(1) "Above the window. (2) under the wind window. (3) Silver flowered poplar and leveled ... "- comes from the receiver.

The writing

It seems to me that poetry exists as much as there is a person. At the moments of experience and happiness, tragedies and comedies, on a holiday and in Mount - always a person expressed his thoughts, emotions and experiences with songs and poems. In the text proposed for the analysis, V.P. Astafyev makes us think about the question: "What is the power of the poetic word?".

Commenting on this problem, the writer turns our attention to the poem of Sergey Yesenin, who has been coming from the receiver, as well as from the mouth of hollow women symbolizing the simple Russian people. Diverse the number of emotions are filled with these lines: here and cleansing sorrow, and love for the native edge. V.P. Astafiev emphasizes what feelings the poet put into his poem and how they are reflected in the hearts of ordinary citizens: "He suffers for all people, for all living creature inaccessible to us by the Most High flour, which we often hear in themselves and therefore, we stretch to the word Ryazan Guy ... ".

The author's point of view, it seems to me, is expressed quite clearly. It is as follows: the poetic word can awaken various feelings in man, make him think about the most important. Sergey Yesenin's poetry fills man with tears and bitter delight.

It is difficult to disagree with V.P. Astafyev is that poetry has a magical force. One line can make a person at the same time cry and laugh. Penetrating the emotions and experiences of the author, the reader misses them through his heart. Thanks to the lyrics of the classics of world literature, you can think about the meaning of being, look at your own life, clear the soul and morally reborn.

For example, in a short, but very saturated poem M.Yu. Lermontov "Prayer", at the same time sadness of the author, and its faith in the "fellow fellow", in the rebirth of a person and the liberation of his soul from longing and painful doubt. The lyrical hero, like the author himself, believes in virtue of a living word and that it can help any person to clear his consciousness from anxiety. And where there used to be the severity, now it will be ease: "With the soul, as a burden comes, doubt is far away - and it is believed, and it is crying, and so easily, easily ...".

The poetic word strength is in the very vocation of the poet. A.S. Pushkin in the poem "Prophet" expresses it through the image of a martyr poet, moored in the desert and waiting for the truth from heaven. And God marked him through his vocation: "Glagol Loggy's hearts of people." Thus, A.S. Pushkin sees the power of the poetic word to get to the very depths of the human soul and burn their word.

For each of us, poetry plays its individual role. Someone penetrates the love lyrics and finds her experiences in this, someone loves poems about friendship and love for his native land, and someone completely misses the sad line about the meaning of life and the destination of the poet. But no one else remains indifferent, and this is the power of the poetic word.

A.S. Pushkin

Theme of creativity, appointment of poet and poetry It takes a leading place in the works of Pushkin. Your idea of \u200b\u200bthe ideal image poet A.S.P. embodied in the poem " Prophet". The poet gives its interpretation of the biblical plot. Pictures spiritual transformation, the formation of a poet prophet. Through the painful transformations occurs by the poet of wisdom, truth. So that the word was true, the poet should go through suffering. Poem "I have erected a monument to myself ..." - poetic generalization of the poet itself creativity, poetic testament. The poem reveals the main features of poetry A.S.P.: Nature, humanism and freestyleviation.

In poem "The hills of Georgia lies the night blame ..." loveit appears as a source of new experiences and inspirations. A love impulse is consonant not so much as nightness of the night, how much the noise of the river. Poem "I remember a wonderful moment ..."- This is a poetic autobiography. Meeting with his beloved woman helped the lyrical hero, whose image correlates with the author, again comprehend the beauty of life and caused poetic inspiration. A.S.P. Comes to understanding loveas the highest value of a person who can awaken in the poet inspiration and the best human feelings.

In poem "I visited again ..." Sounds philosophical meditation about the sense of life, on the connection of generations, about memory. The poet understands that the answer lies in the harmony of nature and the time is inexorable moving forward. He summarizes his reflection on the meaning of life and at the same time talks about the future, expresses his statement of life, its unchanged cycle.

S.A. Jenin

Elegy " I do not regret, do not call, do not cry…" - Philosophical reflection on life and death, about the tensions of all things, farewell to youth. Image " pink Konia."Symbolizes unless dreams about beautiful. The poem also sounds topic of thanks The fact that "came the prosperity and die."

In poem by theme of love"The fire was noticed ..."reality and dream, ruined life and the ability to update are opposed. For love, the lyrical hero is not only rebounding from the past, but ready to even forget their relatives gave, abandon the poetic vocation.

The theme of Russia's fate, the topic of the Motherlandsounds in poems "I am the last poet of the village ...", Goy You, Rus, my dear ... "and others. Dialect words help create a special color and express love for homeland nature. In the poem "Rus", the poet was able to express everything to the pain native, joyful and sad, with which the concept of the Motherland, Russian Earth is connected with. In poem "Overcoming the grove of Golden ..." The state of nature reflects the state of the soul of the lyrical hero. The poet creates bright, colorful and multicolored world of Naturefilled with overflows of colors and sophisticated shades. The lyrical hero of the poem admires the "wide month over the blue pond", "Krash Ryabina Red". He feels an integral part of nature.

A.A. Blok.

The theme of Russia - Home in poetry block. The image of Russia is multifaceted. Poem "RUS '" Read the confession of the lyrical hero, his mental throwing. Mystery of Russia is seen to the author in the living soul of the people. The attitude towards the Motherland in the cycle is very peculiar "On the field of Kulikov", Dedicated to the understanding of the historical fate of Russia. And this fate is tragic. The symbol is becoming a rapidly racing steppe mare. This is a symbolic perception of the unity of the life of people and the life of nature. The image of Russia is also intertwined with female images: "Oh, my Russia! My wife!" it higher degree Unity of the lyrical hero with Russia. This cycle creates faith in the bright future of the Motherland.

