Vasily Andreevich Zhukovsky is rightfully considered the “literary Columbus of Rus'”, who discovered “America of Romanticism in Poetry”. At the beginning of the 19th century, romanticism in Russia was a new movement that came to us from Western European literature. Romanticism brought with it new themes, images, moods, motives, artistic techniques Images. Moreover, we can say that romanticism defined a new - romantic - attitude to life. Zhukovsky appeared in Russia as the conductor of everything new and unusual that romanticism carried within itself.
Everything that Zhukovsky creates is imbued with special romantic motifs, which reflect the feelings, thoughts, moods, and experiences of his lyrical hero. They can be distinguished both in ballads and in love lyrics, but, perhaps, these romantic motifs are most clearly manifested in landscape lyrics, which include the poems “Evening” of 1806 and “Sea” of 1822.
A special lyrical landscape is created here, which became a discovery for Russian literature. Its peculiarity lies in the fact that the image of nature in the poem does not so much paint a real picture as it reflects the state of mind, the mood of the lyrical hero. The most characteristic of Zhukovsky’s lyrics is the elegiac mood and the elegiac motifs associated with it. An elegy is always imbued with sadness, associated both with a person’s intimate experiences and with his philosophical reflections on the world.
This is Zhukovsky’s poem “ Rural cemetery"1802, which is a free translation of a poem by the English poet T. Gray. It became decisive for the development of not only Zhukovsky’s poetry, but also all subsequent Russian literature. No wonder Vl. Solovyov called elegy “the birthplace of Russian poetry.” The main motive of this poem, dedicated to reflections on the meaning of human life, is sadness and sadness associated with the awareness of the vanity of human existence on earth. The motifs of a person’s doom to death and the loss of the most precious thing in life that appear here will then often be present in Zhukovsky’s poetry. They also appear in the poems “Evening” and “Sea”, but their meaning and origins are different.
Zhukovsky’s first original elegy “Evening” became the highest poetic achievement of his work at this time. It embodied the special quality of Zhukovsky’s poetry, which made it both new and very close to many people - this is its deeply personal, biographical beginning. This has never happened before in Russian poetry. Belinsky very correctly noted that before Zhukovsky, the Russian reader did not even suspect that “a person’s life could be closely connected with his poetry,” and his works became “his best biography.” The elegy “Evening” truly reflected the poet’s life, his aspirations and thoughts about his fate. Even in the landscape, one can easily discern the signs of the poet’s native places - Mishensky and Belev:
The sunset is captivating like the sun behind the mountain -
When the fields are in the shade and the groves are distant
And in the mirror of water there is swaying hail
Illuminated with a crimson shine...
Hence the intimacy of the poet’s experiences expressed in the poem; the events of his life are the source of his main motives. Three years before the creation of this elegy, Zhukovsky’s closest friend Andrei Turgenev died - he was only 22 years old! This death shocked the poet and made him think about the transience of life, about the losses that haunt a person. Hence the motive of longing and memory of the departed:
I sit thinking; in the soul of my dreams;
I fly with memories of times gone by...
O spring of my days, how quickly you disappeared,
With your bliss and suffering!
Where are you, my friends, you, my companions?
Is it possible that connections will never ripen?
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
One - a minute color - rested, and undisturbed,
And the timeless coffin of love sprinkles with tears...
And yet the peace of nature, dying in the evening silence, is gratifying for the poet. He is dissolved in nature and does not oppose the world, does not recognize life as a whole as something hostile to his soul. Hence the motive of reconciliation and humility before the greatness of the Divine, dissolved in nature:
Fate destined me to wander along an unknown path,
To be a friend of peaceful villages, to love the beauty of Nature,
Breathe oak forest silence above the dusk
And, looking down at the foam of water,
Sing the Creator, friends, love and happiness.
An exclamation of opportunity near death, which concludes the poem, does not threaten melancholy. Dissolution, merging turns out to be a general law of the universe. Just as the rays of the sun melt in the evening twilight, merging with the fading nature, so a person fades away and still remains to live in memories.
