Why is the elegy of the sea related to romanticism. Elegy "The Sea" as a romantic work (Vladimir Zhukovsky

(Zhukovsky. "Sea")

We usually talk about romanticism in the 8th or (under unfavorable circumstances) in the 9th grade. And it begins with a lecture, since I do not know of any textbook where everything that is needed for a full-fledged work would be intelligibly written about romanticism. Of course, the 8th grade is no longer the 5th, but the recording of the lecture still has to be furnished with a variety of methodological “techniques”. To begin with, to inspire, saying that the ability to record a lecture is necessary for every student, and this will no longer be taught at the institute. Promise that the quality of the recording will be checked and the score will go to the magazine (let it be all good marks - it's not a pity). Write on the cover of your notebook “Keep 5 years” (because of the importance of the information for upcoming exams). During the lecture, I usually pronounce each thought separately (if asked, twice, but at least three times), but I don’t dictate, but I give time to write it down in my own words, so the lecture can take up to two lessons.

At the next lesson, I will definitely conduct a written survey on the main theses of the lecture (also a column of marks, also usually good). I do not regret the time, because in romanticism you really need to understand a lot: romantic duality(in fact, the main distinguishing feature of the direction: “romanticism is a mirror”), the infinity of the human soul as the main artistic discovery (“romanticism is the soul”); way of depicting this infinity: road, sea, sky, stars(“all romantics are from the big road”), love for exotic and distant countries; conflict of the worlds(external and internal, dream and reality); romantic hero(a stranger who carries the key to other worlds), his right to be at least a romantic villain - if only not a philistine, living in only boring reality(hence, by the way, the inapplicability of the expressions “positive” and “negative” hero follows - this is the view of the classicists); the unattainability of a romantic dream; creativity as a “normal” state of both the human soul and the world; spontaneity (organism) of these creative forces; hence the demolition of the entire rational aesthetic system of classicism, artistic experiments, including stylistic ones; interest in folk (also spontaneous, not classical) creativity, folklore, national historical past.

One detail needs to be mentioned. An adult philologist knows that the term “romanticism” is commonly used to refer to both a literary movement that has a limited time frame (the end of the 18th - the first third of the 19th century), and an artistic method that was in demand more than once and later. There is also such a theory: the whole change of artistic trends can be considered as alternations of “romanticism” and “realism” in the broadest sense. Schoolchildren are completely uninterested in delving into the subtle differences between method and direction (is it necessary?). But still, you have to talk about them before asking homemade the task. It looks like this: among the books you read, choose the one that you would attribute to romanticism (in the broadest sense), and prove your opinion based on theory. Verification sometimes takes place in writing - after answering my questions on the lecture. The guys often write about fantasy, because this genre is always built on two worlds, and in general exploits a lot of romantic artistic solutions. I never object to such examples - if only there were evidence. But after this theoretical digression, we must move on to Zhukovsky, in particular, to the elegy "The Sea", which was even submitted to the Unified State Examination.

First task.

Write down all possible, from your point of view, interpretations of this poem.

If the task is not understood in this form, you can ask differently: “Name the main characters of this poem. Try to determine what is “hidden” behind these images.”

If the work takes place in the classroom, then each task will have to be given a small, strictly fixed time (two-three-five minutes). As soon as the time runs out, we put the “names” of the main characters on the board: the Sea and the Sky - and briefly write down the interpretations of these images proposed by the class. You can start with the student who has more such interpretations. The task, oddly enough, was able to complete even the weakest class. Interpretations were offered such.

This is a landscape, the relationship between two natural elements is described here.
- This is the relationship of two people: one is loving (Sea), the other is beloved (Sky).
- This is the human soul (Sea) and its relationship with God (Sky).
- This is the story of the author himself (the lyrical hero), which he did not want to tell directly and portrayed through the landscape.
- This is the story of any person, every human soul, because no one is happy and calm all his life, everyone has the experience of storms and suffering.

Thus, the "collective mind" of the 9th grade gave a fairly complete and deep interpretation of the elegy.

The task is the following.

Find features of romanticism in these verses and write in your notebooks (for a while, who is more).

The answers looked like this:

There is a dual world in the verses (two elements and two interpretations: the history of the elements and the history of the soul);
- The sky is the unattainable dream of the Sea;
- the very images of the Sea and the Sky are loved by romantics (for infinity);
- strong, stormy feelings inherent in romantic heroes are described in the verses.

And again we got quite a qualified analysis, using the element of competition. In addition, it is pleasant for everyone to feel smart and educated, to see how an abstract theory suddenly helped to discover unexpected and interesting aspects in poetry.

Next, we need to turn to one more term - elegy. It is especially easy to introduce if the class knows and loves Tolkien (The Lord of the Rings is often described as a work built according to romantic laws). I tell you that most of the genres came to us from ancient Greece and Rome. And an elegy from an even more distant distance - from Babylon. But in general, almost every nation has a similar genre: a long song, originally part of the funeral rite. In the elegy, the singer recalls all his life, all the exploits of the deceased with a piercing feeling: it was, but it will never happen again. Tolkien buried King Theoden in this way: he will never jump on a horse, he will not raise a sword, he will not lead his people to battle, he will not drain the cup at a feast (he will not smoke a pipe ...). The very first elegy that brought fame to Zhukovsky was called “Rural Cemetery” (we talked about the fact that this is a translation earlier, in the “biographical” lesson). She is full of this regret for a life that has been lived irretrievably. But in romantic elegies, they regret not only the irrevocable life. By this time, the elegy is no longer a funeral song, but simply a sad poem in which one can regret the past youth, for example, or the departed love.

What does the lyrical hero of the elegy regret in "The Sea"? After all these clarifications and a brief note, one more question about the "Sea".

The answers looked like this:

About the inaccessibility of Heaven;
- about the lost harmony of relations.

Further work with Zhukovsky's lyrics (in particular, the analysis of the language) will be based mainly on ballads and on the passage "Inexpressible" (this is a topic for another article).

