Who was part of Pushkin's circle? Presentation on literature on the topic "Poets of Pushkin's era" (8th grade)

Poets of Pushkin's circle

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Poetry in the Romantic Age

The 1810s–1830s are the “golden age” of Russian poetry, which achieved its most significant artistic successes in the romantic era. This is explained by the fact that during the period of romanticism and emerging realism, Russian literature found not only national content, but also a national literary form, recognizing itself as the art of words. This period is the beginning of the creative maturity of Russian literature. Poetry was the first to acquire a national form, and in connection with this, it was poetry that came to the fore in the first third of the 19th century. in first place among other genres and genres. The first major aesthetic successes of national literature, not only in lyrics and poems, which is quite natural, but also in comedy ("Woe from Wit") and in epic (Krylov's fables) are associated with verse and the improvement of poetic language. For this reason, we can rightfully say that the first third of the literature of the 19th century. marked by the overwhelming dominance of poetry, in which the most profound artistic ideas of that time were expressed.

Several reasons contributed to the powerful and exuberant flowering of poetry. Firstly, the nation was on the rise, at the crest of its historical development and was experiencing a powerful patriotic impulse associated both with the victories of Russian weapons and with the expectations of fundamental social changes, which the government itself spoke about at the beginning of the century. Secondly, in Russia a layer of free, European-minded people who received an excellent education at home or abroad was created among the military and civilian nobility. Thirdly, the language, thanks to the efforts of Russian writers of the 18th century, had already been processed, and the system of versification was assimilated and introduced into culture, the ground was created for innovative discoveries, decisive reforms and bold experiments.

The central figure of the literary process in the first thirty years was Pushkin. It is believed that the “Pushkin era” is the era that formed Pushkin, and the era that passed under the sign of Pushkin. A number of poets grouped around him, maintaining their lyrical style and intonation, or imitated him, forming the so-called “Pushkin galaxy”, the circle of “poets of Pushkin’s era”, etc. Of the most significant poets of that time, it included E. Baratynsky, P. Vyazemsky, A. Delvig, N. Yazykov. There was no formal association of these poets. Baratynsky, Vyazemsky, Delvig and Yazykov each had an original, sharply individual, unique voice and did not occupy a subordinate position in relation to Pushkin. It is known that some of them not only did not imitate Pushkin, but in one way or another pushed away from him, argued with him, disagreed, and even opposed him with their understanding of the nature of poetry and other problems. This primarily concerns Baratynsky and Yazykov. At the same time, while poetically approaching Pushkin, each of the poets jealously guarded their poetic independence from him.

The commonality of the “poets of Pushkin’s circle” extends to the fundamentals of worldview, attitude, content and poetics. All “poets of Pushkin’s circle” proceeded from the ideal of harmony, which is the principle of the structure of the world. Poetic art is the art of harmony. It brings harmony into the world and into the human soul. Poetry is a person’s refuge in moments of sadness, sorrow, misfortune, and either heals a “sick” soul or becomes a sign of its healing. For this reason, harmony is considered a kind of ideal and principle of poetic creativity, and poetry is its guardian.

Some poets opposed the artistic principles of the Pushkinites (lyubomudry). But they all worked at the same time as Pushkin, but their poetic destinies developed differently. Some of them, having subsequently joined Pushkin’s circle of writers, developed creatively independently of Pushkin and entered the literary path before him (Denis Davydov).

Denis Vasilievich Davydov (1784–1839)

Of the most talented poets of the pre-Pushkin generation, widely known in the 1810-1830s, the first place belongs to the hero-partisan of the Patriotic War of 1812, poet-hussar Denis Davydov. He undoubtedly had an original poetic face, having invented the mask of a recklessly bold, fearless, courageous warrior and at the same time a dashing, cheerful, witty poet-slasher, poet-reveler.

Davydov is a Russian poet and memoirist. Having begun his service in the Cavalry Regiment, he becomes close to a circle of independently thinking and informally behaving officers: S.N. Marin, F.I. Tolstoy (American), A.A. Shakhovsky, each of whom strived for literary activity. Davydov's fables date back to this time, representing the pre-Decembrist stage of Russian freethinking ("Head and Legs", "Fact or Fable, as anyone wants to call it", "Eagle, Turukhtan and Black Grouse"). Davydov promoted independence of behavior in poems in which he glorified the reckless life of the hussar nomads, the daring and prowess of the brave riders: “Burtsova.” Calling for punch, "Burtsov", "Hussar feast". Davydov's hussar poems quickly became very popular, and he began to promote the mask of a hussar poet as his own everyday image ("To Count P.A. Stroganov," "In the album," preparing the formation of a lyrical hero in poetry.

During the Patriotic War of 1812, Davydov organized a partisan detachment and successfully acted against the French behind enemy lines. The glory of Davydov as a partisan was recognized by society, but in official circles it was either not noticed or persecuted. In 1823 ᴦ. he is retiring. The inability to find a place to use his forces put Davydov in the ranks of the opposition, although he never shared the tactics of the revolutionary action of the Decembrists, despite close family and friendly relations with most of them.