Love In verses of the block, it becomes of great importance, because together with her a person has a sense of genuine unity with the world. In poem "Strank"The image of an excellent stranger instills faith in a bright start of life, transforms the poet, his poems and thoughts change. The main literary reception is the antithesis. In the first part - dirt and vulgarity of the surrounding world, and in the second - a wonderful stranger. This protest block against the cruelty of a terrible world, turning everything the highest and valuable in the vulgarity. Lovely lady B. "Verses about the beautiful lady" - Not only the symbol of perfect unity and harmony, it owns a secret life equilibrium, comprehension of the meaning of being. Message "On the values, about the exploits, about glory ..." It has a ring composition: the first line repeats the latter. But the lyrical hero is no longer thinking about the valor, nor about the exploits, he is looking for at least tenderness, but does not find it. This is a poem O. love. The hero is experiencing a passionate desire to return love, lost many years ago.

Philosophical perception of life, the tragic globility and identification of personal fate with the fate of the Motherland determine the nature of the lyrical hero of block poetry. In poem "Night, Street, Lantern, Pharmacy ..."the world is devoid of harmony, music, he is insensible, closed. The image of a gloomy street is philosophical Metaphor tragicity life.The feeling of hopelessness of existence enhances the annular composition. In poem " Girl sang in church choir ... " A. Block reveals the world in all its contradictory. On the one hand, the holiness of prayer and the great grief. On the other hand, people are capable of such a cruel act as a war.

A.A.ahmatova

Patriotic topic, theme of the Motherland (Poem "Requiem")sounds lyrics A.A., who has previously connected his destiny with the fate of his native land. "Not with those I who threw the land ..." -declares author. The political protest against the expulsion of the color of the Russian intelligentsia is combined with the condemnation of voluntarily fled from Soviet Russia and the adoption of their own lot. In the years in the war, Akhmatova, feeling his life as part of people's existence, writes poems, reflecting the spiritual attitude of fighting Russia: "... I was then with my people, where my people, unfortunately, was ..."

A.A. Often addressed K. theme of poetic craft. In the cycle "Secrets of Crafts"lyrical heroine declares: "When you know, the poems grow from what kind of sera, without knowing his shame ..."This is an emissions of poetic creation, and some independence of the process of creativity from the will of the creator. And further unexpected and at the same time justified comparisons: " As a yellow dandelion at the fence, like burdocks and a swan. "The main purpose of poetry, according to the author's thought, to give people the joy of contact with the creations of high art.

B.L.Pasternak

Theme of the poet and poetry affected in the poem "Hamlet", Where the author represents himself in the form of Hamlet. Hamlet in the work is compared with Jesus Christ: their fates are committed independently of their will, according to God's plan. In this poem also sounds the theme of loneliness, incomprehensibility to the surrounding people and complex personal relationship with society.

M. Yu. Lermontov

The understanding of complex social and philosophical problems is characteristic of the poetry of Lermontov. The main idea of \u200b\u200bthe poem "Thought» - reflections on the fate of generations. The author does not separate himself from contemporaries, taking and listed the listed vices and losses. This demonstrates the high responsibility of the poet before the present and the future of his fatherland.

F.I. Tyutchev

The main topic in poet poetry is nature. This is a landscape philosophical lyrics. Nature in the lyrics of Tyutchev is an ornament, it is always in motion, often in transition: between the days, at times of the year. In poem "More Land Peacon View ..." The poet shows barely catchy border between winter and spring, between the day and night. The rich sounding (alliterations on the hissing) creates a feeling of fluctuating air, a light breeze.

N.A.Nekrasov Poems "Railway"

Nature theme native region Closely intertwined with the theme of the birthplace and serious life of the people.

No ugly in nature! And Kochi,

And moss swamps and stumps

Everything is good under the shine lunar,

Everywhere the birth of Rus I recognize ...

4. "Bank" arguments from artistic and publicistic literature
(Author - G. T. Eyereva, as well as from personal experience)

"The poet is open to the soul of the world, and our world is sunny, the feast of labor and creativity is always happening in it, every moment solar yarn is created - and who is open to the world, he looks at carefully around him in countless lives, in uncountable combinations of lines and paints, There will always be in its disposal solar threads and will be able to weaken gold and silver carpets. "

K. D. Balmont.

N. V. Dzutsva (Ivanovo) The problem of the poetic word in Article I. Annensky "Balmont Lirik"

N. V. Dzutsva (Ivanovo)
The problem of the poetic word in the article I. Annensky "Balmont-Lirik"

The Balmontlirik article, written in 1904, entered the first collection of critical prose I. Annensky "Reflections Book" (1906), which is one of the most fundamentally significant expressions of the Criticaloesthetic position of the author and, according to his direct statement, "The main provisions of aesthetic criticism " It is such an understanding of the place and the meaning of this article allows you to see in it more than a critical essay of creativity of one of the poetransmines. It is not just about the poetic personality of K. Balmont and its stylistic terms; In this speech, Annensky focuses the most significant both for the poet itself and for the literary situation of the beginning of the twentieth century observation and discoveries in the field of poetic speech. Ultimately, the problem of the word is solved here, which is able to express the new system of the human soul, which has undergone significant shifts in its psychological composition and declared about the needs of their artistic incarnation.

It is impossible to say that the article "Balmontlirik" remains unbelievable by the researchers, and this is natural: without appealing to it it is difficult to understand the aesthetic position of Annensky, and all the same, this speech of criticism / poet deserves special understanding. The point here is not so much in the unconditional apologetics of Balmont, which in itself is interesting and significant on the background, as a rule, distanted analytics of the critical manner of Annensky, and in what is hidden behind it. In our opinion, in this text hid a kind of key to the inner drama of Annenskogopoet. Some of the thin "nerve" of this text was caught by I. Podolskaya, which, among other things, notes that, with a scrupulous analysis of the creativity of Balmont, Annensky "Under time, he writes as if not about him. And then the reader feels in familiar consonents is not Balmontovskaya anxiety, and some other image of the poet suddenly grows in the article, turning out of Balmont. Of course, this is not only the author I am the most Annensky, but to a certain extent psychological type Poet of the stove of centuries ... ".

