Abstract: “poets of Pushkin’s time. Presentation on the topic: poets of Pushkin’s era Poets of Pushkin

Topic 21. POETS OF PUSHKIN’S ERA

§ 1. Features of the lyrics of 1820-1830.

“Pushkin era”, “Pushkin time”, “Pushkin time” these names of a certain period of history have firmly entered into literature, into our consciousness and are used to characterize the culture of 1820-1830. Even more natural and legitimate are the concepts of “literature of Pushkin’s time”, “ poets of Pushkin's era", "poetry of Pushkin's era".

The poetry of Pushkin's hole is the era of Russian poetry in which Pushkin grew up, in which he worked, created, on the development of which he had a decisive influence and in which, also under the influence of genius, those poets took their first steps, whose creativity was fully manifested already in modern times. times, years later.

Therefore, the very concept of “poetry of Pushkin’s time” covers a period much wider chronologically and physically than the years of his life. In Pushkin’s creativity and literary activity, the past, present and future of Russian literature came together and were linked together.

Pushkin entered Russian literature at the most important, turning point in its historical development. The literature of the 18th century, called by historians “new Russian literature” in contrast to the previous “Old Russian” literature, gave many interesting insights into the sciences, a number of talented names. These works at the turn of the century still lived an active life and were in circulation among readers along with the latest novelties: songs were also sung based on poems by V. Ya. Trediakovsky, and odes by M. V. Lomonosov served as models.

And at the same time, people read “Poor Liza” by N. M. Karamzin and the romantic ballads of V. A. Zhukovsky. Thus, for Pusha and his contemporaries, the poetry of V. Ya. Trediakovsky was the same living modern literature as the elegies of K. N. Batyushkov.

At the same time as Pushkin, a number of remarkable poets appeared in Russian poetry during this turning point. They were all approximately the same age, people of the same generation, all experienced the impact of the same historical events, social sentiments and ideas.

A characteristic feature of this generation, brought up on the ideas of enlightenment and dreams of social justice (the Decembrists came from this generation), was the desire for independence and the originality of their path. Baratynsky wrote proudly that his muse was distinguished by “an unusual expression on her face.” The poets’ desire for a “non-general expression” was supported not only by pride, but by the general direction of the “spirit of the times,” which proclaimed the idea of ​​​​the value of each member of society and his right to his opinion, to his word.

Pushkin called the literature of his time “the republic of literature.” Literary debates were in full swing, parties and societies were created. Poets often spoke about “union”, “brotherhood”, which means

reflected the desire to unite writers with similar ideological and artistic values. Literary circles arose, collective collections and almanacs appeared.

A characteristic feature of this time was the fact that at the same time poets were working that were deeply and fundamentally different from each other. But they were all bright, talented, original artists of the word, who were the glory and pride of Russia! literature* ratures. “Stars of the Pleiades”, “a beautiful union, a constellation of names” - this is how the poets of Pushkin’s era are figuratively called, and the poetry of Pushkin’s era has entered the history of Russian literature as the Golden Age of Russian poetry.

The works of contemporary poets made up the volume “The Sweet Union of Ancient Times...”, named after a line from A. S. Pushkin’s message to N. M. Yazykov:

Since ancient times, the sweet union of Poets binds each other:

They are priests of the same muses:

A single flame excites them;

Strangers to each other by fate,

They are related by inspiration...

Each of the poets, possessing great talent, followed his own path. None of them repeated Pushkin, but they all united around their spiritual leader. They all shared humanistic ideas about life, subverting the old rules in art, and sought to truthfully express the thoughts and feelings of their contemporaries.

§ 2. Evgeniy Abramovich Baratynsky(1800-1814)

The largest poet of Russian romanticism, author of elegies and poems. His work is deep and diverse: he wrote poems ("Feasts", "Eda", "Ball", "Gypsy", etc.), and prose, and critical articles, but still he is primarily a lyricist, his favorite lyrical genre - elegy. A philosophical and elegiac view of life and the fate of man dominates in Baratynsky, no matter what topic he touches on. The main character of the romantic lyrics of the 1810s is a person striving for freedom, full of dreamy, humane ideals, contradictory feelings, living in halo of disappointment, sadness, sadness. Consistently developing these motives, Baratynsky transforms the lyrics, enriching them with philosophical and psychological content. In his works, instrumental

The volume of knowledge is not a feeling, but a thought; the poems acquire an analytical character. The value of the human personality, according to Baratynsky, lies not in contemplating the world, not in escaping reality, but in perseverance and vitality under the blows of fate.

Instead of illusions and “dreams,” the poet prefers a judicious and calm vision.

He seeks to understand why natural human impulses fail, why dreams and hopes disappear. So Baratynsky comes to the analysis of the most complex psychological experiences in order to “with the cold mind of the examiner” reveal the internal causes of the extinction of feelings and comprehend this process in accordance with human nature, with the laws of his existence in society and the world as a whole.

In Baratynsky's elegies, a complete history of feeling is given, as it were, from its fullness to its disappearance; the experience is psychologically dramatic, complete, holistic. It is no coincidence that the poet chooses for his works the moment of transition, the “overflow” of one feeling into another, and this complex, not devoid of drama, path is paved by thought. In the best works of the poet, emotions and experiences are inseparable from the truthfulness and simplicity of the analyzing thought, which is why Baratynsky’s work is called " poetry of thought." The poet himself revealed the originality of his works in the elegy “Muse” (1829).

Baratynsky's muse has nothing to do with external beauty and sophistication, it does not evoke blind adoration, it is simple, modest and reasonable. And her main advantage is “her face has a unique expression,” as the poet himself defined the essence of his work.

MUSE

I am not blinded by my muse;

They won't call her beautiful

And the young men, seeing her, will not run after her in a crowd of lovers.

Lure with exquisite attire.

The play of the eyes, the brilliant conversation She has neither inclination nor gift;

But a glimpse of the light of Her face is struck by the unusual expression.

Her speeches are calm and simple;

And he, rather than caustic condemnation,

She will be honored with casual praise.

1829

§3. Nikolai Mikhailovich Yazykov(1803-1846)

The poet belonged to an old and rich family of Simbirsk nobles. The inheritance received by Nikolai and his older brothers Peter and Alexander allowed the poet to live and create in peace. The brothers studied at the Mountain Cadet Corps, then at the Institute of the Corps of Railway Engineers, which Nikolai did not graduate from. Subsequently, the young poet ended up in the Baltic city of Dorpat (Tartu), where he joined the free student community. Here he became one of his own, his daring songs were sung at student festivals, and student poetry of enjoying life began to be associated with his name. This is how Yazykov entered the literature of that time.

The young poet considered Batyushkov, Zhukovsky, Karamzin to be his literary idols, “nurseries of inspiration.” Next to their names, the names of Byron and Pushkin soon appeared. But the romantic Yazykov studied not only with these poets. Towards the harmony and precision of verse, to the plasticity and melody of the poets of Zhukovsky’s school he wanted to add what was not in it - power and solemnity. Yazykov looked for the power of verse and found it in the “high tongue-tiedness” of the 18th century poets. - Lomonosov and Derzhavin. Here he found a love for sublime themes.

The meeting with Pushkin in 1826 in Trigorskoye constituted an entire era in Yazykov’s biography. The poet owes his best poems to this meeting. Pushkin loved Yazykov as a poet, loved his style, “solid, precise and full of meaning.” He wrote in the “Literary Gazette”: “From the very beginning of his appearance, this poet surprises us with the fire and power of language. No one has mastery of verse and period more than him.” Pushkin supported the young poet, contributed to the development of his talent, inviting him to collaborate in Moskovsky Vestnik and Sovremennik.

Yazykov’s powerful, organic, bright poetry was also multifaceted. The poet created freedom-loving poems (“To N.D. Kiselyov”), turned to historical themes (poems “Ala”, “Magician”, “Oleg”), wrote friendly poems in the spirit of students (“Genius”, “Prayer”) and the theme of the purpose of the muse (“To Baron Delvig”).

The poet did not like dry theoretical thought; he strove to combine poetic language and thought into a harmonious whole, and he succeeded brilliantly. The best language poems are examples, plastic, complete, full-fledged and, as it were, glowing from within with harmony, grace, as if “woven from light,” as Gogol said about them. The poet himself spoke about his muse like this:

Rumor praised my poems,

I truly believed her

And poetic power beat like a mighty fire from the depths of my soul!

Yazykov’s diverse creations have one basis, one main idea, which, if not expressed directly in them, is nevertheless always present and illuminates the poems with an even and strong light. This is a solid foundation - a constant thought about Russia. Yazykov entered the history of literature as a patriotic poet and singer of Russia. The thought of the homeland is especially strong and persistent in a poem written in a foreign land. In distant, wonderful Nice, where Yazykov was being treated for a serious illness, one of the most “Russian” works was written - the story in verse “Sergeant Surmin”.

In the history of Russian romanticism, the name of I. M. Yazykov occupies a worthy place next to the name of his teacher Zhukovsky and other poets of the school of “harmonic precision.” Yazykov, with his bright creativity, extends the traditions of romanticism until the mid-40s.

The ageless images of linguistic poetry make us think about the eternal youth of real art and remember Pushkin’s prophetic lines: “The works of true poets remain fresh and forever young.” Let’s turn to one of Yazykov’s most famous poems, which has become a folk song.