After World War II, Davydov’s circle of literary friends changed. He enters literary societyʼʼArzamasʼʼ, since his own work corresponded to the literary attitude of the Arzamas people to depict the inner world of a private person. In Davydov’s lyrics, the romantic unity of the human personality, the image of the poet-hussar, is finally formed. Davydov managed to create an expressive and picturesque image of an “old hussar”, who is surrounded by the usual signs of military life - he has a war horse, he masterfully wields a saber, and on a short rest he likes to light a pipe, play cards and drink “cruel punch”. Despite these habits, he is not only a bully, a bully, but also a direct, sincere, brave person, a true patriot. Above all else for him is military duty, officer’s honor and contempt for all secular conventions, flattery, and veneration of rank. Davydov created a lively and unusual lyrical image, to which he even “adjusted” his real biography.

Between battles, at the bivouac, he indulged in free revelry among equally valiant friends, ready for any exploit. Davydov did not tolerate “servants”, careerists, drills, or any kind of officialdom. This is how he addressed his friend Hussar Burtsov, inviting him to taste the famous arak ( Reviver): ʼʼ Give me a golden tub, where joy lives! Pour from the vast cup In the noise of joyful speeches, As our ancestors drank Among spears and swords.

Davydov was proud that his poetry was unlike any other, that it was born in campaigns, in battles, in leisure between battles: ʼʼLet the wars of Perun thunder, I am a virtuoso in this song!ʼʼ

True, contrary to Davydov’s words that his poems were written “at camp fires,” during short rests, in fact they were created in a quiet, secluded environment, during periods of peaceful life, during hours of intellectual communication.

With his poems, Davydov said a new word in Russian battle lyrics, which were distinguished by a certain pomp. There is no war itself in Davydov’s poems, but there is the fighting spirit of the officer, the breadth of his soul, open to his comrades. To express the riot of feelings of the poet's willful nature, an energetic, dashingly twisted and biting verse was required, often ending with a sharp aphorism. Contemporaries noticed that in life Davydov was unusually witty, talkative, and talkative.

Davydov's hero is energetic, passionate, sensual, jealous, and he is familiar with the feeling of revenge. Davydov’s innovation is especially noticeable not only in “hussar” lyrics, but also in love ones.

But you came in - and the trembling of love,

And death, and life, and the madness of desire

They run through the flashing blood,

And it takes my breath away!

In love lyrics of 1834–1836. there is a change in the image of the lyrical hero. The indispensable attributes of the hussar's appearance recede, the hero's inner world is depicted without external accessories: ʼʼDon't wake up, don't wake up...ʼʼ, ʼʼIt's easy for you - you're cheerful...ʼʼ, ʼʼI love you the way I should love you...ʼʼ, ʼʼB the old days she loved me...ʼʼ, ʼʼThe irretrievable ones have flown away...ʼʼ, ʼʼCruel friend, why the torment?..ʼʼ

Davydov’s poetic work ended with the “Modern Song” (1836) - a harsh and not entirely fair satire on the heroless society of the 1830s, in whose representatives the poet did not see the features of hussarism that were dear to his heart. Memoirs occupy a central place in his later literary and social activities. Davydov writes “memoir” poems for the fifteenth anniversary of the end of the Napoleonic wars - “Borodino Field”. The largest works are “Essay on the life of Denis Vasilyevich Davydov” - an experience in the artistic modeling of personality in autobiographical prose - and memoirs, rich in factual material and containing vivid sketches of participants in the war and its individual episodes.

The author prepared two collections of essays. One of them was published during the life of the partisan poet (Poems by D. V. Davydov. M., 1832), the other after his death (Works in verse and prose. Parts 1–3. St. Petersburg, 1840).

Pushkin, by his own admission, studied with Davydov, “adapted to his syllable” and imitated him in “twisting the verse”. According to Pushkin, Davydov gave him “to feel the opportunity to be original” while still at the Lyceum. But unlike Davydov, Pushkin did not wear a literary mask in everyday life. He remained himself, and Davydov, having created his literary mask of a dashing grunt, hussar-poet, began to try it on for life and became one with it. In everyday behavior, he began to imitate his lyrical hero and identified himself with him.