This sensitive, but a quick remark, of course, is not exhausted by the problem depth and the complexity of such an unusual performance of Annensky. First of all, a challdorm question arises: why of all of all creating next to Annensky poetryman, among which there were such masters of symbolist movement, like V. Bryusov and Vyach. Ivanov, it was Balmont that became the object of the close attention of Annenskogriticism. As you know, Annensky did not belong to any Moscow, nor to the St. Petersburg school symbolism, building his relationship with new artistic orientations carefully. Nevertheless, he one of the first felt and realized that inner freedom that symbolistic poetry was carried, relying on a new feeling of verbal matter. However, it was not satisfied with the rational easthetic dictate V. Brysov, nor mysticoregous intentions of Ivanov, who, how the theorist and the theoretics tried to bring in poetic creativity. Among the poets that are actively working in the symbolist paradigm of the beginning of the twentieth century, in the field of view, the Annensky and other figures, which several years later become the main "heroes" of his famous death-term article "On modern lyricism", is A. Block, A. White, F. Sologub, M. Kuzmin. However, it was Balmont with his three collections, according to Annensky, "the most definitive for its poetry", "burning buildings", "we will like the sun" and "only love", "becomes criticized by the center of a new poetic situation.

Of course, in the figure of Balmont, Annensky primarily sees the type of Par Excellence poet, not burdened by theoretical dogma and not cited by any task introduced into the creative act. This, by the way, was understood by other fellow according to Peru, what they testify to such, for example, the words of Vyach. Ivanova: "... Valery Bryusov, loved in the so-called clean creativity,<...> Exclamated when, referring to Navel-General Balmont: "We are the prophets, you are a poet." But the choice of Annensky has a clearly thought-out motivation: "... Our, successfully or unsuccessfully,<...> But, in any case, it is more fuller than before, it is displayed in new poetry and at the same time not only in its logically justified, or at least formulated, moment, but also in the pochinobessional. "

The fact that Annensky from the poetic cohort of the famous contemporaries elects the "navel-specific" Balmont with his "poechinobsentee" gift, could not but cause bewilderment among the philological community. This is how Annensky himself in a letter A. N. Veselovsky talks about the impression of the report, on the basis of which the article readed by him in the "Neophilological Society" was written on November 15, 1904: "... reading ended quite sad. Presiding from us P. I. Vainberg in the final word after the ritual compliment<...> I found it possible to approve me for the fact that I seriously took a poet to which "we" are only ironically ... g<осподин> Waynberg further expressed his gaze on Balmont and allowed himself to call me "Balmont's lawyer". "But to whom, as not you, - continues Annensky, - to express me how much the accusation of the lawyer was upset" (Kursu I. Annensky. - N. D.).

As you can see, Annensky resolutely distances from amateuristic attitude towards artistic creativity, defending its approach to Balmont's poetry. At the same time, the Annena article is deprived of dry detached analytics, and it is not by chance in the preface to the "book of reflections", where it appeared, there are wonderful words: "The most reading of the poet has already creativity" (Kursia I. Annensky. - N. D.). Thus, Annensky here is concerned not so much critical as a creative task: read the poet according to, speaking by Pushkin words, laws, they are recognized on themselves. And the poet, who can hardly be suspected in the proximity - and personal, and poetic - author, about it, about it, so different their spiritual structure, the nature of the poetic statement, the intonational system and, finally, the artistic content of poetic worlds. Especially significant and not accidentally looks close attention to Annensky to the poetic figure of Balmont.

Speaking not so much as criticism, how much in the forgotten genre of apology, Annensky builds the leading strategy of his thought aimed at solving the problem of the word, and behind this foreign effacement of the polemium-rocked reservoir of the internal structure of the article. Before us is deploying the reflecting consciousness of the critic / poet, converted, on the one hand, to the modern poetic situation, but on the other - to the ontology of the poetic word and, if you please, for the ecasening of the poetic I. In the preface to the "Book of Reflections", Annensky manifests the creative approach to the artistic material of his critical opuses: "... I wrote here only about what I had, for what I followed, what I was given that I wanted to save in myself, making it "(Keniv I. Annensky. - N. D.). But in the letter quoted above, the task is formulated much more than more and tough. Related to the fact that "the poetic word emancipated in our consciousness is much less than prosaic business", Annensky claims: "My goal was to pay attention to the interest of new attempts to increase our sense of speech, i.e., attempts to make a wider look at the Russian consciousness Word as on the causative agent, not only an expressant of thought "(allocated by Annensky. - N. D.). This installation is implemented in the article as its main defining task.

What is behind this desire to increase our sense of speech? The legitimacy of aesthetic criteria as an element of public consciousness enslaved the dominant of the speech in the literature. It has already been written about the fact that the reasons for underestimation and even neglect and hostility towards the aesthetic factor in the Russian literature of the afternoon period Annensky sees in the domination of journalism (serving the word), crucial, mainly, public problems, and, as a result, in the absence of "stylish Latin cultures ", I.e. established in Western, and above all, the French, culture of the tradition of aesthetic attitude towards the artistic (poetic) word.

Turn the "public consciousness" to the prerogative of aesthetic criteria, "thinking about the language as about art" is a position, an Annensky, not solitary spirit, and a poet that approves new rights to its role in the public consciousness. Annena's role is assigned to Balmont. In a letter to A. N. Veselovsky, he writes: "I took examples from Balmont's poetry, as the most bright and characteristic, mine, for the new Russian direction, and more than already defined: the most beneficiality and paradoxicality of some of the poeties of this poet give the right to Feel what difficult way to be vaccinated to our word aesthetic criteria. "

In 1929, in Emigrant Paris, V. Khodasevich, looking around and analyzing the symbolistic era, wrote: "New tasks set by symbolism, discovered for poetry also new rights.<...> Poetry has gained new freedom. " This new freedom, Annena declared, turning to the poetic discoveries of Balmont. Let us see again what it is expressed. First of all, this is all that, "says Annensky," "What does not give in to the translation of serving speech," which means: "To look at the poetry, that is, as on art." Thus, the requirement of aesthetism acquires a universal nature in the article - this is freedom not only from civil, but also moral obligations. The refusal of serving the word leads to other freedom - the refusal of moralism, that is, the generally accepted ideas about morality in art. Annena formulates here one of the extreme slogans of aesthetism: "In itself, creativity is immoral, and to enjoy whether it or how others do not mean sacrificing and limit themselves for the sake of neighbors ...".