“Full analysis” of a literary text

(Pushkin. "Demons")

In the dispute about the “personal” and “philological” approach to school literature, that famous “complete plan of analysis” from T. Brazhe’s collection “The Art of Analyzing a Work of Art” managed to become an example of a soulless approach that kills any book in children's eyes. The author of this plan, of course, compiled it with a completely different goal and did not at all insist that each book be studied according to this once and for all “approved” scheme (and even just the opposite: the collection contains examples of very different approaches to the analysis of works) . And in general, this plan is a wonderful “cheat sheet”, suggesting what you can write about in the examination paper, if all thoughts have fled, and only fear remains from feelings. But, of course, only an eleventh grader is able to evaluate it, for whom the exam is already real and inevitable. The works that he will have to analyze could have been studied long ago, when no one wanted to hear about any formal plans. For example, Pushkin's "Demons" (one of the most mysterious, "unresolved" works in the program) we read in the same 9th grade ...

To begin with, I gave the so-called "leading" task(my teacher Yu.A. Khalfin’s favorite technique: to ask without explaining anything in advance): write an essay “The Mystery of the “Demons””. When someone nevertheless asked what was mysterious about it, she replied that I don’t understand why, after all the fears experienced, the hero says that the screech and plaintive howl “tear” his heart. They don’t squeeze, they don’t freeze, but they tear. Whom does he pity, why, where has the fear gone? Such a formulation of the question really puzzled even the skeptics, and everyone started looking for answers. Of course, the results were both uneven and completely unacceptable from the point of view of “scientific” philology, but we needed them as a starting point in the conversation. Everyone was now aware and felt the “content” hidden in this text, which could not be easily “deciphered”. Of all the interpretations offered to me (this year), two came into play.

The first interpretation belongs to a student from a class who has a reputation at school as hopelessly weak. More precisely - too peculiar, and therefore unable to fit into the modern educational system. The work said the following: “In my opinion, demons are government officials who do what they want with people and do. And the master and the coachman react differently to them. The peasant is afraid of them, and the master looks at all this, and his heart is “breaking”. And then suddenly a postscript: “These are poems about the fact that people react differently to evil.”

Of course, in "Demons" there is not a word about officials. At first glance, the interpretation is completely unacceptable and arbitrary (although Gogol probably would not have said that: he wrote about officials in approximately the same spirit as our Maxim). And in the class, she caused healthy laughter. I had to pay attention to two details: a wise postscript that very accurately defined both the plot and the problem of these poems: a person's meeting with evil, a reaction to evil. And another thing: after all, in such an interpretation, we are not talking about people who got lost in a snowy field, but about the fate and grief of the whole country. Here are the demonic officials, and here is the people suffering from them. Do we have the right to say that in Possessed Pushkin writes about the fate of Russia? And if so, how to prove it?

The proof went something like this.

The image of the road is symbolic: the path is the path of life (for example, in The Cart of Life, and not only in Pushkin's works: the road-life is an archetype, after all).

The winter road is the Russian way (topos).

The road lost in a snowstorm will become a direct intervention of fate in the lives of the characters in the story "The Snowstorm", which Pushkin wrote in the same place, in Boldin, in the same autumn, only a little later, and everything that he wrote then is interconnected as one a grandiose text, one most complex, enormous thought.

Pushkin, of course, was thinking about fate at that time: he went to Boldino, intending to get married soon, but ended up in cholera quarantine. What lies ahead: marriage or death? How will fate judge? (Here they remembered a lot: “Do they bury a brownie, do they marry a witch?” - And the fact that the poet’s marriage just led to an early death ...) So, poems about fate, and also prophetic.

And a few years later, in The Captain's Daughter, a very similar plot (a snowstorm and a traveler who has gone astray; by the way, there is also a gentleman, and a coachman, and someone who seemed like a wolf, then turned out to be a man - but a terrible man) will become a symbol of a terrible, bloody historical turmoil that intervened in the fate of the heroes. Already there, “we lost our way, what should we do?” - exactly about the fate of Russia. But for the first time, the image was found precisely in “Demons” ... The common Russian road and the common Russian fate, voluntarily or involuntarily, are seen behind the road and the fate of the hero. Yes, and a hero - he can be any of us.

And finally, epigraphs. When the prophetic vision began to come true, how many times these verses were taken out as epigraphs - by Dostoevsky, and Bulgakov, and many others. All of them also saw that these poems are about Russia and its eternal “off-road”…

The second work on which we relied in our “full analysis” was written in a stronger class. Another student (Kolya) thought gloomily and asked why Pushkin repeated three times "The clouds are rushing, the clouds are winding." In order not to impose any interpretations, I answered him with sly "philological": these poems, they say, are close in genre to a ballad, and it is common for a ballad to have a refrain. I suspect that such an answer would be welcomed at the exam, but Kolya only grimaced in annoyance. And he wrote that the heroes of "Demons" were thrown out of real time and space. As they circle in the field, they also circle at one time point, and the refrain conveys this stopped time. He also tried to explain the strange “invulnerability” of the hero, the absence of fear: the mysterious world of spirits is intangible and cannot cause him physical harm, but “puts pressure on the psyche”. Kolya, as we can see, was not satisfied with the formal “labeling” of an artistic technique (they said “ballad”, “refrain” - and calmed down, not understanding what the meaning was hidden here). He tried to explain the artistic meaning of the technique. But he also failed to prove the legitimacy of his interpretation. I had to help.

The refrain divides the poem into three parts: first, a path in the “real” field (time and space), then a stop (“The bell suddenly fell silent”) and some reassessment of everything that flashes before our eyes (“Who knows them: a stump or a wolf?” - or indeed “the devil leads us…”); the picture of the world begins to double and stratify into real (material) and fantastic (or spiritual - that is, inhabited by spirits). And when “the horses raced again”, the “second”, invisible, non-material world is clearly revealed to the hero. It can be said that the travelers crossed the border of two worlds, got into some mysterious "here and now", where fate is revealed to them. It is not clear, not in the details and events - only in vague sensations, “breaking the heart…” Such a three-part composition.