Batyushkov Konstantin Nikolaevich (1787-1855), Russian poet. At the age of seven, he lost his mother, who suffered from mental illness, which was inherited by Batyushkov and his older sister Alexandra. He became close friends with his uncle M. N. Muravyov and became an admirer of Tibullus and Horace, whom he imitated in his first works. Batyushkov took part in the anti-Napoleonic wars of 1807, 1808, 1812-1815. In 1809 ᴦ. he became close to V.L. Pushkin, V.A. Zhukovsky, P.A. Vyazemsky and N.M. Karamzin. In 1812 ᴦ. entered the service of the Public Library. Not forgetting his Moscow friends, B. made new acquaintances in St. Petersburg and became close to I. I. Dmitriev, A. I. Turgenev, D. N. Bludov and D. V. Dashkov. In 1818 ᴦ. Batyushkov was assigned to serve in the Neapolitan Russian mission. A trip to Italy was his favorite dream, but there he felt boredom, melancholy and melancholy. By 1821 ᴦ. Hypochondria assumed such proportions that he left the service. In 1822 ᴦ. disorder mental abilities was expressed quite definitely, and from then on Batyushkov suffered for 34 years, almost never regaining consciousness.

Konstantin Nikolaevich Batyushkov entered the history of Russian literature of the 19th century. as one of the founders of romanticism. His lyrics were based on “light poetry,” which in his mind was associated with the development of small genre forms brought to the forefront of Russian poetry by romanticism, and the improvement of the literary language. In his “Speech on the Influence of Light Poetry on the Language” (1816), he summed up his thoughts as follows: “In the light kind of poetry, the reader demands possible perfection, purity of expression, harmony in syllable, flexibility; it requires truth in feelings and the preservation of the strictest decency in all relations. Beauty in style is extremely important here and cannot be replaced by anything. It is a secret known to one talent and especially constant voltage attention to one subject: for poetry, even in small forms, is a difficult art and requires all life and all mental efforts; one must be born for poetry; this is not enough: having been born, you need to become a poet.

Batyushkov's literary legacy is divided into three parts: poems, prose articles and letters. From a young age he entered the literary circles of St. Petersburg. In the poetic satire “Vision on the Shores of Lethe” (1809, widely distributed in copies, published in 1841), he acted as a witty opponent of the epigones of classicism, the literary “Old Believers” (he first introduced the word “Slavophile” into use) and a supporter of the new aesthetic and linguistic trends preached by N. M. Karam. zin and the literary circle ʼʼArzamasʼ. He expressed patriotic inspiration in his message “To Dashkov” (1813). Batyushkov entered the history of Russian literature primarily as a leading representative of the so-called “light poetry” (I. F. Bogdanovich, D. V. Davydov, young A. S. Pushkin) - a direction that goes back to the traditions of anacreontic poetry, glorifying the joys of earthly life , friendship, love and inner freedom (the message “My Penates”, 1811-12, published in 1814, which, according to A.S. Pushkin, “breathes with some kind of rapture of luxury, youth and pleasure - the syllable trembles and flows – the harmony is charming; the poem “The Bacchante”, published in 1817; Evidence of the poet's spiritual crisis - elegies imbued with motives of unrequited love, the sadness of early disappointment ("Separation", 1812-13; "To a Friend", "My Genius", both - 1815), sometimes reaching the point of high tragedy ("The Dying Tass", 1817, naya sad fate of the Italian poet 16 c. T. Tasso; “The Saying of Melchizedek”, 1821). He translated ancient and Italian poets, a prominent representative of French “light poetry” E. Parni. Wrote essays and articles.

Pyotr Andreevich Vyazemsky (1792–1878)

Vyazemsky Pyotr Andreevich, prince, Russian poet, literary critic, memoirist. His older half-sister was married to N.M. Karamzin, in connection with this, the young poet grew up in the literary environment of K.N. Batyushkova, D.V. Davydova. Vyazemsky spoke out against literary “archaists” in critical articles, epigrams and satires, creating the mask of an “intricate wit” (A.S. Pushkin). He participates in the literary controversy surrounding the ballads of V.A. Zhukovsky ("Poetic wreath of Shutovsky", "Response to a message to Vasily Lvovich Pushkin", etc.), poems by A.S. Pushkin (critical articles). Critical articles became for Vyazemsky a field for promoting new aesthetic ideas (in particular, he actively developed the concepts of romanticism and nationality in literature).

In 1819–1825. Vyazemsky advocated the constitution (Petersburg, More) and against serfdom (Sibiryakov), but was alien to revolutionary methods of struggle. He considered the human soul inexplicable; man is “a moral mystery in the world” (to Tolstoy), but he built the image of man’s inner world analytically. In his satirical review couplets, Vyazemsky protested against the inert life of Russia: “When?” When?ʼʼ, ʼʼRussian Godʼʼ, etc.
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Literary polemics were often a form of political struggle: ʼʼMessage to M.T. Kachenovsky, ʼʼHe clings to the dead like a worm, The persistent buffoon...ʼʼ, etc.