On the same wave, Annensky claims: "New poetry first teaches us to appreciate the word, and then teaches to synthesize the poetic impressions, I find a poet, that is, our, only an enlightened I am in the most complex combinations.<...> This intuitively recoverable I will not so much external, so to speak the biographical writer, how much is his true indecomposable me, which, in essence, one we can, as adequate to our, worry in poetry. " Actually, here we are long before Yu. Tynyanov, we find the category of the lyrical hero, a laying back of the poet's biographical personality with her poetic expression and at the same time meaning their unspanitious unity. Speaking against the direct identification of the lyrical Balmont and his biographical twin, Annensky writes: "Among all the black revelations of bodleryism, among cold snakes and wrestling fragrances, attentive eyes will easily open in Balmont's poetry, which does not understand the wholeness of the cynicism looking at her ... " Regarding the sacramental "I want to be bold ..." Annensky notes with a smile: "... Is these innocent missiles still have some kind of unknown missiles?" , and no less awaiting reader's public "I hate mankind ..." causes him a large share of Skepticism: "I don't think that all this can scare more than any rhetorical figure." But the main "justification" of Balmont Annensky sees in his "lexical creativity", in the new matter of verse - sound and rhythm, considering it as a conquest of general ethical: "His language is our common poetic language that only received new flexibility and musicality."

It would be possible to put the point on it, believing that the main meaning of the Balmontlirik article was rather cleared, but in this case the hidden, the inner layer, which was mentioned above, will remain "for the stem." The fact is that in his reflections about Balmont, Annensky faces a certain inner taboo, which himself prescribes himself. Denimizing in the poetry of Balmont, the conflict of the multidirectional began - "absurdity of integrity" and "absurdity", - Annensky approaches the collision that is not solvable for him, which determines its consciousness. Namely: AnnenskyCrikitik is trying to defend pure aesthetism as a justification of life with art, while his lyrics are painfully "coupled" (one of the favorite words of Annensky) with the experience of the whole Russian classics, the development of the "sick conscience", that Akhmatova subsequently defined as "Pillar Dear Russian literature. " This "drama of consciousness" is distinguished by a tense psychologist of a lyrical experience, but in the article "Balmontlirik" Annensky is deliberately trying to bypass it. The "absurd excuse" from Balmont Annensky takes out of his position - the world should be justified by the whole, which makes the critic / poet to understand "an irreconcilable contradiction between ethics in life and aesthetics in art." In the field of art, he believes, "and justify, in essence, there is nothing, because creativity is immoral." Nevertheless, makes a fundamentally important reservation: "But to what extent can art can be purely aesthetic<...> This question, of course, remains even open. "

This question is painfully pulsed in the minds of Annensky. Despite the approval of the aesthetic criteria as fundamental in the approach to the art, and the art of poetry in particular (which, with a conquering convincing, Annensky demonstrates in the article), in the depths of the reflective thought of the poet, this conviction always went to the main grounds of his creative I, losing my immutability:

... about the painful question!
Our conscience ... Our conscience ...
("On the way")

More than noteworthy, that building the "absurd integrity" in Balmont's poetry, Annensky deliberately stops before the "painful question": "Another reality that reins in Balmont's poetry against the opportunity to find integrity is a conscience that the poet has dedicated a whole department of poets. It is very interesting, but we will pass by. "

"Let's pass by," for otherwise, aestheticism will not be able to become the universal of new poetry, and the logic of Annena's thought in the article is aimed at approving the aesthetic status of the word as a conquest of poetic freedom. "Annena is too Russian intellectual that the self-sufficient aesthetic act could bring him satisfaction," L. Ya. Ginzburg notes. Yes, V. V. Musatov confirms, "the aesthetic justification of reality for him was not universal, and a universal justification, which certainly includes the moral component, became impossible, absurd." "But, on the other hand, the researcher continues," the life remaining outside the art, which has lost the ability to be an object of aesthetic experience, Annena is truly terrified. "

From this it follows that Annensky, with a new type of lyricism in his article (the concept of principled for the critical prose Annensky), could not but relate him to his own poetic personality, with his poet, who joins a kind of hidden dialogue with his "hero", Dialogue, not manifested, above all, for himself and the more not prescribed in the article. Behind the apologetic of Balmont as a spontaneous expressive of the idea of \u200b\u200bbeauty and pathos of freedom of lyrical self-exploration implicitly present the drama of the consciousness of Annensky, denoting the ruble foundations of the poetic evolution of the beginning of the twentieth century, those processes that are associated with the transformation and change of poetic systems. Annensky understood this well, and in the article not published during life "What is poetry?" (1903), intended for entry into the first book of poems "Silent Songs", he wrote: "Every day in the art of the word, everything is thinner and everything is a merciless-free individual with its capricious contours, painful returns, with its secret and tragic consciousness of our hopeless loneliness and ephemery.<...> The new poetry is looking for new symbols for sensations, i.e. the real substrate of life, and for moods, i.e., that form of spiritual life, which is most likely to relate to people among themselves, entering the crowd's psychology with the same right as in individual psychology "

Actually, it is these software for the new poetry of the Annensky plant and deploys in the article "Balmontlirik", but at the same time making an emphasis on a comprehensive nature of aesthetism in poetry as a legislative principle of art freedom. With this, he mocks the voice of the conscience, speaking about the impossibility of justifying the life of art. Leaving the rubbing outside the article, Annensky leaves from the "painful question", whereas in the text itself there is an attempt to convince not only the reader, but himself is that this kind of roll in aestheticism is more than justified modern state The poetic situation: "I think that, in any case, for the completeness of the development of a person's spiritual life, it would be not necessary to especially be afraid of victories in poetry of a sense of beauty over a sense of duty."

