII century developed and cultivated the ancient tradition, finding in antiquity the ideal of human relations, an astatic and philosophical ideal. Naturally, in connection with this ethos, the transfer of the traditional anthologotesko2 picture of the world with its host of gods, sacred Rock, neugotlgalash Parkam into the lkrsheu of Russian classicism! Appeals to Rock and Parks turned into a kind of convenient clip by the middle of the 18th century. However, right up to Sumarokov, these concepts Fíe were filled with emotional meaning, not<5няя включены в мировоззренчески значимую область выражения поэтического "я", оставаясь лишь орнаментальной частьо поэтической формы, ели не проявлялась сколько-нибудь заметно (характерно, что в лирике Ломоносова практически

the word “fate” is missing).

Clips related to the theme of fate are found both in the lyrics of Sumarokov himself and in the lyrics of his followers. These are, above all, the stable formulas of the word “fate judged”, “evil fate”, “inexorable fate”, which will be encountered throughout the entire period of the development of art under study. However, in the opinion of the author of the dissertation, more significant in Sumarokov’s presentation and interpretation of the theme of baking is as a spiritual ode. It seems that Sumarokov’s spiritual ode to the hammer is taken as the starting point in the emergence of lyrical poetry proper in Russian literature.

The constant theme of Sumarokov’s spiritual odes is the oscillation of weak human consciousness between the fear of death, which is natural for a living person, and the Christian faith in the infinity of life beyond the grave. It seems extremely characteristic that the classicist poet does not dwell on the situation of open contradiction and, within the framework of one text, finds a way of harmonization, religious and philosophical overcoming of this contradiction. However, the authenticity of the emotional transfusion in the lyrical sphere of spiritual odes, the constant return to the recreation of the despair of the “death hour”, in contrast with the speculative logic with the help of which this despair is overcome, leaves the woman with an “open end”, the inexhaustibility of the contradiction. Disharmony in the human soul arises again, and will again be overcome by the Christian voice of the lyrical “I”, then resume again, and so on.

A similar picture is in the lyrics of G.R. Derzhavin. If Sumarokov found a solution to the tragedy in the truths of the Christian faith, then Deragyain offers a hedonistic option for getting out of the disarray. Monin. However, at the same time, just as in Sumarokov’s lyrics, the theme of the insignificance of man, the theme of the finitude of life, destruction and fear of the darkness beyond the grave in Derzhavin is constant and ineradicable. And if we consider Dernavin’s lyrics as a single text, then the tragic contradictions tearing the soul will end up in the balance of that garnishment, which is always carried out in a separate text of Dernavin’s “lyrics”.

The worldview of the classicist poet is characterized by two, still quite autonomous, levels: a certain absolute and in no way

the level of external forces of existence subject to man (God, Fate, the universal world law of lowering and death) to another - human - level, where the human personality now lives, suffers, rejoices and certainly submits to this law. Meida etsh/i twoya leveled! in the 13th century, still from the dramatic tension that would be characteristic of the romantic and romantic stages of the development of Russian lyric poetry.

First of all, we are talking about the fact that in his work Batakhkov creates a special world, which he contrasts with the real world. Poetic thought immediately goes beyond the limits of the concrete.

New social and everyday circumstances, and it is very clear that the world surrounding Batdas’s Dseg is often depicted as the world of antiquity, and the lyrical hero himself is “like some ancient personnel”*. The tradition of transferring the anthological picture of the gar into Russian lyric poetry is continued, but receives a different development. It is in this special bilosophical-poetical co.,! world and the tag “l of fate” unfolds, but Batyushkov’s interpretation of this theme does not coincide with the approach of other authors to it. Comparison

with an interpretation of the theme of fate in the lyrics of Theocritus, 1, "Osha, Bkoia, Tibulla, Cagulla, Propertsia and the tragedy of Aeschylus "Sweep the Chained" shows: if the latter's gods and fate are somehow correlated with ideas about justice and goodness, then in Batyushkov it The relationships between “fate - gods - people” in Eatmkov are always conflicting, although depending on the story, the intonation in the description of this conflict usually changes. Seriously, even tragically, on the contrary, the irony of the messages also permeates the theme of fate.