Vyazemsky understood himself as a poet of our time, a poet of today. But if in his early work Vyazemsky was in agreement with his time, then after 1837 ᴦ. he interprets modernity negatively and accepts the past as the norm. For this reason, Vyazemsky evaluates his own fate as the tragedy of a person who is unable and unwilling to live in accordance with the norms of the century. This is why the motives of memory and vain expectation of death are so important ("Parental home", "Death mows down the harvest of life...", "Is it really up to me?"). Vyazemsky creates a special genre of “funerals” (“In Memory of the Painter Orlovsky”, “Wakes”, “For Memory”). Vyazemsky was close to A.S. Pushkin, dedicated poems to him during his lifetime (1828, Station) and after death (You are a bright star, Natalia Nikolaevna Pushkina, Autumn). His memoir work is related to this issue.

The most important quality Vyazemsky the poet has a keen and precise sense of modernity. Vyazemsky sensitively captured the genre, stylistic, and content changes that were planned or had already occurred in literature. Another of his properties is encyclopedicism. Vyazemsky was extraordinary educated person. The third feature of Vyazemsky is rationality, a tendency to theorize. He was a major theoretician of Russian romanticism. But prudence in poetry gave Vyazemsky’s works a certain dryness and muffled emotional romantic impulses.

The poetic culture that raised Vyazemsky was homogeneous with the poetic culture of Pushkin. Vyazemsky felt like an heir to the 18th century, an admirer of Voltaire and other French philosophers. From childhood, he absorbed a love of education, of reason, liberal views, a gravitation towards useful state and civic activities, and traditional poetic forms - a freedom-loving ode, a melancholic elegy, a friendly message, parables, fables, epigrammatic style, satire and didactics.

Like other young poets, Vyazemsky quickly assimilated the poetic discoveries of Zhukovsky and Batyushkov and became imbued with the “idea” of domestic happiness. In many poems, he developed the idea of ​​natural equality, the superiority of spiritual intimacy over prim birth, and asserted the ideal of personal independence, the union of intelligence and fun. The preference of personal feelings over official ones became the theme of many poems. In this there was no indifference to the civilian field, there was no desire for isolation or withdrawal from life. Vyazemsky wanted to make his life rich and meaningful. His private world was much more moral than empty trampling in social drawing rooms. At home he felt internally free: ʼʼIn the living room I am a slave, In my corner I am my master...ʼʼ Vyazemsky understands that solitude is a forced, but by no means the most convenient and worthy position for an educated and freedom-loving poet. By nature, Vyazemsky is a fighter, but his love of freedom is alien to society.

Having become a supporter of the Karamzin reform of the Russian literary language, and then of romanticism, Vyazemsky soon became a romantic poet. In romanticism, Vyazemsky saw support for his search for national identity and aspirations to comprehend the spirit of the people. He understood romanticism as the idea of ​​liberating the individual from “chains,” as the overthrow of “rules” in art, and as the creativity of unfettered forms. Imbued with these sentiments, he writes a civil poem indignation, in which he denounces the social conditions that alienated the poet from social activities; elegy ʼʼDespondencyʼʼ, in which he glorifies “despondency,” because it heals his soul, brings him closer to useful reflection, and allows him to enjoy the fruits of poetry. Thus, the genre of psychological and meditative elegy under the pen of Vyazemsky is filled with either civil or national-patriotic content.

In his romantic worldview, Vyazemsky discovered a source of new creative impulses, especially in the search for national content. Vyazemsky is attracted by the secret connection between the earthly and ideal worlds, he is immersed in natural philosophical problems (Verse ʼʼYou are a bright starʼʼ: two rows of images are parallel - “the mysterious world” and “earthly crampedness”, dreams and materiality, life and death, between which an invisible internal connection is established).

At the end of the 1820s - at the beginning of the 1830s, Vyazemsky was still a recognized writer in the forefront. He actively participates in literary life, engaging in polemics with Bulgarin and Grech. He collaborates in the “Literary Newspaper” of Delvig and Pushkin, and then in Pushkin’s “Sovremennik”, which acquired in Vyazemsky an extremely valuable author with a biting and skillful pen. The journalistic acumen was also reflected in Vyazemsky’s poetry, which was generously saturated with topical political and literary disputes. Vyazemsky’s sense of modernity was unusually developed. He once admitted: “I am a thermometer: every harshness of the air affects me directly and suddenly.” For this reason, magazine work was also to his taste, as he guessed himself and as his friends told him more than once. “Pushkin and Mitskevich,” wrote Vyazemsky, “assured that I was born a pamphleteer... I stood on the battlefield, shooting from all guns, partisan, horseman....”

During Vyazemsky’s lifetime, not counting small brochures, only one collection of his poems was published (On the Road and at Home. M., 1862).

Anton Antonovich Delvig (1798–1831)

Delvig Anton Antonovich, poet, journalist. While studying at the Lyceum, Delvig became friends with A.S. Pushkin, whose friendship determined his literary position and aesthetic position. D promoted in his work the image of the poet - “the young sloth” (“Today I feast with you, friends ...”, “Krylov”). In the 1820s. he actively participates in the literary struggle, publishing since 1825. almanac ʼʼNorthern Flowersʼʼ, and since 1830 ᴦ. ʼʼLiterary newspaperʼʼ. Far from political radicalism, Delvig was not afraid to express his opinions and was one of the few who was present at the execution of the Decembrists. Died during a cholera epidemic. In memory of Delvig, Pushkin published the last issue of the almanac “Northern Flowers” ​​(1832).