It is hardly worth doubting that the AnnenskyPoot of this sincerely wanted. At the same time, "the power of things with its triad dimensions", which his poetic gift was undegraved, turned him into the prisoner of his favorite word it is impossible. The conflict of the poetic consciousness of Annensky did his existential and artistic experience unique: "Annensky's lyrics pass through the lyrics of Annena," the highest value for which was "beauty in art", noted by the painful doubt in its moral excuse.

All this explains a lot with respect to Annensky to Balmont. "The absurd of integrity" with his "painful unconditionality of the mimceliness", which he sees in Balmont's poetry, helps him confirm the initial extremus about the "pure aesthetism of creativity, justified by the genius." Indeed, the fact that Annensky hasn in itself as a drama of the Personal and Poetic Being, Balmont "Removed" the spontaneous power of his poetic gift, creating the "Liturgy of Beauty" and not careful about the resolution of painful conflicts.

The main thing is that Annene opened in Balmont, is his power over the word, which ensured the completeness of the peace of the poet, despite the many-sided inconsistency of the lyrical I. Annene himself felt an existential skepticism against the word, and the further, the more. This feeling was survived by it so acute that he had penetrated into his private correspondence. So, he writes A. V. Borodina on June 25, 1906: "Word?<...> The word is too rough symbol ... The word has shuddered, shook, the word in sight, on the report ... for the word Nalley slags of nationality, instincts, - the word, besides, and lies, p<отому> C.<то> Lies only the word. Poetry, yes: But she is above the word. And oddly enough, but maybe there is still a word - as the Evangelskaya Marfa - less than anything could serve the goals of poetry. " And it is written against the background of "Balmontalica", where the poetic word is approved as an unconditional aesthetic category. It can be said that the famous Annenskaya Tosca is a longing for the word justifying life, and it is she internally divided the two poetransmines. But there is no doubt that they brought them closer as the openers of new ways of poetic art: "The beauty of free human thought in her celebration over the word, sensitive fear of a rough plan of tribalism, fearless analysis, mystical music of underwritten and fixing the mimolement - here is the arsenal of new poetry."

Literature

1. Annensky, I. Books of reflections / ed. N. T. Ashinbayeva prepared, I. I. Podolskaya, A. V. Fyodorov. M., 1979. ("Lit. Monuments").

2. Annensky, I. Letter A. N. Veselovsky dated November 17, 1904. See: Lavrov, A.V. I. F. Annensky in correspondence with Alexander Veselovsky // Russian literature. 1978. No. 1.

3. Ginzburg, L. about lyrics. L., 1974.

4. Ivanov, Vyach. On the boundaries of art // Ivanov, V. Native and universal. M., 1994.

5. Musatov, V.V. Pushkin tradition in Russian poetry of the first half of the twentieth century. M., 1998.

6. Podolskaya, I.I. I. AnnenskyCritic // Annensky, I. Books of reflections. M., 1979. ("Lit. Monuments").

7. Khodasevich, V. On poetry Bunin // Khodasevich, V. Satr. So.: 4 t. M., 1996-1997. T. 2.

The problem of plotting in full her The volume cannot be considered within the present book, since the general laws of building the plot relate to both poetry and prose and, moreover, are manifested in the latter with significantly greater brightness and sequence. In addition, the plot in prose and the plot in poetry is not the same thing. Poetry and prose are not fendered off with the impassable face, and due to a number of circumstances, prosaic structure can have a lot of impact on poetic works at certain periods. Effects this particularly strongly affects the area of \u200b\u200bthe plot. Penetration into the poetry of a typical outlook, nomanic or novelist plot is a fact well known in the history of poetry. The solution to those arising in connection with this theoretical issues would require too serious excursions to the theory of prose. Therefore, we will consider only those aspects of the plot that are specific to poetry.

Poetic stories are significantly more generalized than prose plots. The poetic plot claims to be not a story about one ever-event, rank among many, and the story about the event is the main and the only one, about the essence of the lyrical world. In this sense, poetry closer to myth than to the novel. Therefore, studies using lyrics as ordinary documentary material for the reconstruction of a biography (this sin even a wonderful monograph A. N. Veselovsky about Zhukovsky), they are not realistic, and the mythologized image of the poet. Facts of life can be a plot of poetry, only in a certain way transformed.

We give one example. If we did not know the circumstances of the Links of Pushkin south, but would be guided only by materials that his poetry gives, then we will have doubts: was Pushkin exiled? The fact is that in the verses of the southern period, the reference almost does not appear, but the flight is repeated many times, voluntary expulsion:

Seeker of new impressions, I fled you, fatherland ... ("The daytime shone went out ...") The exterior of the self-alumni, and the light and naughty and the life is displeasing ... ("To Ovid")

Cf. In the clear autobiographical verses of the "Caucasian captive":

The apostate of light, a friend of nature, he left his native limit and to the edge of a distant flew with a fun ghost of freedom.

We have become famous for me ... ("V. F. Raevsky")

To see in this image - the image of a fugitive, voluntary exile - only a censored replacement of the figure of the reference is not sufficient grounds. After all, it mentions Pushkin in other poems and "Ostrakism", and "Exile", and in some and "lattice" and "cell".

In order to understand the meaning of the transformation of the image of the reference in the fugitive, it is necessary to dwell on the typical romantic "myth", which determined the birth of the plots of this type.

High Satira Enlightenment created a plot that summarized the whole range of socio-philosophical ideas of the era to the level of a stable "mythological" model. The world is divided into two spheres: the area of \u200b\u200bslavery, the authorities of prejudice and money: "City", "Dvor", "Rome" - and the edge of freedom, simplicity, labor and natural, patriarchal morals: "Village", "Hut", "Native Penates ". The plot consists of a hero break with the first world and voluntary flight in the second. He was developed and kerzhalin, mylons, and Vyazemsky, and Pushkin 1.

The texts of this type represent the implementation of the plot "the world of slavery - the flight of the hero is the world of freedom." At the same time, it is essential that the "world of slavery" and "the world of freedom" is given at the same level of concreteness: if one is "Rome", then the other - "Oetic Penates", if one "city", then another - "village". They are opposed to each other politically and morally, but not a degree of concreteness. In the poem of the Radishchev, the place of reference is called geographic accuracy.