This is the poem "Swimmer", written in 1829. The hero of the work is a courageous swimmer, boldly overcoming the "storm", "bad weather", "the vastness of the waters" and striving to find the "blessed

country,” quiet, calm, happy. How to achieve this? Only with the help of strength and courage - “but where the waves carry only the strong in soul.” Yazykov’s favorite word “strength” is the key. it contains the deep inner conviction of the poet, his faith in the victory of the swimmer. The swimmer is a symbol of life in general, a symbol of the fate of the poet himself, embodied in the poetic word. At the same time, it is also a valuable artistic image, and so universally significant. absolute, so recognizable in its austere beauty that the poem quickly became a folk song.

Yazykov predicted the life of his “Swimmer,” asserting “my sail is straight and strong.” Indeed, “Swimmer” conquered the elements of the sea, and with it the poet himself remained forever in literature and people’s memory, although not everyone knows that the song “Our Sea is Unsociable” was created based on the words of a language poem.

SWIMMER

Our sea is unsociable.

Day and night it makes noise;

In its fatal expanse, many troubles are buried.

Bravely, brothers! I sent my full sail with the wind:

The swift-winged boat will fly on the slippery waves!

Clouds float over the sea.

The wind is getting stronger, the swell is getting darker.

There will be a storm - we will argue and be brave with it.

Bravely, brothers! A cloud will burst

A mass of water will boil.

The angry shaft will rise higher,

The abyss will fall deeper!

There, beyond the distance of bad weather,

There is a blessed country:

The vaults of the sky do not darken,

The silence doesn't go away.

But the waves carry only the strong in soul there!..

Bravely, brothers! The storm is full, my sail is straight and strong.

§ 4. Dmitry Vladimirovich Venevitinov(1805-1827)

A representative of an ancient, honored and wealthy noble family. The poet's parents were known in Moscow as enlightened and hospitable people; artists and performers gathered in their house.

Dmitry Venevitinov was called the most beautiful poet of Pushkin's era.

One of his contemporaries left a remarkable verbal description of the poet: “He was a handsome man in the full sense of the word.

Tall, like a marble statue. His face had, in addition to beauty, some other inexplicable charm. Huge blue eyes, covered with very long eyelashes, shone with intelligence.” The young poet also possessed the sonorous voice of an extraordinary singer and a brilliant gift of words. Comparison with the ancient god Adonis complemented his romantic appearance.

Noble origin, wealth, happy appearance, brilliant abilities and excellent upbringing opened the way for the poet to an extraordinary destiny in life. Venevitinov began to surprise his contemporaries already within the walls of Moscow University, where he was a free listener at lectures on history, literature and philosophy. The young poet was not only a witness, but also an active participant in the debate between classicists and romantics about the future of literature. His passion for philosophy led him to the “Society of Philosophy,” which united young poets and philosophers. The goal of the society was defined in the name - love of wisdom, the study of ancient and German philosophy, work on the creation of an original Russian philosophy, from which, in the opinion of the philosophers, a new Russian literature emerged.

At first glance, Venevitinov’s poetry is a mixture of completely different themes and motifs. The poet wrote elegiac poems, freedom-loving lyrics, philosophical lines, and poems about the harmony of man and nature. His lyrical hero is both an elegiac dreamer and a stormy Byronic image. This image is inseparable from the theme of time, world history, and eternity. Venevitinov, continuing the traditions of romanticism, walked

in poetry in my own way. His friend A. S. Khomyakov wrote about this: “With Venevitinov, undoubtedly, a new era begins for Russian poetry, an era in which the beauty of form gives way to the beauty and sublimity of content.”

Proclaiming the philosophical direction in poetry, Venevitinov wrote:

Without thoughts, a genius does not create,

And the rarest mind with one natural feeling will hardly soar to the lofty.

The young poet was appreciated by Pushkin, Delvig, and Yazykov. Pushkin told him about his creative plans, read with interest and appreciated Venevitinov’s article on the first chapter of the novel “Eugene Onegin.” The two poets talked a lot, discussing their works, the present and future of poetry.

D.V. Venevitinov lived only 22 years. His death shocked everyone and gave rise to a note of poems that made up the memorial collection “Wreath”. In the history of romanticism literature, the poet remained as a symbol of youth and beauty, great hopes and pure impulses. In his poems, every feeling is sanctified by a thought, every thought is warmed by the heart.

Love the pet of inspiration And bow your proud mind before him;

But in pure thirst for pleasure, don’t entrust your hearing to every harp.

There are not many true prophets with the seal of power on their foreheads,

With the gifts of pompous lessons,

With the verb of heaven on earth.

1827

§ 5. Konstantin Nikolaevich Batyushkov

(1787-1855)

In the history of Russian literature, this poet stands next to Zhukovsky as one of the founders of romanticism. Comparing the two poets, Belinsky wrote: “The direction of Batyushkov’s poetry is completely opposite to the direction of Zhukovsky’s poetry,” he noted certainty and clarity as the main features of Batyushkov’s poetry, opposed to the uncertainty and vagueness of Zhukovsky.

LyricalBatyushkov's hero is a free person, vigorously expressing his feelings, joyfully indulging in the pleasures of life. The poet strives to elevate, ennoble feelings, give them spiritual content, and for this purpose he turns to the ancient world.

Antiquecoloringand mythologyThey give his works brightness, festivity, theatricality, and solemnity.

So, for example, in the poem “Bacchante” Batyushkov uses high odic vocabulary. He writes “The priests of Bacchus flowed”, and did not walk or run; instead of the word “clothes” he will put “robes”. In “My Penates” mythological imagery and odic speech are combined on an equal footing with Russian realities. Thus, high style allows you to transfer poetry into the sphere of art, make this world picturesque, dynamic, plastic, and impart spiritual meaning to sensual passion.

After the war of 1812, which shocked the poet, in his work the changing world of passions gives way to fatal, sad motives, the themes of loneliness and disappointment intensify (“To Dashkov”, “On the ruins of a castle in Sweden”).

my GENIUS

Oh, memory of the heart! You are stronger than the mind of the sad memory And often with your sweetness you captivate me in a distant land.

I remember blue eyes

I remember the golden locks of carelessly curly hair.

My incomparable shepherdess I remember the whole outfit is simple,

And the sweet, unforgettable image travels with me everywhere.

My guardian genius is given by love to separation;

Will I fall asleep? will cling to the headboard and sweeten the sad dream.

§6. Konlraty Fedorovich Ryleev (1795-1826)

In the history of Russian romanticism there is a special direction, which is calledcivilian.This is Decembrist poetry. The Decembrist movement is a bright page in the history of the state, reflected in literature.

Many Decembrists were outstanding poets, among them were many of Pushkin’s friends. The Decembrist poets used their literary talent in the struggle for freedom and subordinated them to public interests.

The civic direction was developed by such poets as P. A. Katenin, V. K. Kuchelbecker, K. F. Ryleen and many others. They associated with the conceptromanticismeducation, first of all, of civic, patriotic feelings. Ryleev wrote: “I am not a poet, but a Citizen.”

CITIZEN

Will I, at a fateful time, Shame the citizen san And imitate you, pampered tribe of Reborn Slavs?

No, I am not capable of being in the arms of voluptuousness,

To drag out your youthful life in shameful idleness And languish with a seething soul Under the heavy yoke of autocracy.

Let the young men, without unraveling their fate.

They do not want to bend the destiny of the century And do not prepare for the future struggle For the oppressed freedom of man.

Let the fair descendants cast a cold glance and reproach with a cold soul.

They will repent when the people rise up.

Will find them in the arms of idle bliss And in a stormy rebellion seeking free rights,

He will find neither Brutus nor Riegi in them.

Unlike Zhukovsky, these poets highlighted national-historical and civic-heroic themes. At the same time, the true content of art for them remained the soul, but not alone with itself, but in the context of the surrounding world. High impulses and morality, according to the Decembrists, are brought up in society and are born in civil history. Therefore, many events of national history and the heroic past found their embodiment in poetry (in Ryleev, for example, “Olga at Igor’s grave”, “Bogdan Khmelnitsky”, “Ivan Susanin”, etc.).

The civic pathos of the works determined the genre specificity. These are mainly thoughts, historical elegies, poems. Even in the love elegies of the Decembrists, civic motives appear.

The revolutionary pathos of the poetry of the Decembrists, their views and all their diverse activities significantly increased the social tone of literature, and there was not a single poet who, to one degree or another, did not share the views of the Decembrists or did not sympathize with them. The fact that the Decembrists highly raised the ideological level of romantic poetry is their invaluable merit.

Russian romanticism was a historical phenomenon, an entire cultural era, full of life, passions, and universal quests. Romantics of all movements achieved a lot: they proclaimed and defended humanistic values, questioned and revised the rules of classicism, destroyed the connection between genre and style, and achieved lexical and stylistic accuracy of the word. With all this they paved the way for the free, sincere expression of experiences, the development of harmony and perfection in poetry, as L.A. Delvig wrote - inspiration.

INSPIRATION

HowInspiration often comes to us,

And for a brief moment it burns in the soul;

But the muses’ favorite appreciates this moment.

Like a martyr separated from the earth.

In friends there is deception, in love there is disbelief,

And poison is in everything that the heart values.

Forgotten by him: the enthusiastic drinker has already read his destiny.

And despicable, persecuted from people.

Wandering alone under the skies.

He speaks to the ages to come;

He puts honor above all parts.

He takes revenge on slander with his glory and shares immortality with the gods.