After discussing the works and clarifying what vaguely dawned in children's attempts to explain these really mysterious verses, we can try to “decompose” the understanding we have obtained into points of that very universal plan.

Context. Marriage and cholera. Borderline situation: either the life line is ahead, or the line between life and death.

Topic. Life path, the fate of the heroes and the fate of the country.

Issues. The lost path, the road on which the inevitable meeting with evil awaits. How to meet him? “What shall we do?”

Idea (pathos- right, I don’t know which term is worse). In relation to poetry, this “point” is usually prudently omitted. But here comes to mind, firstly, Pushkin's letter that a brave person should not get sick with cholera. “Courage!” - here is the first "idea", the first advice of Pushkin, how to meet evil face to face. The second idea arises if we compare those very mysterious words “breaking the heart” (and “mournful” - that is, a screech and howl that evokes pity) with an insistent call for mercy, sounding in The Captain's Daughter. Courage, compassion and mercy - this is what Pushkin tried to “bequeath” to us, perhaps, in fact, he suddenly prophetically saw the terrible troubles on the way of Russia.

artistic method. But maybe this is not worth talking about at all? The great masters have works that do not fit into any schemes. Yes, there is a realistic picture of a winter road, a man and a gentleman. Yes, there is a romantic duality, and it is presented to us in such a way that we will be free to the end to consider “demons” as just a play of light: clouds, snowstorms and the moon, the fruit of the coachman’s fright and the hero’s poetic fantasy. And besides, there is so much symbolism here that any talk about the method becomes extremely conditional. Pushkin uses everything that world literature has to offer.

Genre. These verses are really closest to a ballad. There is also a plot (an element of “epos” in the lyrical-epic genre), and a mood of gloomy mystical horror, moreover, inspired by “folk legends” and superstitions. And the refrain, as already mentioned. Why not a ballad, really?

Image system. An article by M. Pavlov (2000, No. 45) about "Demons" was published in "Literature", in which the "borderline" of all images (in particular, "leaves in November" inexplicable from the point of view of simple realism) is considered in detail. Of course, we need to talk about them in detail, paying attention to the fact that the “duality” of what is happening is due to a certain “cross” perception of two heroes: the gentleman and the coachman. Thus, we have: 1) a very real picture of a night blizzard, clouds running against the background of the moon, and travelers who have gone astray; 2) the frightened look of the coachman, who sees either a stump, or a wolf, or an unprecedented verst (and the fear of horses is not explained in any way; maybe it really is a wolf?); 3) the look of the protagonist, who either really suddenly saw the spirits with some kind of prophetic inner gaze, or used the “terminology” of the coachman to express his inner state, determined not only by the road adventure, but also by his entire life situation.

In addition, it is necessary to note the images that carry a symbolic load: the road is fate, the winter road is the fate of Russia.

Composition. We have already talked about her. Three parts: the real path - a stop at the point where any path is lost - a movement towards "evil" (trouble, grief, fate), already clearly visible to spiritual vision. By the way, let's note the role of the bell: it sounds - fell silent (and this is scary) - sounds again. And in this place catharsis sets in, perhaps because in the movement towards fate there is courage and even heroism - the key to victory.

Chronotop. Why not take advantage of Kolya's hunch? The heroes moved in real time and space, and then they were thrown out of it into a symbolic and timeless space, from which one can see future destinies.

verse properties. These are just very well-known, researched things. Using the example of the very first two lines of "Demons", they always show how the "correct" four-foot trochee conveys the rhythm of a frantic gallop, and the two pyrrhic lines make it slippery and ghostly. All the same duality is the main technique that determines the whole structure of these verses.

You can talk at the end about the tropes: about the personification (“the blizzard is angry, the blizzard is crying”), which prepares us for the author's stunning statement: “I see: the demons have gathered ...”; about several epithets ... Yes, only Pushkin used paths in general where sparingly - he preferred words in their most direct and accurate meaning. Syntax ... So I foresee that we will be asked to indicate the role of homogeneous members and non-union. They, of course, contribute to the creation of an anxious mood, convey inner turmoil. Although all this, it seems to me, would be better left to linguists.

Article menu:

Vasily Andreyevich Zhukovsky is a Russian romantic poet of the early nineteenth century ... and the author of "The Sea", the verse of interest to us here. The writer happened to live in the heyday of Russian poetry and drama. It is thanks to the unsurpassed talent of Zhukovsky that a huge number of works by famous European poets and writers received a certain light Russian flavor in translation. Vasily Andreevich Zhukovsky was not just a poet and translator, but became a whole era in literature. The founder of romanticism and master of elegy, translator and teacher, mentor of the imperial house and author of the words of the national anthem of the Russian Empire "God Save the Tsar".

Many messages, songs, romances, ballads and epic works written by Vasily Andreevich are still standard and constitute the literary heritage of Russia.

Despite the fact that he happened to live and work with Pushkin, Karamzin, Turgenev, Gogol, Krylov, Griboedov, Davydov and many outstanding Russian writers and poets, Zhukovsky managed not to get lost in the shadow of great and popular colleagues. Moreover, many young and talented poets, including Pushkin, considered Zhukovsky their mentor and studied with the writer.

The origins of Zhukovsky's literary romanticism

For any poet, romantic feelings serve as inspiration in creativity. And for the founder of romanticism in Russian poetry, of course, love has always been as important as air. But fate did not allow Zhukovsky to find happiness in love. None of the beloved women gave the writer a pure feeling and a happy family life. The first love of the eighteen-year-old romantic Zhukovsky became a romantic drama. Sublime feelings for her own niece, Maria Nikolaevna Velyaminova, could not continue, so the girl was hastily married to an unloved person, thus putting an end to the first relationship in the life of the poet.