Unlike Vyazemsky, Pushkin’s lyceum and post-lyceum comrade Anton Antonovich Delvig clothed his romanticism in classicist genres. He stylized ancient, ancient Greek and ancient Roman poetic forms and meters and recreated in his lyrics the conventional world of antiquity, where harmony and beauty reigned. It is important to note that for his ancient sketches Delvig chose the genre of idylls and anthological poems. In these genres, Delvig discovered a historically and culturally specific type of feeling, thinking and behavior of a person of antiquity, which is an example of harmony of body and spirit, physical and spiritual ("Swimsuits", "Friends"). Delvig correlated the “ancient” type of person with the patriarchy and naivety of the ancient “natural” person, as Rousseau saw and understood him. At the same time, these features - naivety, patriarchy - are noticeably aestheticized in Delvig’s idylls and anthological poems. Delvig's heroes cannot imagine their life without art, which acts as an organic side of their being, as a spontaneously manifested sphere of their activity (ʼʼThe Invention of Sculptureʼʼ).

The action of Delvig's idylls usually unfolds under the canopy of trees, in cool silence, near a sparkling spring. The poet gives nature paintings bright colors, plasticity and picturesqueness of forms. The state of nature is always peaceful, and this emphasizes the harmony outside and inside a person.

The heroes of Delvig's idylls and anthologies are integral beings who never betray their feelings. In one of the poet's best poems – ʼʼIdyllʼʼ(Once upon a time, Titir and Zoe were under the shadow of two young plane trees...) - it admiringly tells about the love of a young man and a girl, preserved by them forever. In a naive and pure plastic sketch, the poet managed to convey the nobility and sublimity of a tender and deep feeling. Both nature and the gods sympathize with lovers, protecting the unquenchable flame of love even after their death. Delvig's heroes do not talk about their feelings - they surrender to their power, and this brings them joy.

Delvig's artistic techniques did not change throughout his entire career. His ideal is the “peaceful life” of the “natural man”. This natural way of life according to cyclical laws, close to nature, is depicted by him in two genres: “Russian song” and idyll, recreating the image of the “golden age” of Ancient Greece. Delvig created 12 poems with the title “Russian Song”, many of them became popular romances: “My Nightingale, Nightingale ...” (A.A. Alyabyev), “Not frequent autumn rain ...” (M.I. Glinka), etc.
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A similar role was played by “ancient” idylls: “Cephys”, “Bathsuits”, “The End of the Golden Age”, “The Invention of Sculpture”. In the innovative “Russian idyll” “Retired Soldier”, Delvig depicted modern peasant life as a modern “golden age”.

Linear time has become the norm of life for a modern person: “Romance” (“Yesterday of Bacchanalian friends...”). Delvig describes the romantic hero using plots that go back to the ballad genre ("Moon", "Dream"). Characteristics of this hero are ʼʼdisappointmentʼʼ (ʼʼElegyʼʼ (ʼʼWhen, my soul, you asked...ʼʼ), ʼʼDisappointmentʼʼ) and premature death as a sign of the special fate of the chosen person (ʼʼRomanceʼʼ (ʼʼToday I feast with you, friends…ʼʼ), ʼʼTo death ***ʼʼ).

The only collection of the poet’s poems during his lifetime is “Poems of Baron Delvig”. St. Petersburg, 1829.

Nikolai Mikhailovich Yazykov (1803–1847)

The poetry of Nikolai Mikhailovich Yazykov, who entered literature as a student poet, was completely different in content and tone. This role created a very unique reputation for him. The student is almost a recent child, still retaining some of the privileges of childhood. He can indulge in “pranks” and all sorts of risky antics, while causing himself a sympathetic and condescending attitude from those around him. Pushkin exclaimed, turning to his younger friend: “How naughty you are and how sweet you are!” A kind of effect of infantilism, sweet immaturity was born in Yazykov’s poetry. The profound immaturity of the linguistic muse gives the right to extremely free handling of the written and unwritten laws of poetic creativity. The poet boldly violates them. Reading Yazykov’s poems, one often has to doubt the legitimacy of some of the genre designations he himself proposes, since they are so different from the names given to them “elegy”, “song”, “hymn”. Οʜᴎ seem arbitrary, and the ease with which Yazykov names them, referring them to one genre or another, is impressive.

Yazykov studied at various educational institutions until 1822. did not go to Dorpat, where he entered the philosophy department of the university and spent seven years there. He did not pass the university exam and left it “free without a diploma.” Two periods are clearly distinguished in Yazykov’s work: the 1820s – early 1830s (until about 1833) and the second half of the 1830s – 1846. The poet's best works were created in the first period. (During his lifetime, N. M. Yazykov published three collections of poems).