Why, despite everything, is a wonderful evening for a poet? This is a moment of harmony in nature, when “everything is quiet,” when the blowing of the wind and the “fluttering of flexible willow,” the splashing of streams exist in the same rhythm, when “the incense is fused with the coolness.” This amazingly beautiful description of a summer evening, full of colorful epithets and metaphors, striking with the sophistication of the melodic pattern and sound harmony of the verse, cannot leave today’s reader indifferent. No wonder when Pyotr Ilyich Tchaikovsky for the opera “ Queen of Spades“It was necessary to select several of the most melodious and at the same time typical lines from poems depicting Russian nature, he settled on “Evening” by Zhukovsky, a fragment of which sounds in the famous duet of Lisa and Polina:
It’s already evening... the edges of the clouds have darkened,
The last ray of dawn on the towers dies;
The last shining stream in the river
With the extinct sky it fades away.
But this harmony is possible only in dying, when “the last brilliant stream in the river with the extinct sky fades away.” This is the position of elegiac, contemplative romanticism, which is reflected in Zhukovsky’s poetry. Knowing about the contradictions and imperfections of the world around him, he does not complain, since the poet’s soul strives to see not so much the real world, in which there is “an abyss of tears and suffering,” but rather an ideal, but it is beyond the boundaries of earthly existence.
The poet speaks about the futility of trying to find this sublime ideal on earth in the poem “The Sea,” which is all permeated with the motif of the contradiction between the ideal and reality, their incompatibility. It, like “Evening,” is full of romantic themes, images, moods, and motives. This is not just a seascape, although, when reading the poem, you vividly imagine the sea: it is either quiet, calm, the “azure sea”, or a terrible raging element that is immersed in darkness. But for a romantic, the natural world is also a mystery that he is trying to unravel. Is there such a secret in this poem by Zhukovsky? To answer this question, it is necessary to trace how the artistic images created here by the poet develop, how various motifs are intertwined.
First of all, what attracts attention is that the poet, drawing a seascape, constantly compares the natural and human worlds. To do this, he uses metaphors and personifications: “you are breathing,” “you are filled with anxious thoughts,” “full of your past anxiety,” “you have been raising frightened waves for a long time.” But this is not only an expression of human feelings and thoughts through a description of nature. This technique was used by many poets before Zhukovsky. The peculiarity of this poem is that it is not individual parts of the landscape that are animated, but the sea itself becomes a living being. It seems that the lyrical hero is talking to a thinking and feeling interlocutor, maybe with a friend, or maybe with some mysterious stranger.
Special mention should be made about the composition of Zhukovsky’s poem. This is a kind of lyrical plot that constitutes movement, the development of the state not so much of the lyrical hero himself or the nature that he observes, but of the soul of the sea. But can the sea element have a soul? Romantics have no doubt about this. After all, according to their ideas, it is in nature that the Divine dissolves; through communication with nature one can speak with God, penetrate into the mystery of existence, and come into contact with the World Soul. That is why in the works of romantics that special lyrical symbolic landscape that we see in Zhukovsky’s poem “The Sea” so often appears. Its peculiar plot can be divided into three parts. I’ll call them this: “The Silent Sea” - part 1; “Storm” - 2nd part; “Deceptive peace” - part 3.
Part 1 paints a beautiful picture of the “azure sea,” calm and silent. Epithets emphasize the purity of the sea, the light that permeates the entire picture. But this purity and clarity is inherent in the sea soul “in the pure presence” of the “distant bright sky”:
You are pure in his pure presence:
You flow with its luminous azure,
You burn with evening and morning light,
You caress his golden clouds
And you joyfully sparkle with its stars.
It is the “luminous azure” of the sky that gives the sea its amazing colors. The sky here is not just an element of air stretching over the abyss of the sea. This symbol is an expression of another world, divine, pure and beautiful. It is not for nothing that the poet selects epithets rich in Christian symbolism divine; azure, light, radiant. Endowed with the ability to capture even the most imperceptible shades, the lyrical hero of the poem, reflecting on the sea, realizes that some secret is hidden in it, which he is trying to comprehend:
Silent sea, azure sea,
Reveal to me your deep secret:
What moves your vast bosom?
What is your tense chest breathing?
Or pulls you from earthly bondage
Distant, bright sky to yourself?..