A. A. Delvig, 1822

The Romantic era happily coincided with Pushkin’s, when a constellation of poetic names appeared and shone in literature, giving the right to call this time the Golden Age of Russian poetry. The great word “originality” determines the uniqueness of the work of each of the poets. In our review, not all the names of representatives of the Golden Age are named, but only the most striking ones, representing various trends of the romantic school. In general, the poetry of Pushkin’s era is a nugget, cast in many facets, and Each facet is valuable and beautiful in its own way.

The romantic school in Russian literature, reflected in the poetry of Zhukovsky and Batyushkov, in the work of poets of Pushkin’s time, in the romantic stories of Bestuzhev-Marl and a certain Odoevsky, Veltman, was continued in the lyrical-epic works of Pushkin and Lermontov.

1. Name the names of poets from the Golden Age of Russian poetry.

2. Tell us about the life and work of E. A. Baratynsky. Read the poem "Muse". How do you understand the poet’s words about the muse, distinguished by “an unusual expression on her face”?

3. How was the “poetic power” and harmony of N. M. Yazykov’s poems created? Read and analyze the poem “Swimmer”.

4. What united poets and philosophers in the “Society of Philosophy”?

5. Tell us about the life and work of D. V. Venevitinov. What kind of lyrical hero is this - an elegiac dreamer or a Byronic rebel?

6. Name the main themes of K. N. Batyushkov’s lyrics. Why is he, along with V. A. Zhukovsky, considered the founder of Russian romanticism?

7. What direction of Russian romantic lyrics is called special? Name the representatives of this direction.

8. Tell us about the life and work of K. F. Ryleev. What is the pathos of his lyrics?

9. Which works of poets of Pushkin’s time do you remember most?

10. Learn the poems you like by heart.

1 . Why are the lyrics of Pushkin’s era mislabeled? The Golden Age of Russian Poel? Canons chronological framework of this period in literature?

2. What united the poets, each of whom was a bright, talented personality with his own path in literature?

3. Read the poetic messages of representatives of the Golden Age of Russian poetry in your workbook. What new did you learn about L. S. Pushkin and the poets of Pushkin’s time from the messages? Support your answer with quotes.

4. Read and analyze the message of V. JI. Pushkin to his nephew. Who was he for A.S. Pushkin - uncle, teacher, fellow writer?

5. What facts of the poets’ biography are reflected in the messages? Write an essay about one of the poets of Pushkin’s era.

The Pushkin era in Russian poetry covers the period of the 1810-1830s and is called so, of course, by the name of its brightest poet - Alexander Sergeevich Pushkin. At the same time, every true lover and connoisseur of poetry knows that the poetic era is not limited to the work of one, even a brilliant, poet.

Pushkin's poetry grew out of the Russian poetic word created by many poets. Among them were outstanding, recognized masters of Russian poetry who made a huge contribution to its development, such as G.R. Derzhavin and V.A. Zhukovsky or K.N. Batyushkov and E.A. Boratynsky, and poets less known to our contemporaries, but who had a significant influence on Pushkin - P.A. Vyazemsky, D.V. Davydov, A.A. Delvig, N.M. Languages ​​and others. Researchers find in Pushkin's poetry common features with the work of poets of his time: motives, images, poetic turns, expressions. And Pushkin’s younger contemporaries sensitively assimilate his poetic language and ideas, first of all, M.Yu. Lermontov, F.I. Tyutchev, A.A. Fet. Poetry develops only in continuity, therefore, it is not the individual name that is of decisive importance, but the general national spirit and culture that give rise to it.

Batyushkov's creativity

Pushkin's poetry has a creative overlap with the works of his older contemporary Konstantin Nikolaevich Batyushkov. Batyushkov’s poetry is distinguished by sonority, melodiousness, and lightness—features that would later be developed in Pushkin’s poems. Pushkin himself spoke about Batyushkov’s poetry: “Italian sounds! What kind of miracle worker is this Batyushkov.” The lightness of Batyushkov’s poems is combined with the philosophy characteristic of Anacreontic poetry, masterfully mastered by him and under the influence of which Pushkin himself was. Unfortunately, we do not know what heights Batyushkov’s poetry would have reached in his mature years, since the poet was seriously ill for the last twenty-seven years of his life.

Batyushkov superbly expresses the feeling of separation from his native place and his beloved in the elegy “Separation” (1815). While reading this poem, try to find common features with Pushkin’s elegy “The Daylight Has Gone Out...” (1820).

The poetic drawing of the poem “Separation” certainly served as the basis for the rhythm of Pushkin’s elegy “The Daylight Has Gone Out...” (1820). The alternation of lines of iambic hexameter and iambic tetrameter, refrains, rhythmic repetitions - all these poetic discoveries will be developed by Pushkin.

Batyushkov often complained that his poetry did not reflect the author’s character. This may be so, but the poem “Do you want honey, son?..” (1821) expresses the ideal of the poet’s life as clearly as the masculinity of his character. Graphically, the poem resembles a pyramid of aspirations in life, the poet encourages a person to reach the top. This impression arises due to the metrical organization of the lines: iambic tetrameter (from the words “Crown of Victory”) is replaced by iambic hexameter in the last two lines. The meaning of the poem is a philosophical instruction: only courage and determination will bring what you want, a person should not hesitate, he acts - God decides. The character of the poem exactly corresponds to the fighting youth of Batyushkov, an active participant in the battles against Napoleon.

Davydov's creativity

The galaxy of poet-warriors is more clearly represented than many by the famous warrior, hero of the Napoleonic wars Denis Vasilyevich Davydov. The son of a military officer, Davydov has been close to his father since childhood; the first memorable meeting for a nine-year-old boy was a meeting with the great Russian commander A.V. Suvorov, who then wished him a great military career. The wish was fulfilled with such a degree of accuracy that military glory overshadowed Davydov’s extraordinary poetic talent, the originality of which was recognized by his contemporaries. Belinsky called Davydov “the brightest luminary of the second magnitude in the horizon of Russian poetry.”

Some features of Davydov's poetry deserve special attention. First of all, this is his great contribution to the development of military and patriotic themes, the depiction in military poems of the real Russian character, with its breadth and scope. Devotion to the Tsar, adoration of the Motherland, indomitable hatred of its enemies, daring and fearlessness, contempt for death, free life - these are the motives that make up the perky and courageous “Song” of Hussar Davydov (1815). Another noticeable feature of Davydov’s poetry is its nationality, the ability to express the spiritual experiences of the Russian person. In the poem “Leaf” (translation of an elegy by the French poet Arno, late 1810s), the “wandering” fate of the lyrical hero is shown through a motif that is characteristic of folk poetry - a comparison with a leaf torn from its mighty roots. The mood of “Leaf”, in contrast to “Song” (“I love a bloody battle ...”), is different - in it one can hear the intonations of complaint and perseverance in the face of a difficult fate, characteristic of folklore. It seems that Lermontov, when creating his poem “An oak leaf broke away from a darling branch...”, in addition to folklore sources, also kept in mind Davydov’s poem.

Delvig's creativity

A notable personality in Russian poetry of this period was Pushkin’s close lyceum friend, a subtle, inspired lyricist and connoisseur of the harmony of ancient poetry, Anton Antonovich Delvig (1798-1831), who passed away early. In chapter six of Eugene Onegin, Pushkin compares the inspiration of Lensky, composing an elegy before a duel, with Delvig’s “lyrical fervor.” The poetic friendship of the lyceum students was so great that after graduating from the lyceum, Pushkin, Delvig and V.K. Kuchelbecker (later Boratynsky joined them) organized a “literary brotherhood” that united young people who valued the freedom of art.

An important aspect of Delvig’s literary activity was his critical articles and the publication of the literary almanac “Northern Flowers” ​​(1825-1829). Over the course of four years, “Northern Flowers” ​​became the best Russian almanac, in which works were selected with the finest taste and exquisite lyrical creations were published: idylls, songs, romances, sonnets and others. An expert in ancient lyricism, Delvig creates elegant poems full of harmony and naturalness. The genre of “Russian song”, developed by Delvig, contains motives of betrayal, separation, moods of melancholy, and sadness. For example, the poem “Russian Song” (“My nightingale, nightingale...”) (1825) turned out to be so close to the folk spirit that it soon became a romance with an original folklore source (1798-1831) and many of our contemporaries do not even suspect who was its real author.

The folklore basis of the song is obvious: Delvig saturates it with folklore expressions (“far away lands”, “blue seas”, “ring of heat”, “dear friend”). The structure of the song, together with other folk song elements, attracted attention with its musicality. It was set to music by outstanding Russian composers A.A. Alyabyev and M.I. Glinka.

Delvig affirms the literary brotherhood in a sonnet-message to his contemporary poet Nikolai Mikhailovich Yazykov, where he unites great Russian poetry with the name of Pushkin.

Boratynsky's creativity

One of the most significant poets of that time was Evgeny Abramovich Boratynsky, a friend and ally of Pushkin, Delvig, Kuchelbecker, Vyazemsky. Pushkin gave the highest assessment of Boratynsky the poet: “...he walked his path alone and independent.” Boratynsky’s life’s fate was difficult; in his youth, for an absurd offense, he was deprived of his noble privileges and within ten years he restored them to military service. Boratynsky's talent attracted attention immediately after the appearance of his first publications; the poet gained wide popularity in 1826, after the publication of the poems “Eda” and “Feasts” and a collection of poems (1827) as a separate book.