The theme of poetry also influences the interpretation of the relationship between man and fate. It is the poet who has the gift of poetry, which is not subject to it, who can resist fate. Opposition

* Semeshso I.Y. Poets of the Pulksha era: Batyushkov, EukovskpZ, Denis Davydov, Vyazemsky, Kuchelbecker, Yazykov, Baratynsky. M., 1970. - P.56.

“host - fate” sounds clearly in the messages, but in elegies it is only outlined, and only where fate is not directly named (elegy “Dream”), or in the din where the lyrical hero is placed in a special anthological story that embodied Batshkoz’s dream of an eternal accordion (elegy "Tavrida"). The exceptions are two elegies (“Bkzdoratenie”, “Elegy from Gibulla”), in which fate is currently hostile to man, but the power of love makes it possible to reconcile with him and prove, in essence, independent of his will.

Comparing this interpretation of fate with the poetry of the 18th century, one cannot help but notice that the topic has become more extensive, internally more sublime!: and more serious in essence. It now covers many facets of the human being, is associated with various worldview experiences - from tragedy to irony, becomes less conventional, more lifelike and philosophically responsible;;. Vagno, in particular, note that the very concept of “fate” never appears in Batyushkov’s poems associated with the Christian tradition. The previous forms of its mechanical combination with the ancient tradition (Sumarokov's lyrics) turn out to be impossible. The topic has gained depth.

Recreation of antique!-! The pictures of the shra and the incorporation of the lyrical “I” into this sr, apparently, were of decisive importance for this change. Transferring to the world of harmonic poetry, the poet’s personality gained inner freedom, rising above the entire system of “blue” social norms, etc. But the independent “I” found myself alone with the universal and eternal contradictions of existence and had to somehow withstand them indestructibly”; forces. The concept of fate and various options for a person’s relationship with it, in fact, became a form of searching for the spiritual “state” of the individual, and then they ate another version of stoicism (including hedonistic) - the basis of the lowly position she found for herself.

In Gneddch’s work, the idea of fate, just like Batyushkov’s, is associated with a reinterpreted ancient tradition. But if in the work of the latter the relationship “fate - gods - man” is always conflicts, in contrast to ancient literature, where such conflicts do not arise, then Gkedich sometimes puts forward something like a “third” option, revealing and at the same time trying to smooth out the conflict. Realized that fate is an omnipotent force to which people and gods are subordinate, the poet believes that man

With humility and patience one can reconcile with the highest reality of existence. Before ish.a there is another version of stoicism, the originality of which makes us recall the moderate, but very stable liberalism of Gpedgcha and such - e - vierevnok and stable - the nature of his hierokayatism.

However, the new turn is also in this case associated with the image of a poet who has freedom as a special destiny, due to the “gift of the gods” given to him from above - talent. Such an attitude towards the poet’s personality, his fate, clearly trumps any individual creative position. Its connection with the circle of “both ideas” of the romantic culture is obvious.

Chukovsky Kokno would be called the most consistent Christian among the poets of the Pushsk environment. We are talking, of course, about a Christian poet. At the worldview level, Chukovsky’s attitude to Boyao£ watta, the subordinate person, the spiritual hero, could be formulated in the words from “Svot.la!i”: “The good of the creator is the law.” Fluctuations between emotion?, a weak person and Christian duty (not imposed ardently, but deeply but sincerely accepted) are characteristic of the entire solution to questions in Chukovsky’s work. Adopting the position of a Christian led to overcoming the tragic situation of being subject to fate, which clearly undermines the development of those characteristic of the 16th century, especially for Sumarokov. But the purely rationalistic position of the lyrical “I” in Sumarokov clearly does not coincide with the irrationality of overcoming the conflict “man and fate” by Eukovsky’s lyrical hero.

In essence, all of D'ukhovsky's lyrical works are constructed according to the same pattern: torn by contradictions:..., restless human creation and the poet has led to such a point of detachment from human passions, to such penetration into the depths of the world, to such a merging with the "duda" nature, that a person is able.! to comprehend God, to listen to him, to feel the secret meaning and harmony of the world order. : after all, having reached it, the arc remains in the realm of the absolute. Then the soul is able to understand the secret of the secret of existence, and the holiness of fate is revealed to it.

I will take it from him: it was created by the contradiction between God and the judge. The holiness of God determines the holiness of fate. This removes the contradictions from which?.z! The independent personality that she had acquired was confronted by her inner self.