A similar plot of romanticism is constructed differently. The universum of romantic poetry is not divided into two closed, opposed worlds: slave and free, but on a closed, stationary sphere of slavery and outside its lying unlimited and non-spatial world of freedom. The educational plot is a transition from one state to another, it has the source and end items. The romantic plot of liberation is not a transition, but care. It has a source position - and direction Instead of the end point. It is fundamentally discovered, since moving from one fixed point to another for romanticism is synonymous with immobile. And the movement (equivalent liberation, from here a steady romantic story - "Exile is exemption") thinks only as a continuous movement.

Therefore, the link without the right to depart may be transformed into romantic work In the "Poetic Escape", in the "Eternal Extension", in "Ostrakism", but cannot be depicted, as a conclusion in Ilimsk or reference to Chisinau or Odessa.

Thus, the poetic plot involves the limiting generalization, the reduction of collisions to a certain set of elementary models inherent in this artistic thinking. In the future, the plot of the poem can specify, consciously approaching the most immediate everyday situations. But these situations are taken to confirm or refutation of any source lyrical model, but never outside the ratio with it.

Pushkin's poem "She" (1817) Ends: "I to her not is he". Wed. Also:

"He" and "she" - my ballad. Not scary me. It is terrible that "he" is me and the fact that "she" is mine. (V. Mayakovsky. "About it")

Calculation with traditional lyric schemes generates different semantic effects in these cases, but it is always executed value. The ability to convert all the abundance of life situations to a certain, relatively small set of lyric topics is a characteristic feature of poetry. The very nature of these sets depends on some common models of human relations and transform them under the influence of typical cultural models.

Another distinguishing feature of the poetic plot is the presence of some rhythm, repeatability in it, parallelism. In certain cases, the basis of the "rhymes of situations" speaks. A similar principle can penetrate into prose (the repeatability of parts, situations and regulations), as penetrating, for example, in cinematography. But in these cases, critics, feeling the penetration of poetic structural principles, they are talking about the "poetic cinema" or the "non-zone" structure of the plot of prose ("Symphonies", "Petersburg" A. White, a number of works of 1920s.).

1 Estimation poem in poetry XVIII century. Only one thing - "You want to know who I am, that I am, where I am ..." Radishcheva. The plot of the poem is folded as follows: Dan is some type of central character:

Not cattle, not a tree, not slave, but man ...

The text implies that such a hero is incompatible with the world from which he is expelled. He does not want to change:

I am the same as I and I will be the whole of my age ...

For such a hero, the only place in Russia is "Ostrog Ilimsky".

"Alien Word" in the poetic text

The relationships of the text and the system are built in poetry specifically. In the usual language contact, the recipient of the message reconstructs the text and decrypts it using the codes system. of this language. However, the knowledge of this language itself, as well as the transmitted text belongs to it, is given to the listening in some source convention preceding this communicative act.

The perception of poetic text is constructed differently. Poetic text lives in the intersecting field of many semantic systems, many "languages", and information about language 1, on which the message is being conducted, the reconstruction of this language by the listener, the "training" of the listener to the new type of artistic modeling is often made up of the basic information of the text.

Therefore, as soon as perceiving poetry hears the text that does not fit into the framework of structural expectations, it is impossible within the limits of this language and, therefore, is a fragment of another text, text in another language, it makes an attempt, sometimes quite arbitrary, reconstruct this language.

The attitude of these two ideological, cultural, artistic languages, the ratio of sometimes intimacy and compatibility, sometimes remoteness and incompatibility becomes the source of a new type of artistic impact on the reader.

For example, it is widely known that criticism of the 1820s. Pushkin's poem "Ruslan and Lyudmila" seemed indecent. We are now almost impossible to feel the "indecent" of this work. But did the readers of the Pushkin era been scrupulous? Really, those who read and "Dangerous neighbor", and the "Orleans Virgin" Voltaire, and the erotic poems of the guys, and "doubt" Bogdanovich, who knew not at all the "Art of love" of Ovid, naked frankness of descriptions Petronia or Juvenal, familiar with Apulele and Bokcchcho Could you seriously amaze a few ambiguous poems and free scenes? We will not forget that Pushkin's poem appeared in an object of an object of era, when morality was prescribed to at least the political reliability. If the text really had something offending the generally accepted decency of that era, the poem, undoubtedly, would be detained with censorship. The indecent poem was a different kind of literary.

The work was opened by verses:

The affairs of the long-lasting days, a dedication of antiquity deep.

It was a quote from Osian, well-known readers of those years. The introduction of it was calculated that the audience will turn into a certain system of ideological and cultural ties, in the specified - high, national-heroic - experience of text. This system meant certain situations and their permissible combinations. So, heroic episodes could be combined with Elegy and could not - with fun, erotic or fantastic (it is known that MacPherson, making up her "Ossian writings" on the basis of genuine bards texts, diligently removed all the fantastic episodes, acting in the same way as the first German and Russian translators "Macbeth" who have thrown scenes with witch, while fantasy in the "bora" or "a dream in a summer night" did not embarrass anyone - heroic did not connect with it). "Osianan" the key to the text was not an accident - about him and then resembled episodes (for example, Ruslan on the battlefield), images or epithets.

However, the following excerpts of the text were built on a system, which was not resolutely united with "Osianan" slices. Another type of art organization was included - joking "Bogatyr" poem. He was also well known to the reader since the last third of the XVIII century. And guessed ("included") on a small set of signs, for example, according to the conditional names, repeated in the works of Popov, Chulkov and Levshin, or a typical story of the abduction of the bride. These two types of artistic, organizations were mutually incompatible. For example, "Osianan" meant lyrical meditation and psychologism, and "Bogatyrsky" focused on the plot and adventurous fantastic episodes. The failure of Karamzin, who threw the poem about Ilya Muromets, without coping with the connection of the style of the "Bogatyr" poem, psychologism and irony.