The originality of Boratynsky's poetry consisted in a skillful combination of artistic imagery and refined thought. Regardless of the genre to which he turned, his poetic word was precise, expressing, first of all, a verified and judicious judgment, a clear and conscious desire. Such poetic clarity became an exceptional feature of Boratynsky’s style. It is interesting that during the entire time he became acquainted with the poet’s poems, Pushkin did not express a single critical comment.

Boratynsky wrote the most valuable poems for Russian poetry, one of them is a masterpiece that has become a famous romance to the music of M.I. Glinka, “Disbelief” (1821). What is noteworthy in the poem is the clarity with which the poet shows his disappointment and loss of faith in the love that previously filled his soul. The poem is based on an appeal to a former lover; there is no reproach in it, but only a request to understand his feeling of loss and the impossibility of reviving love in his soul. Poetic feeling develops in three planes-projections: in the past, present and future. Each of them is marked with an exclamation phrase. The past is expressed in the exclamation: “All the seductions of former days!”; the present is associated with the state of experienced bitterness: “Once you betrayed your dreams!”; the future is contained in the request: “Do not disturb his slumber!”

With Boratynsky’s characteristic persuasiveness, the concepts of “excitement” and “love” are distinguished:

There is only excitement in my soul,

And it is not love that you will awaken.

The philosophical elegy dedicated to the fate of the poet is profound in thought - “My gift is poor, and my voice is not loud...” (1828). This elegy is a reflection on human life and his role in the world. The strength to live is given to a person by the feeling of being in demand and being needed. The idea may be simple and obvious, but very deep if you think about it: the value of an individual’s life is determined by the meaning of his existence for other people. And the continuation of the argument that his poems will reach his descendants does not speak of the poet’s vanity; the soul is immortal, and the poet will be able to communicate with subsequent generations through his poems.

Other poets of Pushkin's time

The culture of any large nation is rich and immeasurable, and its wealth is created by poets, great and little-known. When we say “poets of Pushkin’s time,” we understand that Pushkin himself is one of them, and the time is named after him because it became a poetic symbol of Russian culture.

However, Pushkin would hardly have reached such heights in his poetic work without elegies, ballads and translations by V.A. Zhukovsky, the flexibility of K.N. Batyushkova, clarity of syllable E.A. Boratynsky. Thus, the elegy of the poet Lensky in Pushkin’s novel “Eugene Onegin” reflected the brilliant translation of the elegy of the French poet Sh.-Yu. Millvois “Falling Leaves”, performed by Russian lyricist M.V. Milonov. A huge role in Pushkin’s work was played by constant communication with the outstanding poet and critic Prince P.A. Vyazemsky.

An important phenomenon in Russian poetry was the work of N.M. Yazykov, for example, his poem “Swimmer” (“Our sea is unsociable...”, 1829), breathing with the power of the sea element and imbued with the invincible will of the Russian man.

The poets of Pushkin's time wrote masterpieces that have become part of our culture; these include the poem by I.I. Kozlov’s “Evening Bells” (1827), which has long entered our cultural consciousness as a well-known romance:

Evening bell, evening bell!

He gives me so many thoughts...

In unison with the civic pathos of Pushkin's poetry, the poems of the Decembrist poets K.F. Ryleeva, A.I. Odoevsky, a lyceum friend of A.S. Pushkin - V.K. Kuchelbecker. In the dedication to the poem “Voinarovsky” (1825), addressed to the famous writer and Decembrist A.A. Bestuzhev (Marlinsky), Ryleev expressed his civic position in verse with a coined poetic formula:

You won't see art in them,

But you will find living feelings -

I am not a Poet, but a Citizen.

And young Alexander Odoevsky, while in hard labor along with other Decembrists, responded to Pushkin’s poem to the exiled Decembrists “Message to Siberia” (1827) with fiery verses:

Strings of prophetic fiery sounds

It has reached our ears,

Our hands rushed to the swords

And - they just found shackles.

The martyr's crown of the singer-prophet is glorified by Küchelbecker in the poem “The Fate of the Poets” (1823), anticipating the pathos of the theme “poet-prophet” in Pushkin and Lermontov.

Among many other names of Russian poets of Pushkin’s time, one cannot help but mention the inspired young man who passed away at only twenty-two years old, a critic, thinker and friend of Pushkin, a poet with a sincere and pure lyrical voice and the most tender verses - D.V. Venevitinova. His fate reflected high feelings, devotion to poetry, and love of life.

Source (abbreviated): Moskvin G.V. Literature: 9th grade: in 2 hours. Part 2 / G.V. Moskvin, N.N. Puryaeva, E.L. Erokhin. - M.: Ventana-Graf, 2016

The purpose of the lesson: introduce students to the poets of “Pushkin’s era”

Tasks:

• Educational:
• form the concept of “poets of Pushkin’s era”;
• identify the commonality and difference of poetic systems using the example of poets K. Batyushkov, D. Davydov, E. Baratynsky
• Developmental:
• develop creative thinking, the ability to select the most important information from a huge literary material, and draw conclusions;
• consolidate the ability to compose a syncwine;
• Educational:
• to form love and respect for literary, musical works, as well as for Russian painting as values ​​of national culture;
• cultivate a sense of tolerance, responsibility, and collectivism through group work.

Lesson type: learning new material;

Technologies used:

• Technology of critical thinking;
• Health-saving technologies
• Collaboration technology (work in groups)
• Research and search activities
• Means of education:
• Computer;
• Projector, screen;
• Presentation “Poets of Pushkin’s era” ( Annex 1 )
• Presentation “Intellectual game “Circle of the Poet’s Contemporaries” (Internet resources) ( Appendix 2 )
• DVD "18-14"
• Film (Windows Movie Maker) “Historical information of the era of Pushkin’s era” ( Appendix 3 )
• "Griboyedov's Waltz" ( Appendix 4 )

Advanced work: in the process of preparing for the lesson, group members are engaged in research activities: working with additional literature, encyclopedias, searching for the necessary information on the Internet; They publish literary newspapers based on the works of Batyushkov, Denisov, and Baratynsky.

Interdisciplinary connections:

• Literature;
• Story;
• Music

Lesson plan:

1. Organizational moment (1-2 min.)
2. Five-minute poetic session (3-5 min.)
3. Literary warm-up (5-7 min.)
4. Explanation of new material:

A) teacher’s introductory speech (5 min.)
B) defense of literary newspapers (10 min.)
C) watching a fragment of the film “18-14” (5 min.)

5. Physical education minute (1-2 min.)
6. Consolidation of the studied material, intellectual game “Circle of the Poet’s Contemporaries” (5 min.)
7. Lesson conclusion: compiling the final syncwine (5 min.)
8. Announcement of grades, homework (3 min.)

DURING THE CLASSES

I. Organizational moment

– Hello, dear guys and distinguished guests! Let's start our lesson! Literature lesson! This means that we will once again have a fascinating journey into the world of words. And this means that we will again admire, enjoy poetry, be surprised... Help me, guys! Continue! (Learn new things, be happy, be upset, dream, be surprised, analyze, think, delve into the essence...). That's enough guys, well done! Thank you!

II. Poetic five minutes

– We begin our literature lesson traditionally with a five-minute poetry lesson. Today Lena Nikitina prepared it for us; she herself will tell us about the choice of poet and poem.
(Annex 1 , slide 1) (The student recites a poem by a teacher from the Volipelginskaya secondary school, who passed away 10 years ago. The poem is called “I want to be a star...”)

III. Literary warm-up

– Before I announce a new topic to you, let’s stop at the literary warm-up: the task “Distribute the writers into three groups...”, “Who is the author of these works?” (Task on slides 2, 3 Applications 1 and on printouts for each student)

IV. Explanation of new material

1. Teacher's opening speech: Well done! You did a good job! Today we continue our conversation about the literature of the early 19th century, and the topic of our lesson is: “Poets of Pushkin’s era”, we write down the topic of the lesson in a notebook ( Annex 1 , slide 4 – photo of Pushkin).
Listen to the lines of Igor Severyanin:

There are names like the sun! Names
Like music! Like an apple tree in bloom!
I'm talking about Pushkin, the poet
Valid at any time.

This year we will continue to get acquainted with the “poet of poets,” as Vladimir Vysotsky called him, we will get acquainted with the poet’s new poems, study his biography in more detail, and most importantly, you will meet with a unique work of the writer, with the novel in verse “Eugene Onegin” .

In 1859, the wonderful Russian critic Apollo Grigoriev uttered a phrase that later became popular: “Pushkin is our everything...”. But in posing and solving the most important problems in the literature of the early 19th century, Pushkin was not alone. Along with him and around him, a whole galaxy of wonderful writers acted: here are older poets, from whom Pushkin absorbed and learned a lot, here are his peers, and still quite young men, like Dmitry Venevitinov. Before we begin to get acquainted with the poets of Pushkin’s circle, let’s first find out what kind of time this is - the era of Pushkin’s time, let’s listen to historical information.

2. Historical background(slide movie, Appendix 3 )

“The time when A.S. Pushkin lived and worked was a difficult time. This was a time of gigantic social upheaval, when the feudal-medieval world collapsed and on its ruins the capitalist system arose and established itself. This is a time of still stable serfdom, this is the time of the Patriotic War of 1812. Napoleon. Kutuzov. Moscow is burning. This is the time of the birth of secret political societies, the time of the defeat of the December uprising of 1825, this is the time of the terrible reaction of Nikolaev Russia.
And at the same time, the first third of the 19th century was a bright period of the heyday of Russian poetry. This era gave Russian literature a whole fireworks of names. The classicists are still writing their strict, sublime odes, sentimentalism has reached its peak, young romantics are entering the literary scene, and the first fruits of realism are appearing. It was at this time that literary salons emerged. The most popular was the salon of Zinaida Volkonskaya, where all the cream of Moscow literature gathered.”
(Annex 1 , slide 5) Let's imagine that we are in such a literary salon, and see who is its regular.