The further evolution of the matter is discussed in chapter two, “Tet of Fate in the Lyrics of V. A. Baratynsky and D. V. Venevitinov.”

In Baratynsky’s game of the 1820s, fate turns out to be a very bad thing for the poet’s painting of caviar. Changes in the interpretation of the theme, as a rule, are connected, as was the case with the poets of the previous generation, with brand differences (this is the case when moving towards extra-language lyrics), so we can highlight some shades in its development, connected with the image. puppy to one or another poetic tradition.

Focusing on this approach, rethought by the “older” generation of poses of tradition, Bargyaisky introduces the theme of “evil fate”, which he combines with the theme of autocratic gods, and God and fate are completely hostile to man. Thus, the concept of the trachy relationship between man and fate is sharply tightened in comparison with the lyrics of Batyushkov and Gnedich.

3 In the spirit of Christian ideas, Baratynsky introduces the categories of Conduct, however, he decisively rethinks this too. Baratynsky, in essence, is even more distant from the earlier traditions. has escaped interpretation by those other than Batyushkov: ancient and Christian images are only a convenient form for him to convey a tedious, deeply original thought to a poet. The interpretation of thea put forward by him - with all the diversity of its turns - is difficult to connect with any tradition.

The main twists of the plot are connected with Baratynsky’s attitude to human passions. Baratynsky elevates reason, with which for him the categories of truth and peace are associated. In this state, the poet considers it possible to wisely reconcile with fate and follow its spirit. In this context, submission to fate does not prevent the poet from feeling his freedom, which in his mind is associated with creativity and intellectual wisdom. But true happiness is impossible for the poet if he renounces human feelings. Fate is not, if you look at it from here! point of view is an evil, mocking force, the raerushetja of a person’s illusion, taking away the sincerity and spontaneity of feelings. She is a performer

the cruel law of “measure for measure”, which poisons the lady from the few joys that befall a person. Although it endows a person with “golden dreams” at the beginning of life, it is impossible to achieve true happiness on earth.

Baratynsky sees the sphere of the hostile influence of fate on a person’s life as much wider than the poets of the more harmful generation imagined it. For Baratynsky, fate is no longer only a force external to a person; in the power of fate - the spiritual gaze of the individual. The category of fate acquires the total, absolute, i.e. in other words, a truly romantic meaning.

The development of the theme of fate in Venevitinov is connected with the image of the “poet-priest” that arose in his work. Unlike Batyushkov, Gkodich and Baratynsky, Venevitinov believes that since it is fate that gives a person a poetic gift, a person will not be grateful to her. However, this thought is not an expansion of the tragic contradictions associated with the theme of fate in Russian lyrics. Harmony appears to Venevitinov in the life of the “poet-priest,” but this harmony is incomplete, and a person who is not gifted with poetry is truly defenseless and unhappy in this world.

In the interpretation of the theme of fate by Venevitinov and Baratynsky, especially in the latter’s lyrics, a fully defined romantic position emerges. This common feature of two different “poets of thought1* distinguishes them both from the ancient poetic generation. Here the difference between Bochev and less rationalistic options is revealed (the dissimilarity between Baratshyukm and Venevitinov seems to repeat the dissimilarity between Batshkozsh and Gnedich). But the common features of each of them two generations are undoubtedly more important, and their composition leads to the conclusion of the strengthening of romantic maximalism and romantic tragedy in the development of the theme seems natural: by all accounts, by the mid-1820s, such an independent personality was taking place in Russia. culture stage of crisis,

Every generation of poets understands the tragic situation of man in one way or another, and at every stage of development of the conflict “man and the world” an option for overcoming arises: even if

easing the severity of this conflict. Rationalism of the 18th century lyricists. replaced by increasingly irrational!) positions of their followers;!, although the “memory” of this rationalism is palpable, with all the differences, in the resolved themes of fate in poetry. Gnvdacha and Venevitinova. It is significant that the most significant representatives of Russian philosophy do not follow the traditional path of overcoming the contradictions of human existence. The very nature of the lyrics of Eatshaoya, Euki whom and Braginsky seems to resist. tubes:: rational cuts:. The very character of this lyricism is largely determined by such a concept of personality, which excludes adjectiveness from rationality. Moreover, it was precisely the irrational element that turned out to be concomitant with the great Russian literature in general; it became the basis that determines the type of art that we call lyricism.