The second part of the poem lifts the veil over this secret. We see the soul of the sea revealed during a storm. It turns out that when the light of the sky disappears and the darkness thickens, the sea, immersed in darkness, begins to tear, beat, it is filled with anxiety and fear:
When the dark clouds gather,
To take away the clear sky from you -
You fight, you howl, you raise waves,
You tear and torment the hostile darkness...
Why is the sea so scary? After all, a storm is the same natural state of the sea element as peace. The words from Lermontov’s “Sails” come to mind:
And he, the rebellious one, asks for a storm,
As if there is peace in the storms.
Zhukovsky paints a picture of a storm with amazing skill. It seems that you can hear the roar of the oncoming waves. This effect is achieved through the use of a special technique - alliteration, that is, repetition of the same sounds in several words. Here this is an alliteration of hissing, moreover, supported by the rhythm of a dactylic line, imitating the movement of waves: “You fight, you howl, you raise waves, / You tear and torment the hostile darkness.”
And yet this is not just a picture of a raging disaster. The soul of the sea is like human soul, where darkness and light, good and evil, joy and sorrow are united. It also reaches out to everything bright - to the sky, to God. But, like everything on earth, the sea finds itself in captivity, which it is unable to overcome: “Or is it pulling you out of earthly captivity.” This is a very important idea for Zhukovsky. For the romantic poet, who believed in the “enchanted There,” that is, another world in which everything is beautiful, perfect and harmonious, the earth has always seemed like a world of suffering, sorrow and sadness, where there is no place for perfection. “Ah, Genius does not live with us / pure beauty,” he wrote in one of his poems, depicting a Genius who visited the earth only for a moment and again rushed off into his beautiful, but inaccessible to earthly man, world.
It turns out that the sea, like man, suffers on earth, where everything is changeable and impermanent, full of losses and disappointments. Only there - in the sky - everything is eternal and beautiful. That is why the sea reaches there, as does the soul of the poet, striving to break earthly ties. The sea admires this distant, luminous sky, “trembles” for it, that is, it is afraid of losing it forever. But the sea is not allowed to connect with it.
This idea becomes clear only in the 3rd part of the poem, where the “returned heavens” can no longer completely restore the picture of peace and serenity.
The main motives of Zhukovsky's lyrics found further continuation in his meditative elegy (elegy-reflection) “Evening” (1806)- the most famous of his early elegies.
The theme of the poem is the reflections of the lyrical hero about his fate; memories of those who were close to him are intertwined with poetic pictures of nature:
It’s already evening... the edges of the clouds have darkened,
The last ray of dawn on the towers dies;
The last shining stream in the river
With the extinct sky it fades away.
Everything is quiet: the groves are sleeping; there is peace in the surrounding area;
Prostrate on the grass under a bent willow,
I listen to how it murmurs, merging with the river,
A stream overshadowed by bushes.
How incense is fused with the coolness of plants!
How sweet is the splashing of the jets in the silence by the shore!
How softly the zephyr blows across the waters
And the fluttering of the flexible willow!
How many epithets the poet found for the fading day - “last”, “extinct”; verbs - “fade”, “die”, “fade away” - and all in 4 lines, but the entire description is filled with inexpressible harmony. Surprisingly bright colors: “light sand”, “golden hills”, “crimson shine” - everything brings peace and joy to the viewer.
A poetic picture of nature not only revives memories:
O brothers! oh friends! where is our sacred circle?
Where are the fiery songs for the muses and freedom?
Where are Bacchus' feasts amid the noise of winter blizzards?
Where are the vows made to nature?
Keep the incorruptibility of brotherly bonds with the fire of the soul?
And where are you, friends?..
And we... do we really dare to be strangers to each other?
but it also awakens thoughts about one’s own destiny, about one’s own poetic path:
I was destined by fate: to wander along an unknown path,
To be a friend of peaceful villages, to love the beauty of nature,
Breathe oak forest silence under the dusk
And, looking down at the foam of water,
Sing the Creator, friends, love and happiness.
O songs, pure fruit of heartfelt innocence!
Blessed is he to whom it is given to revive
The hours of this fleeting life.
The personal pronoun is finally replaced by the word “youth”, the poet’s imagination depicts a “quiet grave”, and the poet himself sees as if from the outside:
So, singing is my destiny... but for how long?.. How to find out?..