... The bell rings on the door. The butler comes out:
- Hello, gentlemen! Princess Volkonskaya is waiting for you!
- Who will be there today?
– Don’t you know, they are waiting for Pushkin!
(click on a photo of Pushkin). So, Pushkin appears, long-awaited, respected, always unpredictable, charming everyone with his violent temperament... And after him... However, try to guess for yourself who we are talking about. The founder of Russian romanticism, translator, teacher, mentor of Pushkin and the future Tsar Alexander II, singer of Svetlana, Pushkin’s lines are dedicated to him: “The captivating sweetness of his poems / The envious distance of centuries will pass...”. So who can we meet in the literary salon of Princess Volkonskaya next to Pushkin?
(Vasily Andreevich Zhukovsky...by click) We write down the first name in the notebook.
At the same time, the universally revered, corpulent, gray-sideburned great Russian fabulist, who began his literary career back in the 18th century, was still writing his witty fables... Ivan Andreevich Krylov
(...by clicking), (write it down in a notebook).
And you will probably hear the following name today for the first time: meet Prince Pyotr Andreevich Vyazemsky (...click) - a caustic intellectual, a master of epigrams, madrigals, friendly messages, a close friend of Pushkin and a comrade-in-arms in magazine battles.
Pushkin and Vyazemsky. There was a kind of dialogue between them, or, more precisely, an argument. Poetic, verse. This can be seen in Vyazemsky’s poem “First Snow” and Pushkin’s poem “Autumn”. Listen to the excerpts and try to understand this unusual dispute:

– So: “First Snow” by Vyazemsky:

Yesterday I was still moaning over the numb garden
The wind of boring autumn and wet vapors
The gloomy mountains stood above my brow
Or the wavy haze swirled over the forest,
A languid despondency wandered with a dull gaze
Through the groves and meadows emptying around.

Pay attention only to the epithets: “numb”, “boring”, “dull”, “empty”. This is how Vyazemsky sees autumn. And Pushkin answers him:

The days of late autumn are usually scolded,
But she’s sweet to me, dear reader,
Quiet beauty, shining humbly.
So unloved child in the family
It attracts me to itself...

– And, of course, the lines that are familiar to all of us, dear from early childhood, help me, read together:

It's a sad time! Ouch charm!
I am pleased with your farewell beauty.
I love the lush decay of nature,
Forests dressed in scarlet and gold...

– Do you guys like autumn? Who is closer to your mood – Pushkin or Vyazemsky? And one more thing: those who started reading “Eugene Onegin!,” probably paid attention to the epigraph of this novel: “And he is in a hurry to live, And he is in a hurry to feel...”. These lines belong to Pyotr Andreevich Vyazemsky. So, my friends, if you are interested in this peculiar poetic dialogue, I propose a topic for research, which can be called “Pushkin and Vyazemsky: a dialogue of two poetic systems.”

– We continue to travel through the literary salon of Princess Volkonskaya. This remarkable writer should also be included among Pushkin’s older contemporaries. But first answer the question if you recognize the piece of music ( Appendix 4 ), which is the background of our lesson? Yes, this is “Griboedov’s Waltz”, “Oh, this Griboedov’s Waltz... How much music, feelings, tenderness, life there is in it...”. This is what the poet's contemporaries said. Surprisingly, even in the 21st century this waltz continues to enchant, fascinate, excite... Just listen. (Volume increases and decreases gradually.) (A.S. Griboyedov) (...on click).

From the memoirs of A.S. Pushkin: “His melancholic character, his embittered mind, his good nature, ... - everything about him was extraordinary ... The death itself, which befell him in the middle of an unequal battle, had nothing terrible for him ... It was instant and beautiful” . You and I remember how early the poet died, what a terrible death, but he left us a great legacy. Remember, guys, Pushkin’s famous words about the comedy “Woe from Wit” (... half of the verses should become proverbs). Let's name a few of these expressions, you should have learned them.
The next name in the circle of older contemporaries of the great poet should be the name of Konstantin Nikolaevich Batyushkov (...on click), write the name in a notebook. The guys dedicated their literary newspaper to this writer. So, gentlemen, editors, correspondents, artists, the floor is yours.

3. Representation and defense of literary newspapers(students’ speech, the newspaper is attached to a magnetic board).

– The guys dedicated another literary newspaper to the work of the hero of the War of 1812, the leader of partisan detachments, the dashing hussar, Pushkin’s friend – Denis Davydov (...click) Let’s listen to them.
The following creative group dedicated its literary newspaper to the work of Evgeniy Abramovich Baratynsky (...click)
Introduction to the new topic of the next lesson (watching an excerpt from a movie)
And, of course, in the circle of Pushkin’s galaxy there are such names as
Vladimir Volkhovsky, Anton Delvig, Wilhelm Kuchelbecker, (...click), write down the names in a notebook. For all their literary dissimilarity, these poets are united by something more: “lyceum brotherhood.” But that, as they say, is another story. Guys, at your request, a separate lesson will be devoted to the topic of “lyceum brotherhood” or the topic of friendship in the poet’s lyrics. Be sure to watch the movie “18-14” for this lesson. Today we will only watch excerpts from a magnificent feature film. He talks about young lyceum students: Pushkin, Pushchin, Gorchakov, Kuchelbecker, Delvig. In the future, their names will forever go down in the history of Russia, but for now they are ordinary schoolchildren who play pranks, fall in love, write poetry, go on dates, challenge each other to a duel, and joke with teachers. This is what the young lyceum students looked like... (watching a film excerpt).

V. Reinforcing the topic

– And now I want to test your literary vigilance, knowledge of history, test your attentiveness. I offer you the intellectual game “Circle of the Poet’s Contemporaries” ( Appendix 2 ).

VI. Conclusion (Annex 1 , slide 6)

– So, you and I have only just touched upon the study of this amazing era, having become acquainted only with some of the poets of Pushkin’s circle. Nevertheless, acquaintance with these poets allows us to conclude that each of them, in his own way, just as actively participated in the literary life of the first decades
19th century. Their poems often became events, gave rise to delight, hope and disappointment, and evoked vivid responses from critics and fellow writers. Without a doubt, Pushkin is not like any of the heroes presented here, but in each of them we guess some Pushkinian traits.

VII. Compiling a syncwine

– Well, now, as a conclusion to our lesson, I propose to write a syncwine. ( Annex 1 , slide 7)

The first line is the topic of our lesson -
Poets of Pushkin's time...

I wish you creative success!

Possible syncwine option:

Poets of Pushkin's time...
Amazing, creative, talented, so different,
They write, create, delight readers, delight...
Everyone contributed to the development of Russian literature
They are united by the name of Pushkin!
Bright era!
Amazing era!
“The Age of Timid Breathing” (I. Severyanin)
Golden age!

VIII. Homework (Annex 1 , slide 8)

1. Complete the presentation about Pushkin (individual task);
2. Expressive reading of one of Pushkin’s poems (from a textbook);
3. Read “Eugene Onegin” in full;
4. View thin. film “18 – 14”
5. Find illustrations for the novel on the Internet (individual task).

And finally, the words of the same Igor Severyanin:

...The era of timid breathing... Where
Your charm? Where is your whisper?
Practicality produces experience in the lungs,
So that the sigh becomes insolent,
Modern de…
And instead of breathing -
Snoring everywhere.
Instead of poetry -
Tongue-tied babble.

– Let’s allow ourselves to disagree with Mr. Severyanin. As long as you and I love poetry, admire it, study it, understand it, “the era of timid breathing will not leave us! Thanks to all! Goodbye!

CONSTELLATION LYRA.