In the third!? The chapter of the dissertation “The Theme of Fate in the Lyrics of A.S. Puaklna” traces the evolution of Pushkin’s lyric poetry in a selected aspect.

Ranchiy Pushkin and Chukovsky coincide in the non-dramatic toso solution of the theme. fate, but the reasons for these decisions are completely different. For Yeudovsky, this is faith. It was not during this period that Pushkin accepted execution so much that all its manifestations were attractive to him.

We will not find such complete acceptance of iizsh: sh te: among one of Pushchin’s contemporaries. It seems that such an interpretation of the theme in Pushkin’s early work, on the one hand, is determined by the embrace of the laws of the lapra of a friendly message (the great Pupkin is the supreme author of messages), a mantra that creates a special harmonious world, which is, to one degree or another, stolen from the rule of fate. On the other hand, it was undoubtedly the result.! features of the worldview of another Pushaya. However, in X8I9, the poet’s worldview changes. S elegiac creativity of the first half of the 1820s. Pushkin approaches a brightly romantic interpretation of the theme; The contradiction between the ideal and reality is usually very acute, and achieving the ideal seems impossible. The development of the concept now turns into finding some variants of the precarious balance that the individual strives to achieve in order to make his existence tershglii, naigi in gshzai values, ways to, if not, shelter a person from the wolf of fate, then at least partially shield him from this oppressive one.

destructive force.

However, until 1821, April messages still remained the area where irony and lightness are given, and where the tones of fate are still colored by gloomy optimism, the glorification of sensual joys (“From a letter to Gnedich”, “V.L. Davvdov” , "Yuryev" -1821). The peculiar completion of this transition period, which is characterized by the “batkikovekky” principle of ranpoBoii development of techs, could be seen in the philosophical message to “Chaadaev” (IB2I).

In “October 19” (1825), fate appears as a force hostile to the poet and his friends, but somehow overcome. The poem includes the romantic I am presented.™ about fate, which was found among Pushkin’s contemporaries. But this idea consults with the where oh of the world order, semantically close: "objective:,! laws of being. Pushas perceives them as a given, which does not negate the effort to penetrate into the meaning of these laws. The search for meaning is marked by the pashka motif in the interpretation of the theme of fate, the development of which begins in the poem “The gift was in vain, the gift of chance” (IS20). Having reached the absolute “minus” of disgardanzp, denial, Puikpp finds the possibility of some kind of harmonization, the ability to balance this “minus”, but canceling it completely. "is opposed to the "Demon", the poem "In hours of fun or idle boredom" is opposed to the poem "A vain gift, an accidental gift." And in the poem "Am I along the noisy streets" (1329) Putin introduces a different point of view - not personal, but universal , introduces a universal, global scale, and from this position the possibility of harmony is visible; less from the point of view of an individual person, the world order can still appear as chaos (“Eesn”). This is how the difference between two scales of perception, two, appears. its starting points, which in turn turn out to be either the eternal and endless renewal of humanity, or the final and irreversible life of one person. This difference turns into a contradiction that cannot be resolved within the framework of Pushkin’s worldview that had developed by the early 1930s. Well, these frameworks are becoming shy for Pushkin, and the search for a way out has begun. One of them opens up behind the lengths of the lyric, and it turns out to be necessary to study this opening of the norm, so that its impossibility within lyric poetry becomes obvious and, therefore, the inevitability of the subsequent turning point in auaki-

skoya lyricism.

“Multiple point of view” determines the interpretation of those fates from reasgstpcheskkl rog.ane “Engeshy Snegik”. The novel contains various options for relating to fate, similar to the lyrics of Putin’s porn, but in a single, integral work, the variety of options acquires a certain artistic consistency. At the level of heroes, fate appears as a non-durable, discouraging force for man, which has nothing to oppose, and at the level of the author-posture as one of the forces of existence, ultimately arranged harmoniously and wisely. And shzsgs with this, before the confusion, there is a hierarchy of true and loky points of view, and: a sort of “double” truth, grouping together the multiplicity of real values inherent in the human consciousness and in the very nature of man (the author-poet is not separate some kind of impenetrable grant from the "ebshshovekyankh" characters of the novel). As a result, a new, multifaceted and dialogically unified interpretation of the theme of fate arises, which does not lie in being expressed in a certain form and in some relatively completed narrative. "Eugene Onegpa" emphasized the interaction of various values - the multiplicity of points of view, expressed in the polyphony of the narrative, and the objectivity of the development of the novel's inveterance, testing the value of various concepts of the fate of a person. This achieves a kind of “condensation” and at the same time a transformation of the traditional lyrical tag; The lyrical theme itself is doomed to a completely different kind of transformation. The theme is brought to the fore in a new “round”: after 1830, the word “fate” leaves Pushkin’s lyrics. In the lyrics, the theme continues to sound unnamed, for the release of the poem written on the Lyceum anniversary of 1836, which simply repeats the traditional, official attitude towards fate as an objective world order in 1835.