But in a year, the heart of young Zhukovsky will again be in the power of Cupid. The chosen one of the Russian genius of literature, Maria Protasova, was only eleven years old at that time. Is it possible to truly love a child? Zhukovsky was a relative and teacher of the girl, so he struggled with his feelings, considering love an obsession. But this "wrong" romantic feeling simply inspired Zhukovsky in love.

Romantic poetry flew so easily, so confidently from the poet's pen. This love for the writer became fatal. Maria Protasova grew up and reciprocated Zhukovsky's feelings. But Maria's mother, Zhukovsky's sister, was categorically against such a relationship, the parent took her daughter away from cordial affection. Neither the appeal to the emperor, nor the requests to the sister helped the lovers to experience happiness.

Maria Protasova marries the Dorpat doctor Moyer. The woman made this choice consciously, the unfortunate Protasova wanted to finally stop the heartache from the forbidden and unpromising romantic relationship. The woman still loved Zhukovsky, but since the lovers were not allowed to live together, she decided to free herself and her lover from romantic vows and love suffering.

One step closer to family happiness...

Only at the age of fifty-six Zhukovsky was able to approach the long-awaited happiness. The writer's lover, twenty-year-old Elizabeth Reitern, did not immediately agree to the marriage. But the poet in love did not want to retreat. The girl's father, an old friend of Zhukovsky, immediately refused, but the emperor's intervention forced him to change his mind. The marriage license was obtained. But family happiness was short-lived. The young wife distinguished. The wife bore the poet two children, but moved away from her husband. Zhukovsky himself felt lonely, even when he started a family.

Melancholy - the eternal companion of romanticism ... "Sea"

The romantic and subtle soul of the poet was prone to melancholy. The writer perceived nature as the starting point in the direction of the spiritual expression of feelings. In the poem "Sea" Zhukovsky excellently expresses love experiences on the example of the sea and sky.

The poet wrote this exciting, passionate elegy many years after the marriage of Maria Protasova, but the work of their romantic love is dedicated. Maria Zhukovsky concludes in the image of the sea, and himself - in the image of the sky. The sea and the sky, like the Egyptian deities Nut and Geb see each other, but they will never be able to unite.

The poet picturesquely depicts the beauty of his beloved in the form of a living sea. It can be seen that the writer is fascinated by the girl. However, the heroine, confused by love, is worried and tormented by the hopelessness of the situation. But no one can tell about forbidden love, so the beloved is forced to keep her love a secret:

You are alive; you breathe; confused love,
You are filled with anxiety.
Silent sea, azure sea,
Reveal to me your deepest secret...

The poet asks his beloved in the image of the sea, does the girl love him, does she want to unite with him in one whole:

Or pulls you out of earthly bondage
Far, bright sky towards you?

The sea rises in response with huge waves. The element of the sea, raging with waves, seeks to connect with the sky, but can only caress the clouds. The sweet sea, full of life, cannot reach the heavens, dark clouds gather: "To take away the clear sky from you." The poet fills the lines of the elegy with passionate experiences. The expression of the love throes of the sea is simply breathtaking. The eternal romantic managed to reflect the strong feelings of his beloved woman incredibly passionately and tenderly. The clouds are leaving, the self-forgetfulness of lovers is striking in its sincere purity and fortitude with which the sea copes with its experiences.

But complete calm does not come. The sea still loves the sky:

Not at all silence returns you;
Deceiving your immobility look:
You hide confusion in the abyss of the dead,
You, admiring the sky, tremble for him ...

Zhukovsky emphasizes in the last lines that, despite the broken relationship, love has not died. Deep in the soul, love still burns with a bright fire for both lovers. The genre of elegy chosen by the writer helps Zhukovsky to realize his literary and artistic intentions. The elegy describes sad, melancholic, plaintive feelings, doing it with philosophical notes. The poet in lyrical reflections expresses the sadness of the hopeless situation of his love passion for the love of his life.

Remark on the artistic features of "The Sea" and the history of the creation of Zhukovsky's poetic masterpiece

The year 1822 will remain in the history of Russian literature as the moment of the creation of a masterpiece called "The Sea". The reader, tempted by the best examples of world poetry, will surely remember that the sea element inspired many poets. One has only to recall Rilke and his famous lines "Marina, we are the sea ...". Zhukovsky's poem is different in that there is no rhyme in the lines.

The verse was created during the period of Zhukovsky's artistic maturity, when there was a clear transition from sentimentalism to romantic tendencies in the poet's work. Literary critics regard "The Sea" as Zhukovsky's programmatic text. Metaphors, epithets and skillful alliteration endow "The Sea" with extraordinary artistic value.

The image of the sea in Russian poetry has always occupied and continues to occupy one of the most important places. And no wonder, because it is a powerful, mysterious and at the same time romantic element, casting thousands of magical images. The "marine" theme plays a particularly significant role in the poetry of romanticism. The aesthetics of this is largely based on the opposition of the real, earthly and. In contrast to the boring reality, romantic poets described the realm of dreams, fairy tales, fantasies, and only the true Creator could gain access to it.

The image of the sea in Russian poetry in this context takes on new meanings: it, if not a kind of portal, is a country inhabited by magical creatures. The water element is dual in nature. The mirror surface at any moment can turn into huge waves that bring death and destruction.

Personalities

The image of the sea in Russian poetry, to be more specific, was widely used in the work of such great representatives of literature as Zhukovsky, Pushkin, Lermontov, Tyutchev. Even after the influence of romanticism began to fade, the motives of the water element now and then appear in the poems of Balmont, Akhmatova, Tsvetaeva.

V.A. Zhukovsky

Describing the image of the sea in Russian poetry, it is impossible not to mention the work of Zhukovsky. Some literary scholars point out that the Elegist's really keen interest in such topics begins with the poem "The Sea", written in 1882. The poet personifies it becomes an endless space, not subject to any human laws, free from all prohibitions.