Oh! Soon, perhaps, with sad Minvana
Alpin will come here at one o'clock in the evening to dream
Over the quiet youth's grave!
But the picture of nature itself is not static, it is in motion, the soft evening is replaced by a sunrise:
Who, in the quiet hour of the morning, when the foggy smoke
Lies across the fields and clouds the hills
And the sun, rising, through the blue groves
Calmly sheds its shine,
Hurries, enthusiastic, leaving the rural shelter,
In the oak forest, prevent the birds from awakening
And, the lyre agreeing with the shepherds' pipe,
The luminaries of rebirth are singing!
The mood of the lyrical hero changes at the first rays of dawn: “So, singing is my destiny... But for how long?” The various lyrical motifs of the poem do not simply intertwine, but gently transition into one another, creating a single lyrical flow that reveals inner world lyrical hero. The poetic landscape (where the ancient Philomela and the Russian corncrake coexist perfectly) attracted not only its visual accuracy, but also the expressiveness of its realistic details:
The moon's flawed face rises from behind the hills...
O quiet luminary of the pensive heavens,
How your shine ripples in the darkness of the forests!
How pale the coast has become!
The reader not only felt nature, the poetic moonlit evening was a revelation for him. Zhukovsky conveys all the nuances of emotional experiences. The silence in “Evening” is real silence and spiritual silence. As the researchers noted, it would later become one of the poet’s favorite images. And it is not “fading”, “not dying”, but this beautiful image of silence that will unite man and nature in Zhukovsky’s elegies.
The reader could not help but feel the amazing musicality of the verse (“The MOON’s damaged face”; “ripples... shine on the dusk of the FORESTS”; “PALE BREAK”), the smoothness of iambic hexameter. “..Long transitions of sounds precede his words and accompany his words, quietly chanted by the poet only to explain what he wants to express in sounds. Non-union, stoppage, reticence are the favorite phrases of Zhukovsky’s poetry,” N. Polevoy subtly noted.
Read also other articles about the life and work of V.A. Zhukovsky.
Favorite genres of Zhukovsky’s works are elegy and ballad. The poet’s original creative talent was revealed in the elegy “Evening” (1806), published in the journal “Bulletin of Europe”. It deeply and fully reflected the inner world of the poet’s personality, his psychological appearance, the uniqueness of experiencing feelings of joy and loss. The elegy marked the emergence of romantic biography as a special way of recreating the lyrical “I” of the author or an imaginary character. All the world perceived as a romantic poet in the field personal experience, in an individual form of transmission of special mental states.
“Evening” is an elegy of a new type of creativity, in which the author’s appearance is determined in the sphere of the emotional experiences of the lyrical hero. The poet-singer recognizes himself as a friend of the villages and an opponent of the urban form of civilization; he bitterly regrets the disintegration of his circle of friends, the death of one of his closest friends. He fears that “the search for honors” and “the vain honor of being considered pleasant in the world” may drown out the memory of friendship and love. Towards the end of the poem
he predicts a special fate for the poet, which contains a hint of his chosen role as a romantic:
Fate has judged me: to wander along an unknown path,
To be a friend of peaceful villages, to love the beauty of Nature,
Breathe oak forest silence under the dusk
And, looking down at the foam of water,
Sing the Creator, friends, love and happiness.
O songs, pure fruit of heartfelt innocence!
Zhukovsky glorifies a peaceful life, devoid of external conflicts. In the landscape he created, there is, as it were, a character who perceives its beauty, responding extremely sensitively and subtly to the most diverse manifestations of the natural landscape. It is this natural world, which evokes whimsical and changeable experiences and moods in the lyrical “I,” that constitutes the actual content of the elegy. “Evening” - in comparison with the sentimentalist elegy - is a new type of romantic text both in method and in the techniques of psychological drawing: successive memories, thoughts, moods and feelings are designed to express a new mental experience unique in its internal content, especially reliable in reflections on the transience of youth, on the losses of life path person. Unlike the poets of the 18th century. Zhukovsky’s task is, first of all, to convey the reactions of the lyrical “I” in their particularly refined, individually unique form:
How incense sleeps with the coolness of plants!
How sweet is the splashing of the jets in the silence by the shore!