Late Pupkyak, answering the question about the place of man in the world, comes to the ethical program of Christianity, and Christianity is by no means orthodox, being in this respect the predecessor of Dostoevsky and Tolstoy. It was the Christian theme that replaced those of fate in Pushkin’s lyrics. WITH&"<;а возможность подобной замены представляется свойством с;тубо пушкинского кара. Характерно при этоу, что замену пвбозмоезо объяснить лишь

reason",31 aesthetic, artistic properties, since the realistic method developed in Pushkin's philosophy earlier, already by the beginning of the 1830s. Following the evolution of the concept of "fate" and its disappearance, we will inevitably come to the conclusion that both motivated by the worldview level of Putin’s creativity.

In the "Conclusion" the question is raised about the poetic way of expressing the concept of fate, about the relationship between the form of expression and the plane of content behind this concept, about the issyurk-tshtological characteristics of various refractions of fate.

In many texts of the 18th century, where the volume of fate has a direct verbal expression, this concept is expressed in allegory. However, when such a theme becomes the internal theme of the poem, then fate, which determines the life and death of a person (Sumarokov “The Hour of Death”, Dorgyavzn “On the Death of Prince Meshchersky”), ceases to be an allegorical image and if it remains a trope, then a trope of a completely different nature. Fate turns into a cultural trope.

The artistic embodiment of themes in Sumarokov and Chukovsky is carried out in different ways (fate-allegory in Sumarokov and Oortuna-metaphzra in Chukovsky), but the development of the internal theme in the two authors coincides in the semantic result. The only explanation for this coincidence is the ideological, ideological, religious proximity of the two lyrical “I” in different poetic systems. On the other hand, overcoming the main contradiction to which the development of the theme of fate in Sumarokov and Chukovsky leads (the contradiction between life and death) still occurs in different ways. The concept of “fate” is deciphered in both poetic worlds in the same way (fate is a hundred-great Providence), but what is given as rational truth in Sumarokov is comprehended and poetically justified as the highest stage of the spiritual path of the lyrical “I” in Chukovsky: retagakpo God - irrational by nature, it is not for nothing that knowledge of the truth and the path to harmony is important for Zukovsky, but a state of mind, a sense of the harmony of the world order, a sense of the holiness of fate,

Another typical version of the solution to one’s fate can be seen in your honor by Derkavyap, Batyushkov and the early Pushosh. Conventionally, this version of Mocha can be called anthological, since it is associated with the ancient tradition. Within this variant, the concept

“fate” is filled with content not by Christians, it is personified in the image of the goddesses of fate, and becomes part of the ancient world map.

The poetic play with the concepts of “fate” and “fate”, the ancient images of “Yortun”, “Bark”, which is part of the allegorical style of Dersvlv, can be found in the texts of his lyrics. But where the tag/a of fate becomes the internal theme of the text, it is again ae, as in Su. .rokova, outgrows the framework of allegory, fate turns into a philosophically blue category, into a throne, which originated in the cultural tradition and takes its toll in the worldview of the ancients.

In Bashzhov’s anthological lyrics, tin fate is featured not as a trope, but in a direct and absolutely serious meaning. “If the concept of atom is a trope, then again it is of an artistic, but a cultural level. Determining the nature of a trope is always identifying the connection between the concept and the method of its expression In this case, its primary question is in whose consciousness this connection exists “Pure” Batgashyu lyrics, where the “I” of his lyrical hero is thought of as “persons of antiquity” and where, in one way or another, the ancient worldview is intentionally recreated. makes it possible to interpret one of the fundamental concepts of this worldview - the concept of “fate” - outside the laws and framework of this worldview Tai “creates a special tension of the theme. While the traditional content of the concept of “fate” is completely unchanged, the attitude of the lyrical hero to this concept is already equal to the ancient one. tradition. At that time, it is not individual, it is given as universal, and the eye turns at that level of universality, where it immediately becomes a new worldview and loesch tradition.