The lyrical hero identifies himself with the sea element - an abyss, an abyss also lurks in his soul. The motif of duality, characteristic of the poetry of romanticism, is revealed in the poem. The sea, according to Zhukovsky, hopelessly strives to reach the sky, to touch it. The "firmament" in this case becomes precisely that unattainable ideal, in the pursuit of which earthly life passes. Researchers compare the relationship between the Sea and the Sky with the relationship between the human soul and God. An important place is occupied by the image of a storm as the embodiment of an unnatural, wrong state.

A.S. Pushkin

The library of Russian poetry would be incomplete without the work of A.S. Pushkin. The poet called Zhukovsky his teacher, but his romanticism was of a slightly different kind: rebellious, impudent, implacable. His poem "To the Sea" was written during the Odessa exile. The young poet then dreamed of escaping abroad, passionately wanted to escape from stifling captivity. "To the Sea" became a kind of poetic manifesto that reflected all these aspirations.

Written on the death of Byron, one of the founders of literary romanticism, this work is distinguished by vivid imagery: for Pushkin, the sea becomes a symbol of freedom, unrestraint.

F.I. Tyutchev

With the words "the theme of nature in Russian poetry" in the first place is associated, of course, the poetry of Tyutchev. Images of the sea element are reflected in his work. The famous poet depicts the sea mainly at night.

As in the lyrics of V.A. Zhukovsky show the features of romanticism?

Show full text

The Russian public of the 18th century was waiting for something new, not like strict classicism. With the advent of romanticism, the reader realized that literature can be close and understandable to all the people. Brilliant translator, subtle lyricist and founder of Russian romanticism - Vasily Andreevich Zhukovsky introduced the reader to such genres as ballad and elegy.

Let's start with the fact that the genre of elegy involves the author's reflection on such "eternal" topics as life and death, love and misfortune, war and peace. Philosophical reflections on the fragility of harmony can be found in the elegy "The Sea" (1822).

"The Sea" is Zhukovsky's romantic manifesto. Here we can find motives of sadness, loneliness. The poem begins with the epithet "silent", and this epithet sounds like a refrain in the fifth line. The word "silent" holds the key to understanding the image of the sea. The sea appears before the reader as quiet, calm, motionless. The lyrical hero is trying to discover the secret, to understand what drives the "immense bosom" of the water element, what an alarming thought it is filled with. The lyrical hero is concerned about the relationship between two elements: sea and heaven. The abyss of the sea reflects the sky, reaches out to it, is afraid to lose touch with it: “Is it drawn to it from earthly bondage / The distant bright sky to itself?”. In the same way, the human soul longs for the lofty and beautiful, strives for freedom, like a sea that languishes in earthly fetters. This is where the idea of a romantic dual world arises: the sea, like the human soul, seeks harmony, reaches for the sky into an ideal world. So the author expresses the main theme of the elegy - the eternal str

Criteria

2 of 3 K1 Depth of understanding of the topic and persuasiveness of arguments
1 of 2 K2 Level of theoretical and literary knowledge
3 of 3 K3 The validity of attracting the text of the work
3 of 3 K4 Compositional integrity and logical presentation
3 out of 3 K5 Following the rules of speech
TOTAL: 12 out of 14

V. A. Zhukovsky, who chose the world of the human soul as the main subject of his poetry, is rightfully considered the founder of Russian romanticism.
“His poems are captivating sweetness
Centuries of envious distance will pass ... "
- A. S. Pushkin wrote about him. “... Having inspired Russian poetry with romantic elements, he made it accessible to society, gave it the opportunity to develop, and without Zhukovsky we would not have Pushkin,” admitted V. G. Belinsky, who considered Zhukovsky the first poet in Russia, whose poetry “came out of life."
In a poem

“Inexpressible” Zhukovsky himself determined the originality of his work: the subject of his poetry was not the depiction of visible phenomena, but the expression of fleeting, elusive experiences.

Is the inexpressible subject to expression?
The poet wants to keep in flight
Not the beauty of invisible phenomena,
But what is merged with this brilliant beauty -
This is so vague, exciting us,
This bewitching voice, heeded by one soul,
This is a distant aspiration,
This past hello ...
This is the essence of Zhukovsky's poetry. It is the story of the poet's soul, his worries, dreams and thoughts, the lyrical expression of which is his elegies, ballads and poems. The theme of the charm of the soul, endowed with inspiration, the vision of beauty, always instantaneous and inexpressible, with which Zhukovsky's understanding of poetry is associated, was the main one for his work.

It is especially vividly revealed in the elegy “The Mysterious Visitor”, the poems “Charm of the Past Days ...”, “To the Familiar Genius Flew Past”, “I used to be a young muse ...” also speak about the elusive feeling of charm and yearning of the soul for an unknown ideal.
The same character of elegiac charm and ideality is carried in Zhukovsky's love lyrics dedicated to M. A. Protasova. It includes the poems “My friend, my guardian angel…”, “Oh, dear friend! now with you…”, “To her”, “You stood quietly before me”.
Zhukovsky knew and depicted the inner world of a person who is not satisfied with reality and fascinated by the inexpressible beauty of love, friendship, nature, memories of experienced happiness, hopes and romantic hopes for the distant, unknown, “enchanted There”.
The merit of Zhukovsky as a "romantic poet" lies in the fact that he was able to express not only his inner world, but also discovered the means of poetic depiction of spiritual life in general. With his romantic elegies and ballads, he introduced psychologism into Russian literature and closely connected poetry with the individuality of the poet, filling each poem with deep lyricism. Zhukovsky has sincere and lyrical emotional experiences, and pictures of nature, and even patriotic poems about the Battle of Borodino.

In the patriotic hymn "The Singer in the Camp of Russian Warriors", written in October 1812, not military events are depicted, but the mood of the poet - a participant in the battle. The poem is written in the form of an excited speech:
The country where we first
Tasted the sweetness of life
Fields, native hills,
dear light of the native sky,
familiar streams,
Golden games of the first years
And the lessons of the first years, -
What will replace your beauty?
O holy motherland,
What heart does not tremble
Blessing you!