How softly the zephyr blows across the waters
And the fluttering of the flexible willow!
The movement of nature in the change of phenomena from early evening to late twilight is intended to justify the change in the poet’s moods. Experience as a contemplative poet beautiful nature evokes melancholic memories of friendship, the happiness of “young days”, dead friends, one’s calling and personal destiny in general. It is not the image of a summer night that defines the poet’s task, but an attempt to sum up his mournful thoughts associated with the feeling of approaching death. The text of the elegy is therefore devoid of everyday concreteness: Zhukovsky replaces real images of the real world with conventional ones: the nightingale is the mythological “Philomela”, the plowman is “oratay”, the bell tower is “tower”, the communication of friends is “Bacchus Feast”. Romanticism, like sentimentalism and classicism, operates with conventional images and concepts. This was the continuity aesthetic experience people of the 18th and 19th centuries.
In this elegy, Zhukovsky achieves special expressiveness through a direct description of the feelings and aspirations of the lyrical “I” as spiritualized beings that can act and enter into relationships with each other, as well as through the identification of human life and nature.
The elegy “Evening” belongs to the type of elegies-meditations, that is, thoughtful, measured, unhurried reflections, when lyrical themes and motifs gradually turn into a smoothly flowing stream, covering the nuances and shades of what is depicted and expressed. And this is not accidental, since in “Evening” the author’s subjectivity requires special freedom and intensity for its discovery, asserting a new approach to the world of lyrical experiences. We can talk about the birth in this work of the romantic principles of new poetry of the 19th – early 20th centuries.
Zhukovsky appears in this work as the creator of a romantic landscape, which is characterized by the gloomy coloring of a fading day, the sunset hour. The fullness of nature with “ethereal phenomena”: blows, trends, the breath of an air stream - henceforth becomes the landscape theme of Russian poetry. The ideal existence of nature outside of material specifics is one of the discoveries of Zhukovsky the romantic, which precedes the poetics of A. Blok.
« Kostanay kalasy akim digi item no. 3 mektep-gymnasiums" MM
State Institution "School-gymnasium No. 3 of the education department of the akimat of the city of Kostanay"
Lesson
Subject:« The ideological and artistic originality of V.A.’s poems Zhukovsky as works of Russian romanticism: themes, psychologism, lyrical hero, style. The ballad world of the poet."
Teacher: Bityutskaya L.D.
2016
Subject:V.A. Zhukovsky. “Evening”, “Flower”, “Spring Feeling”, “Forest King”. The ideological and artistic originality of V.A.’s poems Zhukovsky as works of Russian romanticism: themes, psychologism, lyrical hero, style. The ballad world of the poet.
The purpose of the lesson: introduce students to the life and work of V. A. Zhukovsky,
translated ballad of the poet “The Forest King”, elegies:"Evening",
“Flower”, “Spring Feeling”; open anddeino-artistic
originality of poems by V.A. Zhukovsky as works
Russian romanticism, the ballad world of the poet.
Strengthen the skills of expressive reading of poems, the ability
analyze, draw a conclusion.
To cultivate a love for the poetry of V. A. Zhukovsky.
Lesson type : learning new material
Equipment: , portrait of V.A. Zhukovsky, texts
works, epigraph:
The nature depicted by Zhukovsky is a romantic nature,
breathable mysterious life souls and hearts.
V. G. Belinsky
During the classes.
I. Organizational moment.
II . Checking homework.
1. Conversation.
When and where did Romanticism originate? literary direction?
What schools of romanticism existed in Europe?
How does romanticism differ from classicism?
Name the main features of romanticism as a new direction in literature.
Name foreign romantic writers.
When did romanticism begin in Russia?
- Name the representatives of romanticism in Russia.
What lyric-epic genre became the main one for the era of romanticism?
Who became the founder of Russian romanticism?
III . Introducing a new topic.
Teacher's word.
At the origins of Russian romanticism stood two remarkably bright figures, V. A. Zhukovsky and K. N. Batyushkov. Belinsky called Zhukovsky “the literary Columbus of Rus'”, who discovered the “America of Romanticism” in Russian literature.