But the combination of incompatible structures of "Osseanism" and the "Bogatyr" poem did not exhaust the constructive dissonances of Ruslan and Lyudmila. Elegant eroticism in the spirit of Bogdanovich or Batyushkova (from the point of view of the culture of Karamzinism, these two styles have come closer; Wed. Software approval of Karamzin about Bogdanovich as a detonator " light poetry")," Luxury "verses of type:

Jealous clothes will fall on the Tsoregrad carpets ... 2 -

communicated with the naturalism of poems about the rooster, whose Koroshun kidnapped the beloved, or the "Voltairean" reasoning on the physical possibilities of the Blackroom or the degree of Platonism of the relations of two main characters.

The mention of the name of the Orlovsky artist should include text into a system of supernova and therefore, especially those who are felt in those years of romantic experiences. However, the link to Zhukovsky's ballads caused the artistic language of romanticism only in order to expose it to gross ridicule.

The poem's text freely and with dellant carelessness switched from one system to another, faced them, and the reader could not find in his cultural arsenal of a single "language" for the whole text. The text spoke by many voices, and the artistic effect arose from their acceptance, despite the seeming incompatibility.

So the structural meaning of the "Alien Word" is revealed. Just like the foreign body, falling into a suspension solution, causes the loss of crystals, that is, it reveals its own structure of the dissolved substance, the "alien word" of its incompatibility with the structure of the text activates this structure. In this meaning of those "Syrin", from which water becomes only cleaner, according to the trained quotation of L. Tolstoy. The structure is imperceptible until it is compared with the other structure or is not disturbed. These two means of its activation make up the lifetime of artistic text.

For the first time, the problem of "someone else's word" and his artistic function made the subject of consideration by M. Bakhtin 3. In his work, the connection was also noted between the problems of the "Alien Sum" and the dialogue of artistic speech: "relationships between someone else's speech and the copyright context are established, similar to the attitude of one replica to another in the dialogue. This author becomes near the hero and their relationship is dialogueed " four .

The above thought is extremely significant for such works as "Yevgeny Onegin", in which the abundance of quotes, literary, domestic, ideological and political and philosophical references leads to the inclusion of numerous contexts and destroys the monologism of the text.

The said reveals another essential conflict inherent in the poetic structure. By its construction as some type of speech linguistically poetry to the monologue. Due to the fact that any formal structure in art has a tendency to become substantive, the monologism of poetry acquires constructive significance, interpreting into some systems as lyricism, in others as a lyric-epic beginning (depending on who is accepted as the center of the poetic world).

However, the principle of monologism enters into a contradiction with the constant movement of semantic units in the general field of constructing values. In the text all the time there is a polylog various systemsThere are different ways to explain and systematize the world, different paintings of the world. Poetic (artistic) text in principle polyphonic.

It would be too easy to show the internal multilinguality of the text at the examples of parody poetry or cases of open use by the poet of various intonations or contradictory styles. Let's see how this principle is being implemented in creativity, for example, such a fundamentally monological, consciously closed within the most carefully created poetic world of the poet as Innocent Annensky. Consider from this point of view, his poem "still lilies".

When under the black wings, I'm tired of the tired head and silently death burns the flame in my lampade Golden ... Kohl, smiling in the life of a new one, and out of the earthly life of the soul, broken by the shackles, takes the atom of being, - I will not take memories, the joy of love experienced Wife, nor tales of nanny, nor dreams of poetry of malicious, flower dreams of my rebellious forgetting a minute tool, one white-white lileua I will suffer in the best world and the aroma, and the abis of gentle.

The poem amazes the unity of lyrical tone, the unity, a sensible reader intuitively. However, there is a sense of unity arising here because it is stronger than, say, when reading the textbook of chemistry, that it arises here in the fight against the difference between the text elements.

If you try to allocate the community of various stylistic elements of the text, then, perhaps, you will have to specify only one - literature. The text is demonstrative, nude is based on literary associations. And although it does not have direct quotes, he nevertheless refers to the reader to a certain cultural and consumer and literary environment, outside the context of which it cannot be understood. The words of the text are secondary, they are signals certain, outside its lying systems. This underlined "culture", the book's book sharply opposes its works, the authors of which are subjectively to break out beyond the "words" (mature Lermontov, Mayakovsky, Tsvetaeva).

However, unity is more than conditional. Already the first two verses entail various literary associations. The "black wings" resurrect the poetry of the demonism, or rather, those standards that were associated with Lermontov or Bayronism in the mass cultural consciousness (Wed. Monograph N. Kotlyarevsky, who recorded this cultural stamp). "Tired head" entails associations with mass poetry of 1880-1890s., Apukhtin and Naddon ("Looks like weakness we are, look, as we are tired, as we are helpless in painful struggle"), Tchaikovsky's romance, the vocabulary of the intelligentsia Those 5 years. It is not by chance that the "wing" is given in the lexic version, exposing poeticism (not "wings"), and "head" - in a contrastful household. "Tired Chapter" would be a stamp of another style:

I am with a thrill on the Lono of Friendship of the New, Charter, the trick of the head of the head ... (A. Pushkin. "October 19, 1825")

The poetry of the eighties was created under the direct impact of the Nekrasov tradition and implied the household concreteness of the subject of lyrics.

In the context of the entire stanza of the "golden lamp" is perceived as a metaphor (death will sweep the lamp), and the epithet "gold" in the structural antithesis "black" is not perceived due to the specific real values. But then we meet verse:

Neither dreams of malicious poetry.

In comparison with him, the "Golden Lampade" (Wed. Antitezu: "Children - Golden") acquires signs of materiality and correlated with a well-defined subject - the previous lamp.

But the image of the extinguishing lamp can receive two different meanings - the conditionally literary ("Are you burning, our lamp", "and with the name of the love of Divine UGAS") and associations with Christian Church culture:

And rogas he, like a candle of wax, preico ... (N. Nekrasov. "Orina, Mother Soldiers'")

Here - at first the first system of semantic ties. Then the implementation of the lamp as the subject activates the second.