Zhukovsky's poetry amazed contemporaries and attracts today's readers with its musicality and melody. Zhukovsky creates a musical verbal flow in which “words are notes”.
It's already evening ... the edges of the clouds have faded,
The last ray of dawn on the towers is dying;
The last shining stream in the river
With the extinct sky is fading away.
All is quiet: the groves are sleeping; peace in the neighborhood;
Stretched out on the grass under the bowed willow,
I listen how it murmurs, merging with the river,
A stream overshadowed by bushes.

These are lines from the famous elegy “Evening”, where the music and the word seem to have merged into one. It was no coincidence that P. I. Tchaikovsky drew attention to them, using them for the duet of Lisa and Polina in the opera The Queen of Spades.
The content of the elegy is a lyrical experience when the poet contemplates nature, which evokes melancholic memories and thoughts about friendship, “about the happiness of young days”, about dead friends, about his fate and his calling:
I sit thinking in the soul of my dreams;
By the past times I fly with memories.
About my spring days, how quickly you disappeared
With your bliss and suffering!
Rock promised me: to wander along an unknown path,
To be a friend of peaceful villages, to love the beauty of nature,
Breathe under the dusk oak silence
And, looking down at the foam of water,
To sing the Creator, friends, love and happiness.

Lyrical motifs change so naturally and imperceptibly that the verses become a single, lively, smoothly flowing musical and lyrical stream, in which the soul is reflected with the slightest shades and nuances of its experiences. “The essence and idea of Zhukovsky's style, his poetry as a whole, is the idea of a romantic personality. Zhukovsky opened the human soul to Russian poetry ... ”(G. A. Gukovsky).

All this was developed by Pushkin, as well as by other Russian poets: Lermontov, Nekrasov, Tyutchev, Blok. Carefully rereading Zhukovsky's poems, you understand the high artistic value of his poetry and how great the significance of this poet is not only for Russian romanticism, but for all Russian literature.

(No Ratings Yet)