Like other poets of the Pushkin era, Yazykov was formed on the eve of the Decembrist uprising, during the period of rise social movement. This left an imprint on his lyrics. The joyful feeling of freedom that gripped the poet’s contemporaries and himself directly influenced Yazykov’s structure of feelings. What brought Yazykov closer to the Decembrists was their undoubted opposition. Moreover, unlike the Decembrists, Yazykov did not have any strong and well-thought-out political convictions. His love of freedom was of a purely emotional and spontaneous nature, expressed in protest against Arakcheevism and all forms of oppression that fettered spiritual freedom. In a word, Yazykov was not alien to civic sympathies, but most importantly - the spaciousness of his soul, the spaciousness of feelings and thoughts, the feeling of absolute uninhibitedness.

Yazykov’s main achievements are associated with student songs (cycles of 1823 and 1829), elegies and messages. It is in them that the image of a thinking student arises, who prefers freedom of feelings and free behavior to the official norms of morality accepted in society, which smack of officialdom. Revelry youth, ebullience of youthful forces, “student enthusiasm”, bold jokes, excess and riot of feelings - all this was, of course, an open challenge to society and the conventional rules that prevailed in it.

In the 1820s, Yazykov was already an established poet with a violent temperament. His verse is intoxicating, the tone of his poetry is feasting. He demonstrates in poetry an excess of strength, daring, an unprecedented revelry of bacchanalian and voluptuous songs. This whole complex of ideas is not entirely adequate to the real personality of Yazykov: under the mask of a dashing, reckless reveler there was a man with the features of a shy lump, a provincial “savage”, not too successful in matters of love and not as prone to carousing as one might think when reading the poet’s poems . At the same time, the image of the lyrical hero created by Yazykov turned out to be colorful, convincing, and artistically authentic. Contemporaries noticed that an unusual, “student” muse had come to literature. Young Yazykov did not succeed in everything: sometimes he wrote colorlessly and sluggishly, and did not disdain cliches.

If we try to determine the main pathos of Yazykov’s poetry, then this is the pathos of romantic personal freedom. The “student of languages” experiences genuine delight in the richness of life, in his own abilities and capabilities. This is why solemn words, exclamatory intonations, and loud appeals are so natural in his speech. Free hints gradually acquire more and more poignancy, explaining the true meaning of the Bursat revelry. It turns out that he is an opponent of “secular concerns” and is internally independent. He is characterized by knightly feelings - honor, nobility. He thirsts for glory, but excludes flattery ("We do not look for ranks by crawling!"), he is characterized by sincere love of freedom, civic valor ("Hearts are on the altar of freedom!"), equality, aversion to tyranny ("Our mind is not a slave to other people's minds"), contempt to the attributes of royal power and to its very principle (ʼʼOur Augustus looks at September - What do we care about him?ʼʼ).

The man in Yazykov’s lyrics appeared as himself, as he is by nature, without ranks and titles, distinctions and titles, in a holistic unity of thoughts and feelings. Experiences of love, nature, art and high civic feelings were also available to him.

Gradually, in Yazykov’s poetic worldview, an opposition emerged between eternal, enduring, imperishable values ​​and temporary, “passing”, momentary ones. The former Dorpat Bursh begins to glorify the white-stone capital, which is unusually dear to him for its antiquity. Seven-hundred-year-old Moscow with golden crosses on cathedrals, temples and churches, with strongholds of towers and walls, understood as the heart of Russia and as a majestic symbol of national immortality, becomes for Yazykov a true source of immortal life and inexhaustible inspiration. This perception of Moscow and Russia prepared the transition of Yazykov, a “Westerner” by student upbringing, who went through a non-Russian school of life and received a German education, to Slavophilism.

In the last years of his creative work, genuine lyrical masterpieces can again be found in Yazykov’s lyrics. (ʼʼStormʼʼ, ʼʼSea bathingʼʼ and etc.). The increased strength of his style is especially clearly visible in them; they are distinguished by thoughtful laconicism of composition, harmonic harmony and purity of language. Yazykov retains the swiftness of lyrical speech, the generosity of painting and energetic dynamism.

Languages, according to Belinsky, “much contributed to the dissolution of the Puritan shackles that lay on language and phraseology.” He gave the poetic language strength, masculinity, strength, and mastered the poetic period. His lyrics vividly captured the free soul of the Russian man, yearning for space, whole, bold, daring and ready to unfold in all its breadth.

Poets are wise

The “Poets of the Pushkin Circle” were an informal association of poets that formed in the 1820s. A closer formation (1823) was the Moscow circle of lovers of wisdom - the wise men. It included the poet D. Venevitinov, prose writer V. Odoevsky, critic I. Kireevsky, writers N. Rozhalin, A. Koshelev; They were joined by the historian M.P. Pogodin, poet and philologist S. Shevyrev. And although the circle disbanded in 1825, the spiritual unity connecting its members continued to be preserved. Subsequently former members Societies of Philosophy founded the journal Moskovsky Vestnik. For a short time, Pushkin became close to the wise men.