There are poets whose names have become not only pride, but a symbol of national culture. For the Italians it is Dante, for the English it is Shakespeare, for the Germans it is Goethe, for the Russians it is Pushkin. In the past, entire eras were usually named after the reigning monarchs. Nowadays, humanity is making adjustments to the chronology, for which the brightest lights of reason, the rulers of thoughts, and not crowned heads, are increasingly being chosen as reference points. There was the Dantean era in Italy, there were the times of the “king of dramatic poets” Shakespeare in England, and there was the Pushkin era in Russia.
Pushkin is the beginning of all beginnings of Russian artistic culture of modern times. He gave her a powerful impetus, brought her onto the world road and indicated guidelines for moving forward. His name is associated with peak achievements in Russian literature, music, fine and theatrical arts of the 19th-20th centuries.
“We have everything from Pushkin,” said Dostoevsky. “His turn to the people at such an early stage of his activity was so unprecedented and amazing, it represented an unexpected new word for that time that it can only be explained, if not by a miracle, then by extraordinary greatness.” genius..."
Truly, Pushkin was “the Sun of our poetry,” as V. Odoevsky called him in his famous obituary. He absorbed the rich experience of his predecessors and contemporaries, illuminating with world-encompassing genius the paths for the further development of the Russian word. As Belinsky put it, “just as previous Russian writers explain Pushkin, so Pushkin explains the writers who followed him.” At the same time, many luminaries shone on the poetic horizon of Russia, forming the brilliant constellation Northern Lyra. Yielding to the sun in the brilliance and intensity of creative combustion, feeding on its rays, they themselves influenced the spectrum of light emanating from it, warming with their warmth many grateful readers’ hearts.
The proposed set of postcards presents sixteen poets of the Pushkin era. Each of them wrote a significant page in the treasured book of Russian fine literature, laying the foundation of the national classics, contributing to the establishment of the moral and artistic principles put forward by Pushkin.
It is not only thanks to friendly ties that the circle of Pushkin’s comrades is outlined; the most important role here was played by unity of thoughts, “high aspirations,” and a willingness to serve with his pen the patriotic idea of ​​​​the prosperity of the nation. The fact that Pushkin was the central figure of that era was realized by many. Indicative in this regard are the words of Ryleev addressed to him shortly before the December uprising: “... the eyes of Russia are fixed on you; they love you, they believe in you, they imitate you. Be a Poet and a Citizen.” Everyone studied with the creator of Eugene Onegin, and he himself studied with some of them. But together, the best minds of Russia did a common cause.
Pushkin’s titanic activity would not have had such impressive consequences if he had not been the spokesman for the aspirations of the country’s progressive public, who inspired their idol to fight the dark forces. It is no coincidence that among Pushkin’s inner circle we see the Decembrists - everything progressive was drawn to him, and he himself was invariably focused on the future.
The Patriotic War of 1812 became that fiery font from which Russia emerged transformed. The growth of national self-awareness required its embodiment in artistically mature art. For this, it was necessary for Pushkin to appear to the people. Under his leadership, the literary Russian language was created, the lessons of past and present masters, domestic and foreign, were quickly learned, and radical reforms were carried out in all genres of literature.

Poetic squad
Brave leader and giant!
Since childhood, your flight has been like an eagle's.
Reached steep peaks.
. . . . . . . . . . .
There is a poet in his native element
I tempered my golden verse,
And for glory and Russia
He blossomed in excess of strength, -

One of his closest friends, the poet Vyazemsky, wrote, remembering Pushkin.
We rightfully consider Pushkin to be the founder of our classical literature, but he did not walk alone. Nearby were friends, like-minded people, and sometimes “competitors in glory.” Their portraits are now in front of you. Made by the artist Yuri Ivanov using the technique of Italian pencil and sanguine, they quite fully convey the flavor of the era that we call Pushkin’s time and which is also rightly called the “golden age” of Russian poetry.
Svyatoslav Belza.

ALEXEY VASILIEVICH KOLTSOV
(1809 - 1842).

“This man was a sufferer,” Belinsky said upon learning of Koltsov’s death.
One of the most original Russian poets, Koltsov, lived a difficult life in an unsuccessful attempt to escape from the gloomy philistine world (his father was a cattle dealer and did not encourage his son’s literary inclinations). Born a poet, greedily striving for culture, Koltsov was forced to eke out a miserable existence among traders and tyrants.
The poet's first poems appeared in print in 1831, and his first book appeared in 1835. Koltsov, according to Pushkin, attracted everyone’s “favorable attention.” His melodious, musical poems told about the life and work of the common people ("The Plowman's Song", "The Daredevil", "The Harvest", "The Mower", "The Young Reaper"). As Belinsky noted, along with Koltsov’s lyrics, “bast shoes, and torn caftans, and disheveled beards, and old onuchi boldly entered literature - and all this dirt turned into pure gold of poetry for him.”
“The sun is shot through” - this is how Koltsov responded to the death of Pushkin, dedicating the poem “Forest” to the memory of the great poet, who gave him his attention and participation:
From heroic shoulders
They took off the head -
Not a big mountain
And with a straw...

Many of the poet’s works, set to music by composers Rimsky-Korsakov, Mussorgsky, Balakirev, have not been forgotten by the people to this day.

EVGENY ABRAMOVICH BARATYNSKY
(1800 - 1844)

“Of all the poets who appeared together with Pushkin, the first place undoubtedly belongs to Mr. Baratynsky,” Belinsky wrote about the greatest poet of the Pushkin era, a close friend of Delvig and Pushkin. Already the first poems of Baratynsky attracted the attention of readers. In his “lovely elegies” they found “extraordinary harmony and maturity” (“Justification”, “Disbelief” (“Do not tempt me unnecessarily”), “Waterfall”, “Two Shares”, “Truth”, “Storm”). Pushkin considered Baratynsky’s “Confession” to be the best Russian love elegy:

Don't demand feigned tenderness from me,
I will not hide the sad coldness of my heart...

A philosophical orientation already distinguished Baratynsky’s early poems, but the most unique talent of the “poet of thought” developed in the 30s and 40s. He creates many works that have become the property of Russian classics - “Signs”, “Glass”, “The Last Poet”, “Autumn”:

And here it is September! Slowing down your rise,
The sun shines with a cold radiance,
And its ray in the mirror of the shaky waters
Unfaithful gold trembles.

Philosophical thoughts about the fate of man and poet, humanity and art gave a special tone to Baratynsky’s late work and determined the exceptional originality of his artistic world. Pushkin highly valued the “non-general expression” of Baratynsky’s poetic appearance: “He is original with us, because he thinks... thinks in his own way, correctly and independently, while he feels strongly and deeply.”
“I will find a reader in my descendants” - this prediction of Baratynsky, a master of subtle philosophical lyricism, came true. He is read and loved.

VLADIMIR FEDOSEEVICH RAEVSKY
(1795 - 1872)

Raevsky is often called the first Decembrist. A participant in the Patriotic War of 1812, awarded a golden weapon for his bravery in the battles of Borodino, Raevsky was accused by the authorities of revolutionary propaganda four years before the uprising on Senate Square. After five painful years of imprisonment in solitary confinement, he was exiled to Siberia for almost the rest of his life. Raevsky is not only the first Decembrist, but also the first Decembrist poet. Of the poet’s literary heritage that has come down to us, most of it was written in prison or in exile. His best works are excellent examples of the civil political poetry of the Decembrists. In them, the author’s confidence in the correctness of revolutionary ideas is combined with great intensity of feelings. Such is “The Singer in the Dungeon” - a poem that aroused the warm approval of Pushkin. In it, just like in the message “To Friends in Chisinau,” Raevsky’s call to his comrades in the military pen, and first of all to Pushkin, sounds mercilessly to fight against despotism and oppression:

Leave other singers some love!
Is it love to sing where blood splashes?

These calls did not go unanswered. Pushkin responded with the lines:

No wonder you called to me
From the depths of a remote dungeon...

Raevsky's literary and political views had an undoubted influence on Pushkin. He admired the courage and perseverance of the first Decembrist poet, who dedicated his life and work to the struggle for freedom.

ALEXANDER IVANOVICH POLEZHAEV
(1805 - 1838)

The tragic fate of the poet Polezhaev is typical of the fate of a lone revolutionary of the 20-30s of the 19th century. Sent into the army by order of the tsar for the poem “Sashka,” which contained a protest against the “despicable executioners,” the poet was never able to get out of the soldiery until the end of his life. Polezhaev’s work, like a mirror, reflected the dramatic ups and downs of his life. In the poetic heritage, the central place is occupied by lyrical poems imbued with motifs of protest, despair, and proud loneliness (“Song of the Captive Iroquois,” “Song of the Perishing Swimmer,” “Indignation,” “Prisoner”). Service in the Caucasus gave him material for the poems "Erpeli" and "Chir-Yurt". As a direct participant in the events, he depicts soldiers on campaigns, in camp and combat situations. In the gloomy “shackle songs” and elegiac works full of mournful complaint (“Evening Dawn”, “Oh, why did fate ruin me”, “Fierce”), the protest of a freedom-loving personality against injustice and oppression sounds.
Pushkin's contemporary Polezhaev undoubtedly experienced his powerful influence, but in the poet's works one can already feel the motifs that will be heard in full force in Lermontov's rebellious lyrics. According to Ogarev, Polezhaev “ends the first, failed battle of freedom with autocracy in poetry.”

FEDOR NIKOLAEVICH GLINKA
(1786 - 1880)

During the formation of the Decembrist movement, Glinka played a significant organizational role, was a member of the Union of Salvation and one of the founders and leaders of the Union of Welfare. The freedom-loving ideas of the Decembrists, close to the young Glinka, were reflected in his poetic work. The poet's best poems are imbued with dreams of freedom and equality, and sharply condemn despotism and social injustice ("The Cry of the Captive Jews"). Glinka's bright patriotic poem "Moscow" ("Wonderful city, ancient city...") became widely known. The poet's poems set to music became truly folk songs: “Troika” (“Here the daring troika is rushing…”) and “Song of the Prisoner” (“You can’t hear the noise of the city…”).
Glinka had a strong influence on the formation of Pushkin’s political views (they often met at meetings of the literary society “Green Lamp”), supported him in difficult life situations, and petitioned for relief from the fate of the great poet on the eve of his exile in 1820. Pushkin called Glinka “the most respectable man of this world” and highly appreciated his civic position in a message to “F.N. Glinka”:

When, amidst the orgies of life, noisy
I was ostracized
I saw a crazy crowd
Contemptible, timid selfishness.
I left without tears with vexation
Wreaths of feasts and the splendor of Athens,
But your voice was a joy to me,
Generous citizen!