Less significant is the dependence of the attitude towards fate on genre conventions. That hedonistic reality that Derzhavin sang in the ode “On the Death of Prince Gudersky” seems to be repeated in the world of the friendly message of Batashov and early Pushkin. Why is the freedom of Pushkin’s lyrical “I” in this special sphere incomparable with batvshkokzho?:. Explaining its nature by specific kanra laws is clearly not enough. In the end, only the features of the general structure of his worldview can explain the absolute freedom of the lyrical “I”, which revealed

is analyzed by analyzing the pleasures of fate in the work of the young poet.

The next example of the solution to this problem - conventionally the groove of its romanticism - is presented in the works of Baratynsky, Venevitinov and in the poetry of Lushsin - the first half of the 20s. Fate becomes an integral part of the romantic conflict. It is characteristic that then the possibility of poetic play with concepts practically disappears; the appearance of the word “fate” is a signal of the serious ideological significance of the text. And therefore again (although now for other reasons) it is impossible to speak in terms of expressing this concept with any kind of poetic trope. L.O. Losev, speaking about the character of myth, essentially gives a description of a cultural symbol1, which, from our point of view, is the romantic concept of “fate”.

And, finally, a purely Pushkin Eariat of technical development arises. One of the properties of the thin world of the mature Pushkin is the fundamental impossibility of understanding any kind of thing as completely independent and not inextricably linked with the infinite! number of other topics. Realizing, therefore, some methodological limitations of the result of the work done, we believe, however, that it is important to say that the results in their own way bring us closer to the understanding of Pushkin’s method and explain the disappearance of the topic as such. If the romantics are characterized by an obligatory hierarchy of high and low in the definition of a person, then the realistic understanding of personality is characterized by a strict gradation of life and life: the outside is seen in the low and vice versa. The recognition of fate as unconditionally determining a person is impossible in such a new concept of the world. Fate here becomes the equivalent of the idea of an objective world order, and, having achieved such symbolic significance, it also loses ideological significance and leaves Pushkin’s lyrics until the end of his work on “Eugene Oleg-

"Thus it turns out that the theme of fate, interacting with the goals of kokplokend other themes (friendship, love, happiness, peace, the purpose of the poet, etc.), passes through the ruoska" lyrics "golden-

1 Losev L."?. Dialectics mp§a// Experience: Literary-£sh;oso";.s1p;L collection/Responsible genus L.V. Gulnga. M., 1350. S.Sh-170.

of that century" sometimes feeding its social" problematics, but most of all and most often - universal philosophical problematics. The existence of a theme in the poetic text of this era was not just one thing: the theme can be part of the poetic play of one or another author, but in the form formula, clip, established state. But where it becomes emotionally and philosophically significant, the very concept of “fate” in some way goes beyond the rages of art and history.” “I am a trope of a cadtextual, general cultural level, and the motivation of certain developments of a theme is not reflected within the author’s artistic system, but rather goes back to the ideological level of his conscience. The evolution of the people was directly related to the changes that arose at this level, and, judging by everything:.y, was directly related to the approach, passage and exit from the romantic stage of development of Russian cultural consciousness as a whole. It was the breath of romanticism, the eco-romanticism of the theme of fate, that gave it real tension. When they were exhausted, the topic gave way to others or was transformed into others that were close to it in level and function. This development marked a necessary stage in the formation of personal identity in Russia and, once completed, forever retained the stamp of its uniqueness.

On the topic of the dissertation oggtbtakivakn stge.tshite work

1. The current of fate in L1fik L.S. Pushkin I8I3-I830 // Weight behind the Leningrad State University: Ser. history, language, literature L., - 1935. - th 23. -S. 89th

2. Romantic lyrics and the novel by A.S. Pushkin “Eugene Onegin” (theme of fate)//Dalectics of form and content in language and literature. - Tbilisi: Kzd-vo Tbilisi Univ., 1986.- P.37-39.

3. On the characteristics of romanticism by E.A.Barag,ynsky//Problesh "references in language and literature. - Tbilisi: Tbilissk Publishing House.

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