V. A. Zhukovsky, who chose the world of the human soul as the main subject of his poetry, is rightfully considered the founder of Russian romanticism. “The captivating sweetness of his poems will pass the envious distance for centuries ...” - A. S. Pushkin wrote about him. “... Having inspired Russian poetry with romantic elements, he made it accessible to society, gave it the opportunity to develop, and without Zhukovsky we would not have […]...
V. A. Zhukovsky has every right to be called the founder of Russian romanticism, since he chose the world of the human soul as the key subject of poetry. With the poem “The Unspeakable,” Zhukovsky gave a definition of the originality of his own creativity: the subject of the author’s poetry did not imply the depiction of the phenomena that we encounter, he expressed fleeting, elusive experiences. This is precisely the meaning of Zhukovsky's poetry, which conveys [...] ...
Vasily Andreevich Zhukovsky was born on January 29, 1783. Zhukovsky first appeared in print when he was 14 years old. He very early acquired wide popularity and literary authority for that time. Romantic poems, fairy tales, ballads, elegies brought real fame to Zhukovsky. Zhukovsky is one of the first Russian romantics. He is considered the father of Russian romanticism. The main motives of his work […]
Biography facts. V. A. Zhukovsky - the son of the landowner A. I. Bunin and a captive Turkish woman; he received his surname from his godfather, a poor nobleman living in Bunin's house. Ambiguous position in the family. Tragic love for Maria Protasova, editing the journal "Bulletin of Europe", service in the militia, participation in the work of the literary society "Arzamas". Pedagogical activity. Friendship with Pushkin: the role of Zhukovsky [...] ...
Vasily Andreevich Zhukovsky is one of the first Russian romantics. He is rightfully considered the father of Russian romanticism. Belinsky wrote about him: "The true merit of Zhukovsky is that he introduced romanticism into Russian poetry." The theme of his works was largely influenced by his own attitude, position in society. Since he was the illegitimate son of the landowner Bunin, he [...] ...
Zhukovsky made the elegy one of the main genres of Russian romanticism. Elegy is a lyrical genre that came from ancient poetry (from Greek - a complaint or a sad song). Its distinctive feature is the transmission of various shades of feelings and experiences of a person, primarily sadness. The romantics turned out to be spiritually close to the elegiac hero - a lonely contemplator of nature, indulging in philosophical reflections on “eternal” [...] ...
V. A. Zhukovsky is rightfully recognized as one of the founders of Russian romanticism. His first works, written in his favorite genre of elegy, were very warmly received by the readership. This was the first step towards recognizing the poet as the master of romanticism. The attention to sensitivity, which originated in such a direction as sentimentalism, found its continuation in Zhukovsky's poetry. Before the beginning […]...
Vasily Andreevich Zhukovsky was born on January 29, 1783 in the village of Mishenskoye, Belevsky district, Tula province. His father was Afanasy Ivanovich Bunin, and his mother was a captive Turkish woman Salha. The child was considered illegitimate. At that time, a child born out of wedlock, and even from a courtyard woman, could not become a nobleman. Relatives wanted to ensure the future of the child and get […]
V. A. Zhukovsky entered our literature as the founder of Russian romanticism, who opened up new ways for the development of poetry. He chose the world of the human soul as the main subject of his poetry. According to the figurative expression of Belinsky, Zhukovsky gave Russian poetry "soul and heart." With these words, he emphasized the importance of Zhukovsky as the initiator of Russian psychological lyrics. The "soul and heart" of the poet are invariably present in those [...] ...
Vasily Andreevich Zhukovsky - Russian poet, academician, translator. Early years Vasily Zhukovsky was born on January 29, 1783 in the village of Mishenskoye, Tula province. He was the illegitimate son of the landowner AI Bunin. He received a new surname after being adopted by a godfather - a poor Belarusian nobleman Andrei Grigoryevich Zhukovsky. Education and creativity The first education in the biography of Zhukovsky was received in the […]
Romanticism, as a literary movement, is characterized by dissatisfaction with the present, contemporary reality. This dissatisfaction gives rise to dreams about what should be, about what is desired. But this desired, what I would like to see in life, was presented to romantic writers in different ways. Therefore, two main currents stood out in romanticism - conservative and revolutionary. Representatives of revolutionary romanticism are directed to the future, full of liberating ideas, connected with [...] ...
Vasily Andreevich Zhukovsky was born on January 29, 1783. He is the founder of Russian romanticism. Belinsky said that Zhukovsky gave "soul and heart" to Russian poetry. “Soul and heart” are present in the works where Zhukovsky speaks about nature. Nature was an integral part of Zhukovsky's life. Left alone with her, he found in nature an interlocutor, even a silent one. Natural life […]
I used to meet a young muse in the sublunar side, And inspiration flew from heaven, uninvited to me. V. A. Zhukovsky Vasily Andreevich Zhukovsky did a lot for the development of Russian literature. Being an excellent translator, he introduced the Russian public to ancient, Western European and Eastern poetry. The history of Russian romanticism begins with Zhukovsky - a new trend in the literature of the early XIX […]...
"Unspeakable" (1819). The pathos of the elegy is the affirmation of romantic ideals, the study of the inner world of a person. The poet sees that not everything can be expressed verbally, “the presence of the Creator in creation” cannot be explained: But what is merged with this brilliant beauty - This is so vague, exciting us, This bewitching voice, listening to one soul ... This is a memory whispered to the soul About the sweet, happy and sad […]
In 1819, in the summer, Vasily Zhukovsky lived in Pavlovsk. In a letter to Anna Sontag, he wrote that he "had difficulty returning to his poetry." Nevertheless, it was at this time that the poet created in a few days in the spirit of Romanticism a beautiful elegy called “The Inexpressible”. The genre of Elegy was not chosen by chance. Sad philosophical narrative easily fell on paper. […]...
Favorite genres of Zhukovsky's works are elegy and ballad. The original creative talent of the poet was revealed in the elegy "Evening" (1806), published in the journal "Bulletin of Europe". It deeply and fully reflected the inner world of the poet's personality, his psychological appearance, the originality of experiencing feelings of joy and loss. The elegy marked the emergence of romantic biographism as a special way of recreating the lyrical "I" of the author or the imaginary […]...
"Evening" (1803). The elegy belongs to the works of romanticism. G. A. Gukovsky writes that the elegy resembles “a musical verbal stream, swaying on the waves of sounds and emotions.” The poem has a psychological connotation: It is already evening ... the edges of the clouds have faded, The last ray of dawn on the towers is dying; The last gleaming stream in the river With an extinct sky is fading away. In these lines, on the one hand, […]
Worldview, artistic discoveries and outstanding representatives of romanticism Romanticism is a trend in art and literature that arose at the end of the 18th century in Germany and spread throughout Europe and America. Signs of romanticism: - Emphasized attention to the human personality, individuality, the inner world of man. - Depicting an exceptional character in exceptional circumstances, a strong, rebellious personality, irreconcilable with [...] ...
"Song" (1811). The poem was written after Ekaterina Afanasyevna Protasova refused Zhukovsky to marry her daughter due to close relationship. The main tone of the work is melancholy. The lyrical hero is lonely, but he wishes his beloved happiness and only dreams of keeping her friendly feelings: Live, taste the sweetness of an innocent life; Do not change in your soul; be worthy of happiness. […]...
The peculiar romanticism of Zhukovsky was especially clearly manifested in his ballads, which he began to write from 1808. With the exception of “Svetlana” and “Golden Harp”, they all represent a free translation or processing of ballads by Western European poets: Schiller (“Polycrates’ ring”, “Cup”, “Glove”, “Count of Habsburg”), Goethe (“The Forest King” ) and other poets. Zhukovsky translated only what was related to his views [...] ...