ALEXANDER IVANOVICH ODOEVSKY
(1802 - 1839)

Very young, at 22 years old, cornet of the Life Guards Cavalry Regiment Odoevsky became the first member of the Northern Society of Decembrists. For active participation in the uprising on Senate Square, he was sentenced to hard labor in Siberian mines. And only in 1837, as a matter of highest mercy, was transferred as a private to the Caucasus. The young poet’s progressive anti-serfdom views were expressed in his first famous poem, “The Prayer of the Russian Peasant.” But Odoevsky creates his best works already in hard labor: “Trezna”, “Poems for our transition from Chita to the Petrovsky Plant” (“What kind of nomads turn black”), “At the news of the Polish revolution.” The lines sound unusually strong in the mouth of the poet, exhausted by severe captivity:

For holy Rus', captivity and execution -
Joy and glory!

Odoevsky became the spokesman for the thoughts and aspirations of the exiled Decembrists. It was he who had the opportunity to respond to Pushkin’s message to Siberia (“In the depths of the Siberian ores...”):

Strings of prophetic fiery sounds
It has reached our ears,
Our hands rushed to the swords
And - they just found shackles.
But be calm, bard! - chains,
We are proud of our destiny
And behind the prison gates
In our hearts we laugh at kings.

A line from this poem by Odoevsky became the epigraph of Lenin’s “Iskra” - “From a spark a flame will ignite.”

IVAN IVANOVICH KOZLOV
(1779 - 1840)

“Misfortune made him a poet,” Zhukovsky wrote about Kozlov, “the years of suffering were the most active years of his mind.” At the age of 40, paralyzed and unable to move, the poet lost his sight. Separated forever from the outside world, he devotes himself entirely to poetry. In 1821, his first poem “To Svetlana” appeared in print. The romantic, “full of feelings” poem “Chernets”, which evoked an enthusiastic review from Pushkin, was extremely popular. Kozlov created many lyrical poems (“Venetian Night”, “Yaroslavna’s Lament”) As a translator, he took a prominent place in Russian literature. He translated works by Byron and Moore from English, from French - Chenier, Lamartine, from Italian - Petrarch, from Polish - Mickiewicz. Kozlov's songs "Evening Bells", "The Drum Did Not Beat" became widely popular ..." ("For the burial of the English general Ser John Moore").
Pushkin was deeply touched by the fate of the blind poet, whose work he treated with great attention and to whom he dedicated beautiful lines:

Singer, when in front of you
The earthly world hid in the darkness,
Instantly your genius woke up,
Looked at all the past
And in the choir of bright ghosts
He sang wonderful songs.
Oh dear brother, what sounds!
I will listen to them in tears of delight...

DMITRY VLADIMIROVICH VENEVITINOV
(1805 - 1827)

Venevitinov's literary heritage is small - only about 40 poems, both original and translated, from Goethe, Virgil, and Hoffmann. The freedom-loving ideas of the Decembrists were reflected in his work; he glorified the Motherland and freedom (“The Song of the Greek,” “The Liberation of the Skald,” “The Death of Byron”). The theme of the Novgorod freemen, developed in the traditions characteristic of the Decembrist poets, sounds in his poem “Novgorod”:

This place is sacred
The air is cleaner and freer here!
. . . . . . . . . . . . .
Answer, majestic city:
Where are the times of blooming glory,
When your voice, the scourge of princes,
Sounding like brass here in a stormy evening,
To court or bloody slaughter
Called your obedient sons?

Venevitinov's lyrical works ("The Poet", "Three Roses", "Three Fates") are distinguished by a philosophical orientation, which was further developed in the poetry of Tyutchev and Lermontov. The untimely death of a young talented poet, surrounding his name with a romantic aura, struck many literary figures of that time. Pushkin grieved that “a wonderful poet died so early.” Lermontov, Delvig, Koltsov, Odoevsky wrote poetic epitaphs on his death. Chernyshevsky believed that “had Venevitinov lived even ten years more, he would have advanced our literature forward for decades.”

NIKOLAY MIKHAILOVICH YAZYKOV
(1803 - 1846)

“The name of Tongues came to him by surprise,” Gogol wrote about the poet, “he speaks the language like a horse with his wild horse...”. Already Yazykov’s first masterfully executed, cheerful, verses praising freedom put him among the leading Russian poets. The author reflects on the fate of Russia ("Elegy") and on his poetic future ("Prayer", "Apology"). Yazykov responded to the execution of Ryleev with a beautiful poem “Aren’t you the decoration of our days?”, in which there is a call to avenge the death of the Decembrist poet:

Oh, remember him, Russia,
When you rise from your chains
And you will move thunderous forces
To the autocracy of kings!

The themes of Russian history, developed by the poet in the Decembrist traditions, left a deep imprint in his work: “Song of the Bard during the reign of the Tatars in Russia”, “Bayan for the Russian warrior...”, “Evpatiy”. Yazykov's poems set to music ("From a country, a distant country...", "Swimmer" ("Our sea is unsociable...") are loved by the people to this day.
Yazykov’s poetic talent, his “sonorous lyre” aroused Pushkin’s constant admiration: “A person with ordinary strength will not do anything like this, it requires a riot of strength,” the great poet wrote enthusiastically after the publication of a collection of Yazykov’s poems in 1833. The highest recognition of his talent comes from Pushkin:
I swear by Ovid's shadow:
I am close to you of languages.

KONDRATY FEDOROVICH RYLEEV
(1795 - 1826)

Ryleev said about his deepest desires: “I will shed my blood, but for the freedom of the fatherland, for the happiness of my compatriots, to wrest the iron scepter from the hands of autocracy, to acquire legal rights for oppressed humanity.” The entire life and work of the Decembrist poet was subordinated to this. Ryleev’s literary fate as a poet-citizen was determined by a sharp satire on the tsar’s advisor, despot and obscurantist Arakcheev. According to contemporaries, this was the first blow dealt by Ryleev to autocracy. In 1825, Ryleev's Dumas were published. Two short stories - "Ivan Susanin" and "Peter the Great in Ostrogozhsk" - were highly appreciated by Pushkin. “To remind youth of the exploits of their ancestors...” - this is how Ryleev understood the purpose of the collection “Dumas”. Ryleev's poem "Voinarovsky", promoting the ideas of the Decembrists, was evidence of the author's high artistic skill, charmed Pushkin, and he saw in Ryleev "true talent." The poem “Nalivaiko” remained unfinished, where the approach of December 1825 sounds especially noticeable. Ryleev affirms his creative position in the poems “Will I be at the fatal time...” and “On the death of Byron.” About Ryleev, the poet-citizen, we can say in his own poems:

He knows no low fear;
Looks at death with contempt
And valor in young hearts
It lights up with truthful verse.

On July 13, 1826, Ryleev was executed as one of the leaders of the Northern Society of Decembrists, an organizer and an active participant in the uprising.

KONSTANTIN NIKOLAEVICH BATYUSHKOV
(1787 - 1855)

Even in his lyceum years, Pushkin experienced a serious influence of Batyushkov’s lyrics, which earned him fame as an epicurean, a lover of life’s pleasures, as well as a master of elegiac battle poetry. In his message “To Batyushkov” Pushkin addressed him like this:

The philosopher is frisky and drinking,
Parnassus happy sloth...

Most of Batyushkov’s poems are inspired by personal impressions and episodes from his biography. Thus, military service and participation in the war with Napoleon gave him material for the message “To Dashkov”, the historical elegy “Crossing the Rhine” and other works that are dedicated to the ideas of civil service and sacrifice in the name of the Motherland. Batyushkov’s book “Experiments in Poetry and Prose” is marked by genuine maturity; some poems from it were highly appreciated by Pushkin. With his brilliant imitations of ancient Greek lyric poetry, the poet largely prepared the appearance of Pushkin’s “anthological” poems. Many of Batyushkov’s lines are filled with philosophical depth and have become popular:

O memory of the heart! You are stronger
The mind of the sad memory...

What Pushkin admired about Batyushkov was that “his style trembles and flows, his harmony is charming.” Ahead of the development of Russian poetry by several years, the author of "Experiments" was the predecessor of the early Pushkin, who in many ways followed his lead.

DENIS VASILIEVICH DAVYDOV
(1784 - 1839)

An original poet, one of Pushkin’s close friends, a legendary hero of the Patriotic War of 1812, Denis Davydov entered literature rapidly and stunningly. Literary glory came to him along with military glory.

Hussar singer, you sang bivouacs,
The expanse of Ukhara feasts
And the terrible fun of fighting -

This, speaking in Pushkin’s verses, is the content of Davydov’s poetry. His hero is a desperate swashbuckler who knows no fear either in the face of mortal danger or ... the spell of wine ("Burtsov", "Hussar Feast", "Song", "Song of the Old Hussar"). According to Belinsky’s definition, in Davydov’s “hussar” poetry, “daring revelry,” love for noisy feasts and “cheerful life” are combined “with loftiness of feelings, nobility in thoughts and life.”
Pushkin highly valued the poetry of the hero singer, the author of the famous modern song:

To you, the singer, to you, the hero!
I couldn't follow you
With cannon thunder, in fire
Ride a mad horse.
Rider of the humble Pegasus,
I wore old Parnassus
Out of fashion uniform:
But even in this difficult service,
And then, oh my wonderful rider,
You are my father and commander.