The poetry of the wise men became another link between the poetry of the 1820s and 1830s. The wise men set as their task the study of German romantic philosophy, in which they saw a program of life and a program of literature. It formed the basis of the poetry of the wise men, who declared that Russian poetry, not excluding Pushkin, suffers from a lack of thought and should be filled with philosophical content. From here came the idea of ​​contrasting the directly sensual and easily flowing poetry of Pushkin and the Russian poetry in general, which is under his undoubted influence, with poetry filled with philosophical meaning, albeit somewhat difficult in expression and perception. The Lyubomudry wanted to give Russian poetry a philosophical direction, largely Schellingian, which involved the presentation of romantic philosophy in poetic language. But the wise men did not simply intend to rhyme philosophical ideas close to them - they intended to transfer these ideas to a different, lyrical, element.

According to the ideas of wise men, there are no idyllic relationships in the world, and harmony between man and nature is achieved by overcoming contradictions. In the course of difficult and painful, but at the same time inspired knowledge, nature comprehends itself in its highest and most perfect spiritual creation - the poet, and thanks to the poet, any person discovers the enjoyment of prophetic truths.

Dimitry Vladimirovich Venevitinov (1805–1827)

Among the poets of wisdom, Venevitinov was endowed with undoubted poetic talent. His unique literary world took shape around 1825. Venevitinov firmly mastered the elegiac vocabulary and principles of the elegiac style of Zhukovsky - Pushkin. His poetry developed in the spirit of the ideas of Russian and German romanticism. Venevitinov used a fairly traditional elegiac vocabulary in his lyrics, which, however, was transformed by him: not sensual-elegiac, but philosophical content was introduced into it. Typically elegiac words acquired a new, philosophical meaning (the poem “To the Music Lover”).

Venevitinov is trying to combine immediate sensations with clarity of thought, to breathe into these sensations special meaning and through collision create an expressive picture full of drama. On this foundation grows Venevitinov’s idea of ​​the artist-genius, his role in the world, his heavenly calling, divine chosenness and difficult, unenviable position in society (verse poet(ʼʼDo you know the son of the gods…ʼʼ), ʼʼLove the pet of inspiration…ʼʼ, translation of a fragment from Goethe's Faust, elegy ʼʼI feel it burning inside me…ʼʼ, ʼʼPoet and friendʼʼ).

According to Venevitinov, poetry is the knowledge of the secrets of existence, and only it opposes prose and lack of spirituality surrounding life. The tragedy of existence recedes before the power and beauty of the poetic word. The poet foresees future harmony, affirms agreement between man and nature. The romantic theme of the poet-prophet, while preserving the personal and social meaning in Venevitinov’s lyrics, is switched to a general philosophical plane and addresses the reader with new facets: ʼʼDo you know the son of the gods, the favorite of muses and inspiration? Would You recognize his speech and his movements among the sons of the earth? He is not quick-tempered, and his strict mind does not shine in a noisy conversation, But the clear ray of lofty thoughts Involuntarily shines in his clear gaze..

The poem is about perfect face, since a poet for wise men is the highest expression of a spiritual person. Poetry, according to wise men, is the same philosophy, but in plastic images and harmonic sounds. In this context, the combination “high thoughts” is perceived not as a common poetic cliché, but as containing certain philosophical ideas. The words “strict mind” mean consistency, logic and accuracy of thought, a habit of philosophical studies. The reader is presented with the image of an ideal poet-philosopher, alien to secular vanity, immersed in deep and serious reflection. He is opposed to the “sons of the earth” not because he despises them - he has risen to such a spiritual height that still remains inaccessible to ordinary people.

S. P. Shevyrev (1806–1864)

The poetry of S. Shevyrev also developed in line with the artistic search for wise men. Among the most famous and attention-grabbing of his poems were I am, thought

Poets of Pushkin's circle - concept and types. Classification and features of the category "Poets of the Pushkin Circle" 2017, 2018.

Initially, to designate the community of poets who were part of Pushkin’s circle (Baratynsky, Vyazemsky, Delvig, Yazykov), they used the poetic and romantic concept of “Pushkin’s galaxy.” However, the first thing that a researcher faced when starting to study the works of Baratynsky, Vyazemsky, Delvig and Yazykov was the question of whether the “pleiad” really existed or whether it was a mythical concept, some kind of terminological fiction.

The term “Pushkin’s Pleiad”, as the poetry of Pushkin, the romantic era and specific poets was studied, began to be considered vulnerable, since, firstly, it arose by analogy with the name of the French poetic group “Pleiad” (Ronsard, Jodel, Dubelle, etc.), giving rise to unlawful associations and inappropriate rapprochements (Pushkin with Ronsard). However, the French are not embarrassed that their name “Pleiades” also appeared by analogy with a group of Alexandrian tragic poets of the 3rd century. BC e. Other doubts, secondly, are of a more fundamental nature: the term “Pushkin’s galaxy” presupposes common artistic and aesthetic positions that closely bring together the participants, as well as relations of dependence and subordination in relation to the brightest “main star”.