Zhukovsky considered Karamzin, the head of Russian sentimentalism, to be his teacher in poetry. The essence of Zhukovsky's romanticism is very accurately characterized by Belinsky, who said that he became "the singer of the heart of the morning." By nature, Zhukovsky was not a fighter, his “complaints” never grew into an open protest. He moved away from the present into the past, idealized it, thought about it with sadness: Oh dear guest, [...] ...
The poem "Mtsyri" was created in the late period of M. Yu. Lermontov's work, in 1839. Researchers consider it one of the last examples of romantic poetry of the century. We find the features of romanticism in the plot of the work, title, composition, form of presentation, the main part of the poem is the main character's monologue. , images and motives. One of the features of romantic works is exoticism. The title of the poem is unusual […]
One of the brightest writers of the early 19th century, Vasily Andreevich Zhukovsky, stood at the very origins of Russian romanticism. He is a kind of "literary Columbus of Russia", who discovered "America of Romanticism", as Belinsky called him. Nature itself took care to create in the person of the poet a “Russian echo” for Western European romanticism. But he not only wrote beautiful works dictated by free inspiration, but also lived [...] ...
The short poem "The Coming of Spring" was created by Zhukovsky in 1831. Its first publication took place much later - about forty years later. The miniature was printed by the historical and literary journal "Russian Archive". The work is a free translation of the poem “Lob des Fr? hlings”, written by the German poet, a prominent representative of the “Swabian school” of romanticism, Ludwig Uhland. In Russia, he was most popular in the nineteenth [...] ...
In the Tretyakov Gallery hangs a portrait of Vasily Andreyevich Zhukovsky, painted in 1816 by his famous contemporary Orest Kiprensky. Everything in this portrait is subordinated to the disclosure of the inner image of the romantic poet: his pensive, self-absorbed gaze, his hair swayed by the wind, the towers of a medieval castle against a rainy, cloudy sky, and finally, the general gloomy color of the painting. This is Zhukovsky of the time of his greatest popularity, Zhukovsky […]...
Translating ancient epic works such as "Mahabharata", "Shahnameh", "Odyssey" and "Iliad", the poet studied the moral origins of "hostel", the roots of being, human nature, which reveals itself already in the childhood of the human race. For Zhukovsky, Homer is “a baby who saw in a dream everything that is wonderful on earth and in heaven, and babbles about it in a sonorous, childish voice on the chest of his nurse, nature.” […]...
The captivating sweetness of his poems Centuries of envious distance will pass ... A. S. Pushkin At the turn of the 18th and 19th centuries, V. A. Zhukovsky formulated his humanistic life principle, which he never changed: “Every day - to a good deed, thought or feeling.” To this should be added another well-known saying of Zhukovsky: "The deeds of the poet are his glory." For more than half a century, the poet served […]
V. A. Zhukovsky - a poet, the founder of Russian romanticism, who established the genres of elegy and ballads in Russian literature, a translator who earned the fame of the “literary Colomb of Russia”; (V. G. Belinsky). He considered Karamzin his teacher in Russian poetry, and at the beginning of his career he was strongly influenced by sentimentalism, participating in the literary controversy that unfolded at the beginning of the 19th century, on the side of [...] ...
V. A. Zhukovsky is rightfully considered one of the brightest Russian poets-sentimentalists who developed this literary method in lyrics to majestic proportions and ensured a smooth and natural transition to romanticism. The poet's early poems are imbued with sentimental moods, while in later ones one can find themes and images characteristic of romanticism. Along with the themes, problems and general mood of Zhukovsky's poems, […]...
In Alexander Grin's story-tale “Scarlet Sails”, a sharp division of people into two worlds is clearly visible. This is the world of the dreamer Assol and the world of the townsfolk around her. Assol lost her mother early, and her father began to make a living by making and selling toys. The world of toys in which Assol lived naturally shaped her character. And in life she had to face […]
Ryleev and Zhukovsky are representatives of the same era and the same literary movement. They lived and worked at the beginning of the nineteenth century, during the heyday of romanticism, when the ideal is opposed to reality, but cannot be realized. Zhukovsky and Ryleev’s understanding of the role of literature can be characterized by a quote from the charter of the Union of Welfare: “The strength and charm of a poem is in the continuous presentation of higher feelings and to [...] ...
The captivating sweetness of his poems will pass the envious distance for centuries, - Pushkin wrote about Zhukovsky's poetry. What is this "captivating sweetness"? The key to the lyrics of Zhukovsky-romantic is the concept of "soulfulness". Whatever the poet wrote about, everything in his poems acquired a soft lyrical sound. Such are his love poems, in which the image of the beloved or reflections on love relationships are inseparable [...] ...
How is the problem of romantic duality solved in V. A. Zhukovsky’s poem “The Sea”? Reflecting on the question posed in the assignment, note that for V. A. Zhukovsky, the key elegiac motif of the work is associated with the system of “two worlds”. Show that this motif is most stably realized in the system of the subjective landscape, therefore, a romantic antithesis of “here” and “there” is created in the poem. Explain that with the concept […]
Vasily Andreevich Zhukovsky is rightfully considered the "literary Columbus of Russia", who opened to her "America of romanticism in poetry." At the beginning of the 19th century, romanticism in Russia was a new trend that came to us from Western European literature. Romanticism brought with it new themes, images, moods, motifs, and artistic techniques of depiction. Moreover, it can be said that romanticism defined a new – romantic – […]...
V. A. Zhukovsky is the first Russian romantic poet, a man who played an outstanding role in the formation of the romantic trend in Russian literature. At the time of his literary apprenticeship, Zhukovsky was greatly influenced by Karamzin, was an admirer of the Western European sentimental and pre-romantic poetry of Jung and Gray. The lyrical hero of Zhukovsky's poem "May Morning" (1797) concludes that life is "an abyss of tears and suffering", and happiness […]...
V. A. Zhukovsky, who chose the world of the human soul as the main subject of his poetry, is rightfully considered the founder of Russian romanticism. “... Having inspired Russian poetry with romantic elements, he made it accessible to society, gave it the opportunity to develop, and without Zhukovsky we would not have Pushkin,” admitted V. G. Belinsky, who considered Zhukovsky the first poet in Russia, whose poetry “came out of […]...
His poems captivating sweetness Will pass the envious distance of centuries. And, listening to them, youth will sigh about glory, Silent sadness will be consoled, And joy will reflect friskyly. A. S. Pushkin Vasily Andreevich Zhukovsky rightfully belongs to the first place in the pre-Pushkin period of the development of Russian literature. Among his contemporary poets, he stood out for the strength and beauty of his artistic talent, innovative undertakings, the scale of creativity and literary [...] ...
Without V. A. Zhukovsky, one cannot imagine Russian romantic poetry. It was Zhukovsky who made the word naturally convey the most subtle human experiences. In addition, he transformed some poetic genres: first of all, the epistle and the elegy. The only theme and main content of Zhukovsky's lyrics is the human soul, his poetry is devoted to reflections on it. In his lyrics, he creates a generalizing [...] ...
Written at the beginning of the 19th century, namely in 1821, the comedy “Woe from Wit” by Alexander Sergeevich Griboedov absorbed all the features of the literary process of that time. It is interesting to analyze the formal and content features of comedy from the point of view of the artistic method. Literature, like all social phenomena, is subject to concrete historical development, therefore, at the turn of the century, a situation of parallel existence [...] ...
To understand what feelings and thoughts animated Zhukovsky's poetry, let's compare two of his elegies. The elegy "Evening" is still close to sentimentalism. The peace of nature, fading in the evening silence, is gratifying for the poet. In the middle part of the elegy, with the unsteady brilliance of the moon, the poet recalls his friends “the sacred circle”, “the songs are fiery both to the muses and to freedom”. At night, the poet feels his loneliness: “Deprived of companions, dragging [...] ...