PETER ANDREEVICH VYAZEMSKY
(1792 - 1878)

Fate wanted to show its gifts in him...
Pushkin

In Pushkin’s circle, Vyazemsky rightfully belongs to one of the most important places. Having known the great poet as a child, he was among the first to appreciate his poetic talent. “What a beast!” Vyazemsky wrote to Zhukovsky in 1818, “...this mad brat will eat us all up like our fathers.” With sincere gratitude, young Pushkin received Vyazemsky’s enthusiastic reviews of his first poetic experiments and valued them extraordinarily.
The poet's literary fame began with poems imbued with the freedom-loving ideas of the Decembrist era ("Petersburg", "Indignation"). From high political odes to comic songs, satirical couplets - such is his creative range. True pain for Russia is heard in one of Vyazemsky’s best works, “Russian God,” in which the poet expressed hatred of despotism, lordly self-will and bureaucracy ruling in his fatherland. Belinsky noted the poet’s brilliant talent, and Pushkin highly valued his work:

A caustic poet, an intricate wit,
And rich in the brilliance of caustic words, and rich in jokes,
Happy Vyazemsky, I envy you.
You got the right thanks to fate
Laugh cheerfully at jealous malice,
Smite ignorance with playful anathema.

WILHELM KARLOVICH KUCHELBECKER
(1797 - 1846)

“My dear brother by muse, by destiny” - this is what Pushkin called Kuchelbecker, a lyceum comrade, a talented poet, a man of high spirit, honest in heart and thoughts. Created, according to Baratynsky, “for the love of glory and for misfortune,” he drank the latter in full. He was convicted for active actions in the Decembrist uprising and, after almost ten years of imprisonment in the Shlisselburg, Dinaburg, and Revel fortresses, he was exiled to eternal settlement in Siberia.
The poet's early works are distinguished by a high civic orientation; they glorify the “merry hour of freedom”, the willingness to give his life for it (“To Achates”, “To Friends on the Rhine”, “Greek Song”). During the years of prison and exile, Kuchelbecker's poetic talent developed in full force; he did not betray his youthful ideals ("The Shadow of Ryleev", "David", "Elegy"). Half-blind, sick, exhausted by backbreaking labor, the poet was proud of his involvement in the “eagle flock” of the Decembrists (“On the Death of Yakubovich”).
The news of Pushkin’s death resonated with deep sorrow in Kuchelbecker’s heart (“October 19, 1837,” “Shadows of Pushkin”). Strong friendships, love and respect bound the poets. Pushkin dedicated several beautiful poems to Küchelbecker, among them the famous lines “The service of the muses does not tolerate vanity...” (“October 19”). The great poet actively contributed to the publication of Kuchelbecker's works sent from exile.

VASILY ANDREEVICH ZHUKOVSKY
(1783 - 1852)

In Pushkin’s apartment on the Moika Embankment there hangs a portrait of Zhukovsky, given by him in 1820 to the young singer of “Ruslan and Lyudmila” with the famous inscription: “to the victorious student from the defeated teacher.” Zhukovsky was indeed one of Pushkin’s main mentors in poetry. According to Belinsky, “Zhukovsky... has great historical significance for Russian poetry in general: having spiritualized Russian poetry with romantic elements, he made it accessible to society, gave it the opportunity to develop, and without Zhukovsky we would not have had Pushkin.”
Quite quickly, the relationship between teacher and student grew into true friendship. Zhukovsky enthusiastically welcomed Pushkin's first steps in poetry and was present at his last minutes; he did a lot for the posthumous glory of the national genius of Russia. All his life he touchingly, fatherly looked after Pushkin, more than once extending a helping hand to him in the most difficult situations. For his part, Pushkin paid tribute to the literary merits of his older brother, highly appreciating “the captivating sweetness of his poems.”
Zhukovsky won wide recognition in Russia for the creation of original works, in particular the poem “The Singer in the Camp of Russian Warriors,” wonderful romantic ballads and numerous translations and adaptations of masterpieces of world poetry.

Set of postcards "Poets of the Pushkin era". "This set of postcards is the first issue dedicated to Russian poets of the 19th century."
Artist Yu.V.Ivanov. The author of the introductory article is S.I. Belza. Annotations by M.L. Ryzhkova. Ed. O.F. Ivashchenko. Literary editor: L.A. Treptsova. Publishing house "Fine Arts". Moscow. 1986

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Evgeny Abramovich Baratynsky (1800 - 1844) - Russian poet. Evgeny Abramovich Baratynsky (1800 - 1844) - Russian poet. Born on February 19 (March 2 according to the present day) in the village of Mara, Tambov province, into a poor noble family. He came from an ancient Polish family, from the beginning of the 17th century. settled in Russia. Baratynsky's father was a secular lieutenant general of Paul I, his mother was a maid of honor to Empress Maria Feodorovna. In 1810, Baratynsky’s father died, and his mother took over his upbringing. From the German boarding school, Baratynsky moved in 1812 to the St. Petersburg Corps of Pages, from which in 1816 he was expelled for not entirely harmless boyish pranks (theft) without the right to enter any service other than soldiering. This incident greatly affected the young man; he admitted later that at that time “he was ready to take his own life a hundred times.” Undoubtedly, the shame experienced by the poet influenced the development of his pessimistic worldview. In 1819 he was enlisted as a private in the St. Petersburg Life Guards Jaeger Regiment. At this time, he met Delvig, who not only morally supported him, but also appreciated his poetic talent. At the same time he struck up friendly relations with Pushkin and Kuchelbecker. Thanks to Delvig, Baratynsky’s first works appeared in print: messages “To Krenitsin”, “Delvig”, “To Kuchelbecker”, elegies, madrigals, epigrams. In 1820, the poem "Feasts" was published, which brought great success to the author. In 1820-1826 Baratynsky served in Finland and wrote a lot. An elegy occupies a prominent place in his work of this time: “Finland”, “Disbelief” (“Do not tempt me unnecessarily...”), set to music by M. Glinka, “Waterfall”, “Two Shares”, “Truth”, “ Recognition" and others. Attempts by friends to achieve an officer rank for Baratynsky were for a long time met with the refusal of the emperor.

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The reason was the independent nature of creativity and oppositional statements of the poet. The reason was the independent nature of creativity and oppositional statements of the poet. He was not a Decembrist, but he was also captivated by ideas that were embodied in the activities of secret societies. His political opposition manifested itself in the elegy “The Tempest” (1825), in the epigram on Arakcheev, and later in “Stanzas” (1828). In April 1825, Baratynsky was finally promoted to officer, which gave him the opportunity to control his destiny. He retired, married and settled in Moscow, where in 1827 a collection of his poems was published - the result of the first half of his work. After the defeat of the Decembrist uprising, social life in Russia changed dramatically, which left its mark on Baratynsky’s poetry. His philosophical beginnings have now come to the fore, the themes of great sorrow, loneliness, the glorification of death as the “solution of all chains” (“The Last Death”, “Death”, “The Little One”, “What are you for, days”, “Why should a slave dreams of freedom?.."). In 1832, the magazine "European" began to be published, and Baratynsky became one of its most active authors. After the magazine closed (only two issues were published), he fell into hopeless melancholy. In 1835, the second edition of his works was published, which then seemed to be the result of his creative path. But Baratynsky’s last book was the collection “Twilight” (1842), which combined poems from the second half of the 1830s - early 1840s. In 1843 the poet went abroad. He spent six months in Paris, meeting with writers and public figures in France. In Baratynsky's poems of that time ("Piroskaf", 1844) cheerfulness and faith in the future appeared. Death prevented the beginning of a new stage in the poet's work. In Naples, he fell ill and died suddenly on June 29 (July 11, n.s.) 1844. Baratynsky’s body was transported to St. Petersburg and buried.

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Forest King Forest King Who gallops, who rushes under the cold darkness? The rider is late, his young son is with him. The little one came close to his father, shuddering; The old man hugs him and warms him. “Child, why are you clinging to me so timidly?” “Dear, the king of the forest sparkled in my eyes: He is wearing a dark crown, with a thick beard.” "Oh no, the fog is white over the water." “Child, look around, baby, towards me; There is a lot of fun in my direction: Turquoise flowers, pearly streams; My palaces are made of gold.” “Dear, the king of the forest speaks to me: He promises gold, pearls and joy.” “Oh no, my baby, you misheard: The wind, waking up, shook the leaves.” “Come to me, my baby: in my oak grove You will recognize my beautiful daughters: During the month they will play and fly, Playing and flying, they will put you to sleep.” “Dear, the king of the forest has called his daughters together: I see they are nodding to me from the dark branches.” “Oh no, everything is calm in the depths of the night: The gray willows stand to the side.” “Child, I was captivated by your beauty: Willingly or willingly, you will be mine.” “Dear, the king of the forest wants to catch up with us; Here he is: I’m stuffy, it’s hard for me to breathe.” The timid rider does not gallop, he flies; The baby yearns, the baby cries; The rider urged on, the rider galloped... In his hands lay a dead baby.

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General information about A.A. Delvig Delvig Anton Antonovich, baron. Born in 1798 in Moscow. One of Pushkin's closest friends from his lyceum days. Poet. He graduated from the Lyceum with the rank of collegiate secretary and was assigned first to the department of mining and salt affairs, then to the Ministry of Finance. From 1821 he served as an assistant librarian at the Public Library. Delvig and Pushkin were brought together by a common love of poetry: “I talked with him about everything that excites the soul, that torments the heart,” Pushkin later recalled. Delvig was the first of the Lyceum poets to publish in magazines. Pushkin took an active part in these publications of Delviga. Back in 1815, during his studies, Delvig published the poem “To Pushkin” - the first enthusiastic review of the young poet in Russian literature, confidently predicting his immortality.

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