The second stanza is built on religious Christian strict values, a well-known reader's consciousness of that era. There is an antithesis of "New Life" (synonym for "death" and "black wings" of the first stanza) and "earthly life". The image of the soul, with a smile parting with earthly captivity, in this connection was quite natural. But the last verse is unexpected. Atom resolutely did not find a place in the semantic world of the preceding poems. But in the type of cultural values \u200b\u200bcaused by him, the subsequent "being" was placed very naturally - the world of scientific and philosophical vocabulary and semantic ties arose.

The next stanza enters the sign of memories as some text signal. Different systems Poetic texts give various contents of the concept of "memories", but the significance of this word belongs to him not as the designation of psychological action, but as a cultural sign. In the stubborn, a whole range of types of interpretation of this concept is concluded. "Utees of love" and "dreams of poetry" sounds like candid quotes from the Pushkin poetic tradition, which in the cultural appearance of the Annensky world is not perceived as one of the species of poetry, but as poetry itself. "Nanny Fairy Tales" refer to two types of vestous ties - to non-leaturated, domestic, to the world of childhood, opposed to the world of booknity, and at the same time as a literary tradition of reconstitution of the world of childhood. "Tales of Nanny" in poetry of the late XIX century. - Cultural sign of strange - children's world. Against this background, "the eyes of his wife" is "someone else's extravitory - the word", which is perceived as a voice of life in the polyphonic choir of literary associations ("eyes", and not "the eyes", "wife", and not "Virgin").

Three strokes of the poem establish a certain constructive inertia: each stanza consists of three, weathered in a certain conditionally literary style, poems and one, from this style of falling. The first two stanzes are installed and the place of this verse is the end of the stanza. Next, the violations begin: in the third stanza "destroying" verse moved to the second place. But even sharp structural dissonance in the last stanza: four verses are emphasized literary. And according to vocabulary, and on the leading topic, they should be perceived against the background of the entire poetic tradition of the XIX century. It is not by chance that the title is mentioned "lilies" with the obvious stress on the first syllable, and in the third verse of the last stanza:

Single Lilena Snow Whole -

the shock turns out to be the second syllable - in accordance with the norms of poetic speech early XIX. in. The name of the flower has become a poetic association. And it is unexpected to this stubborn, in violation of the entire rhythmic inertia of the text, the fifth verse is added:

And the aroma, and the abuse gentle.

The verse is opposed to the whole text with its realness, off from the world of literary associations. Thus, on the one hand, the earthly and other worlds, presented in their literary appears, and on the other hand are non-leaturated reality. But this reality itself is not a thing, not an object (this is the difference from the "wife's eye"), and forms subject. The "white" in combination with the "Lilea" is a color banality that is still in the poetry of the XVIII century. There are tens of tens. But for the contour, a unique word was found - "Abris". Reality as a totality of abstract forms - this Aristotelian world is most organized by Innocent Annensky. Not by chance the last verse gives the only allytheration in the poem. The compound of "aroma" and "abis", parallel and rhythmically, and phologically, in one Archis, is possible only in one value - "Form", "Entelokhiya". This introduced into the text of the voice of another culture - ancient classicism in its most organic, meaning-forming connections.

So the voltage in the semantic structure of the text is revealed: the monologue turns out to be a polylog, and the unity is made up of polyphony of various votes speaking different languages Culture. Outside poetry, such a structure would occupy many pages.

1 Establishment of the common problems of the variety of stylistic formations and polyglotism See: Uspensky B. A.The problem of style in semiotic lighting // Scientific. Zap. Tartu State. un-ta. 1969. Vol. 237. (Proceedings on iconic systems. T. 4).

2 "Batyushkovsky" these poems make not only the structure of the image, but also the originality of the rhythm. Verse refers to a rare VI (according to the terminology of K. Taranovsky) Rhythmic Figure. It is 3.9% in the poem (this figure matches Batyushkovskaya - 3.4%, in Zhukovsky during the same years - 10.9 and 11.6%; at the Pushkin itself in the lyrics 1817-1818 - 9, 1% - numbers according to K. Taranovsky). Thus, the verse is sharply highlighted. The pause is achieved purely Batyushkovsky reception - in the erotic scene, the action suddenly breaks down and attention is transferred to the details of an aesthetic entourage, which thus get the value of euphemisms ("Timpan above his head ...", "ruins of a luxury belt ...").

3 See: Bakhtin M. Dostoevsky poetics problems. M., 1963; Voloshinov V.N. Marxism and language philosophy. L., 1929.

4 Voloshinov V.N. Marxism and language philosophy. Pp. 136-146.

5 cf. In the poem of I. Annensky "Ego": "I am a weak sick of the patient of the generation ..."

The problem of the forces of the poetic word in his text is considering Viktor Petrovich Astafiev, an outstanding Russian writer.

The author, reflecting on the challenge of the first person, set as a question: "Why did you sing so little and sing Yesenin?". He notes that the poet suffers for all people inaccessible to them by the Most High Flour. In addition, the narrator experienced inspiration, listening to the lifestyle of the great poet from the receiver: poetry makes him cry, repent, confess.

The problem of the forces of the poetic word can be traced on the example of creativity of the Velikyzki Russian poets. The wilderness of A.A.Akhmatova "Courage" is the cry of the soul of the poet, the instruction of citizens not to give up and be moral.

"The Great Russian Word" is what united Soviet people and such a difficult period as the Great Patriotic War. The poetess notes the importance of Russian speech. Protecting Russian speech, we defend our homeland. Put in the lines of poem, the reader is proud of his country, the native language, he appears the power to go further, awareness of the importance of protecting the native land in case of danger.

As a second argument, I would like to give an example a poem A.S. Pushkin "Prophet". Pushkin wants to convey to the reader what the poet, like the Prophet, should "burn the hearts of people". This is his genuine vocation.

In conclusion, I would like to note: the power of poetry is great, it is easily able to force us to feel the "Most High Flour" and "Poet's sadness". I believe that every person should have its own favorite poemwhich allows you to reveal the soul and find calm.