Today we will get acquainted with the personality of the Russian poet V. A. Zhukovsky, who was primarily engaged in translation activities. Using ballads of foreign poets, he translated them into Russian. But Vasily Andreevich himself considered this not a translation, but a competition, since the translated works were filled with Russian flavor, they expressed the originality of the poet himself. V. Belinsky wrote: “Without Zhukovsky we would not have had Pushkin.”
A story about the life and work of V.A. Zhukovsky.
Zhukovsky was born in the village of Mishenskoye, Belevsky district, Tula province, on January 29 (February 9), 1783. Father - Afanasy Ivanovich Bunin, a nobleman by birth, landowner of the Tula province, owner of the village of Mishenskoye. He was married to Maria Grigorievna Bunina, née Bezobrazova. Had 11 children.
Mother is Turkish Salha, captured by the Russians during the assault on Bendery in August 1770. It was given to Bunin by Major K. Mufel, a Russified German. At baptism, Salkha received the name Elizaveta Dementievna Turcheninova. The son born to her, at the request of A.I. Bunin, was adopted by Andrei Grigorievich Zhukovsky, an impoverished Kyiv landowner who lived “on bread” from Bunin. The boy received the patronymic Andreevich and the surname Zhukovsky, and at the same time the title of nobility.
From 1790 to 1794 he studied at the Rode boarding school and the Main Public School of Tula. He was expelled from the school for “inability” and continued his studies in the Tula house of V. A. Yushkova (half-sister and godmother of the future poet). Here he first became involved in literary creativity. Eleven-year-old Zhukovsky wrote his first student plays for the home theater.
Zhukovsky's first published work was lyric poem"May Morning". From 1797 to 1800 he studied at the Moscow University Noble Boarding School. Received a personalized silver medal. His name was placed on a marble plaque in the list of excellent graduates in different years boarding house
The poet considers the poem “The Country Cemetery” (1802), a free translation of “Elegy” by the English poet T. Gray, to be the beginning of his independent literary activity.
Russian readers will know Zhukovsky as a poet, translator, critic and publisher, and head of the Arzamas literary society. Being a talented poet and translator, Zhukovsky possessed a rare quality - the ability to see and appreciate someone else's talent. So already in 1815, after visiting Pushkin at the Lyceum, in Tsarskoe Selo, in a letter to Vyazemsky, Zhukovsky said: “This is the hope of our literature. We need to unite to help grow this future giant who will outgrow us all.” Another fact is also known. On March 26, 1820, in Zhukovsky’s apartment, Pushkin read the last song of the poem “Ruslan and Lyudmila.” At the end of the reading, Zhukovsky took out his portrait and with the inscription “To the winner - the student from the defeated teacher ...” he handed it to A. Pushkin.
At the beginning of the war of 1812, Zhukovsky joined the militia. On the day of the Battle of Borodino he was not far from the battle site. He dedicated the patriotic anthem “A Singer in the Camp of Russian Warriors” to this event, which brought real glory to the poet, which was soon followed by a turning point in his life: he was offered to take a place at court.
Zhukovsky was officially recognized, and young people became engrossed in his poems, clear, melodic, and sincere. The kind and sympathetic poet used his proximity to the court to help his literary friends: he helped Pushkin, resolving his conflicts, and worked for the Decembrist N. Turgenev.
While official and creative biography Zhukovsky’s life was going well so far; he was unhappy in his personal life. Love for a niece will not end in marriage due to close kinship. He became Masha's friend, dedicated many lyrical lines to her, some of them, set to music, became popular romances (" Days gone by charm”, etc.).
The court atmosphere gradually disappointed Zhukovsky. The death of Pushkin shocked the poet. Outraged by the actions of the authorities, experiencing great grief and deep sorrow, Zhukovsky resigns and goes abroad. There, already in old age, he marries his young admirer - the daughter of the artist Reitern, and finds family warmth and peace. But, living abroad, the poet missed his homeland, in letters and poems he recalled “the sweet light of his native sky.” Zhukovsky died in Germany in 1852 and was buried in St. Petersburg in the Alexander Nevsky Lavra.
Zhukovsky entered the history of Russian literature as a spiritual mentor and immediate predecessor of Pushkin, as the founder of new romantic poetry. Zhukovsky*, a romantic, expressed himself most fully in elegies and romantic ballads.Today in class we will get acquainted with the ballad and elegies of V. A. Zhukovsky. - So, what is a ballad? What is an elegy?
Introduction to the genres of ballad and elegy.
BALLAD - one of the types of lyric-epic poetry, a poem with a dramatic development of the plot, the basis of which is an unusual incident. The ballad is characterized by a small volume, plot, melodiousness, and musicality. There is often an element of the mysterious and inexplicable in a ballad.
ELEGY - a lyrical poem that conveys deeply personal experiences of a person, imbued with a mood of sadness. The most common themes of elegy: contemplation of nature, philosophical thoughts about life, regret about past or unrequited love.
Ballads are one of Zhukovsky’s favorite genres. He borrows their plots mainly from the German romantics Goethe, Schiller, and Uhland. So the ballad “The Forest King” is a translation of Goethe’s work. But almost a hundred years later, Marina Tsvetaeva wrote this about Zhukovsky’s translation of Goethe’s ballad “The Forest King”: “Things are different sizes. It is impossible to translate The Forest Tsar better than Zhukovsky did. And you shouldn't try. A century ago, this is no longer a translation, but an original. This is just another “Forest King”.
Expressive reading of a ballad "Forest King" 5. Analysis of the ballad “The Forest King”.
What type of ballad is it?
(“Scary”, since there is a fantastic hero - the Forest King).
Name the characters in this ballad.
(Rider, his son, Forest King).
When and at what time of day does the ballad take place?
(In the evening - this is what the words “under the cold darkness” say).
How is this related to beliefs about the mysterious owners of the forest?
(Twilight, night is the time of evil spirits, when it does its evil deeds, and better man don't get in her way).
How is the ballad constructed?
(The first and last stanzas are a story about the events taking place, and in the first there is an element of a landscape beginning: “Who gallops, who rushes under the cold mist?” The remaining stanzas are an explicit dialogue between father and son, from which we learn what happened. 3.5 , 7 stanzas – monologue of the Forest King).
Why do you think the Forest King’s monologue is needed here?
(So that the reader understands that these are not just the child’s night terrors, but that he is actually in mortal danger).
How many times does the boy tell his father about the Forest King?
(Three times - this is an element of folklore, since the number 3 in folklore works is a magic number).
Where else in the ballad do we meet the number 3?
(The Forest King’s monologue occurs three times.)
Describe the Forest King. Why is he chasing the rider?
(The forest king is evil, bloodthirsty, treacherous. He is pursuing the horseman because he ended up in his domain at night, and he was “captivated” by the beauty of the child: “Child, I was captivated by your beauty; Willingly or willingly, you will be mine.” ).
Why couldn't the father save his son?
(He did not believe his son, probably thinking that these were ordinary childhood fears, although he was worried about him).
In what sequence does the Forest King act?
(At first he only shows himself to the boy, then he persuades and bewitches him: “He promises gold, pearls and joy...”; then he threatens: “Unwillingly or willingly, you will be mine.”)
Compare the main character of the ballad with the image of the Russian devil folk beliefs.
(They are generally similar in appearance (with a thick beard). According to popular belief, the Goblin jokes with people, plays, but does not kill, and the Forest King in the ballad is capable of murder, he is more bloodthirsty and merciless).
By what artistic means is the feeling of fear created in this ballad?
The use of magic - connections between the real and unreal worlds
The use of repetition is the increasing fear in the boy's words.
A son’s address to his father: “Darling.”
Expressiveness of the text.
Towards the end of the ballad the tempo picks up.
The landscape, which increases tension, is given in the emotional perception of the child
6 . Expressive reading of the elegy “Evening”.
7. Analysis of the elegy “Evening”.
A masterpiece of Zhukovsky's early lyricism, the elegy "Evening" (1806).The elegy “Evening” is partially set to the music of P. I. Tchaikovsky in his opera “The Queen of Spades”.
Name the theme of the elegy.
What is the poet thinking about?
( The reflections (meditations) here are centered around a personal theme. Memories of lost friends, of vanishing youth are fused with a dreamy and melancholic perception of the evening landscape.)
How is nature shown in the elegy?
( Nature in the elegy “Evening” is depicted in motion, the change of phenomena from early evening to late twilight corresponds to a change in the poet’s mood.)
What is the mood in the elegy?
What is the poet sad about? Find it in the text.
(GRustic about the past: about past youth, friends who were scattered around the world)
Where are you, my friends, you, my companions?
Is it possible that connections will never ripen?
Have all the joys of the stream dried up?
O you, perishing pleasures!
(personifications, epithets)
Find personification in the text.
(personification: the groves are sleeping, the face of the moon is rising; the sadly bowed willow, the moon’s flawed face, the twilight of the forests)
Name the epithets.
sweetly splashing jets, pensive heavens shining)
How does elegy make you feel?
8. Expressive reading of the elegy “Spring Feeling.”
9. Analysis of the elegy “Spring Feeling”.
What mood did you have after reading the elegy “Spring Feeling”?
Name the theme of the elegy.
What is the elegy about?
(
In the poem “Spring Feeling,” the lyrical hero tries to guess (and guess with his heart) what the “light breeze,” the clouds, “the bird, the heavenly wanderer” promise him. As nature awakens, the hero’s soul awakens:
Light, light breeze
Why are you blowing so sweetly?
What are you playing, what are you brightening up,
Enchanted stream?
What is the soul full of again?
What has awakened in her again?
What came back to her with you,
Migratory spring?
Together with spring, something “returns” to the lyrical hero, as he admits. What? Probably hopes for what a person always dreams of: joy, love, happiness.)
10. Expressive reading of an elegy "Flower" 1811
9. Analysis of the elegy " "Flower" ».
The elegy “Flower” is set to music. This is a romance.
Name the theme of the elegy.
What is this poem about?
(reflection on life)
What does the poet compare human life to?
How is the poem structured?
(Consists of 4 quatrains)
Which language means does the poet use?
(epithets, personification)
What did this poem make you think about?
IV. Lesson summary.
1. Conclusion.
V.A. Zhukovsky acted as the first creator of lyrical landscape in the Russian national fiction, as a poet, and in this he showed the way to other, even more significant our writers.
The distinctive features of Zhukovsky's ballads are an atmosphere of poeticization, lyricism, an understanding of mental conflicts as a complex context of experiences correlated with the secret life of the world, which brings them closer to his lyrics, enhancing the romantic orientation of his work as a whole.
Zhukovsky's legacy did not dissolve in the wide stream of poetry of the 19th century. Moreover, it was Zhukovsky who opened the way for new Russian poetry, beneficial influence for a whole generation of wonderful poets, including Baratynsky, Pushkin, Lermontov, Tyutchev and many others. V. G. Belinsky wrote: “Without Zhukovsky, Pushkin would have been impossible and would not have been understood.”
2. Commenting on ratings. You did a good job today. Thanks everyone for the lesson.
V. Homework: p.143-151 learn by heart the elegy “Spring Feeling”
FLOWER Romance
The momentary beauty of the fields,
A wilted, lonely flower,
You are deprived of your charm
By the hand of cruel autumn.
Alas! we have been given the same destiny,
And the same fate oppresses us:
A leaf has flown off you -
The fun is leaving us.
Takes away from us every day
Or a dream, or pleasure.
And every hour destroys
A delusion dear to the heart.
Look... there is no charm;
The star of hope is fading...
Alas! who will say: life or color
Is the world disappearing faster?
1811
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?”
“Darling, the king of the forest sparkled in my eyes:
He wears a dark crown and a thick beard."
"Oh no, the fog is white over the water."
"Child, look around; baby, come to me;
There is a lot of fun in my side;
Turquoise flowers, pearly streams;
My palaces are made of gold."
“Dear, the king of the forest speaks to me:
It promises gold, pearls and joy."
"Oh no, my baby, you misheard:
Then the wind, waking up, shook the sheets."
"To me, my baby; in my oak grove
You will recognize my beautiful daughters:
When it's month they will play and fly,
Playing, flying, putting you to sleep."
“Darling, the forest king called his daughters:
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 am captivated by your beauty:
Willingly or willingly, you will be mine."
“Darling, the king of the forest wants to catch up with us;
Here it 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 is urging on, the rider has galloped...
In his hands lay a dead baby.
1818