However, Baratynsky, Vyazemsky, Delvig and Yazykov each possessed an original, sharply individual, unique voice and did not occupy a subordinate position in relation to the supreme luminary of Russian poetry. It is known that some of them not only did not imitate Pushkin, but in one way or another pushed away from him, argued with him, disagreed, and even opposed him with their understanding of the nature of poetry and other problems. This primarily concerns Baratynsky and Yazykov. In addition, while poetically approaching Pushkin, each of the poets jealously guarded his poetic independence from him. Consequently, if we accept the concept of “Pushkin’s Pleiad,” we must clearly realize that in this constellation, named after Pushkin, the latter is the largest star, while the other luminaries included in the “Pleiad,” although not so large-scale, are quite are independent, and each forms its own poetic world, autonomous in relation to Pushkin’s. Their work retains enduring artistic significance regardless of Pushkin or, as Yu. N. Tynyanov put it, “outside Pushkin.” This opinion was supported by other writers (Vl. Orlov, Vs. Rozhdestvensky).

An additional argument for abandoning the term “pleiad” is that in Pushkin’s works this word is not used in any of its meanings. It is not recorded in the works of N. M. Yazykov either. This word was introduced by Baratynsky as a designation of a community of poets close to Pushkin in the opening of the collection “Twilight”, but written in 1834 in a message “to Prince Pyotr Andreevich Vyazemsky”:

Star of a scattered galaxy!

So from my soul I strive

I look at you with caring glances,

I pray to you for the highest goodness,

To distract harsh fate from you

I want terrible blows,

Although I'll tell you the postal prose

I lazily pay my tribute.

“The Star of a Scattered Pleiad” is a hint at the fate of Vyazemsky, Baratynsky himself and other poets, first of the Arzamas and then of the Pushkin-romantic orientation, who occupied a leading place in the literary life of the 1810-1820s.

Finally, as noted by V.D. Skvoznikov, some inconvenience is associated with the number of poets included in the “pleiad”: since the galaxy is a seven-star, then there should be exactly seven poets. They usually name five: Pushkin, Baratynsky, Vyazemsky, Delvig and Yazykov.

For all these reasons, in this textbook the authors prefer the concept of “poets of Pushkin’s circle” or “Pushkin’s circle of poets” as less romantic and conventional, but more modest and accurate. It does not establish the strict dependence of each of the poets on Pushkin, but it does not deny the common aesthetic positions inherent in all poets.

The five “poets of Pushkin’s circle” share a literary understanding on many aesthetic issues, problems of strategy and tactics of the literary movement. They are united by some essential features of worldview and poetics, as well as a sense of a single path in poetry, a single direction, which they steadily follow, accompanied by temporary companions. From a general position, they enter into polemics with their opponents and sharply criticize their ill-wishers.

The “poets of Pushkin’s circle” rejoice in everyone’s successes as if they were their own, and provide mutual support to each other. In the eyes of society, they appear like-minded people, they are often united and their names are called together. They willingly exchange poetic messages, in which sometimes a casual hint is enough to bring complete clarity to any situation familiar to them. Their ratings works of art talented authors or opinions about notable literary phenomena are often similar, and this allows the literary public of that time to perceive these poets as a fully formed and established community.

The “poets of Pushkin’s circle” value their environment extremely highly and see in each other exceptional poetic talent, which puts them in a special position as the chosen ones, favorites and minions of the Muse, careless sons of harmony. For Pushkin, Delvig is a real genius (“A genius that has flown away from us forever”). Nothing less. The eyes of all the “poets of Pushkin’s circle” are fixed on Yazykov: he is the recipient of many messages in which admiration for his original, sparkling talent is felt. Pushkin, Delvig, Baratynsky, Vyazemsky greet him enthusiastically. Their deservedly complimentary messages receive an equally grateful response from Yazykov, full of praise for their invaluable talents. As an example, it is appropriate to cite Delvig’s sonnet dedicated to Yazykov. It seems that all the poets of the circle are present in it, except Vyazemsky: Delvig - as the author and hero of the poem, Yazykov - as the addressee, to whom a friend-poet directly addresses, Pushkin and Baratynsky - as “sublime singers”, among whom Delvig includes and Yazykov, and mentally, of course, himself.

The commonality of the “poets of Pushkin’s circle” extends to the fundamentals of worldview, attitude, content and poetics. All the “poets of Pushkin’s circle” proceeded from the ideal of harmony, which is the principle of the structure of the world. Poetic art is the art of harmony. It brings harmony into the world and into the human soul. Poetry is a person’s refuge in moments of sadness, sorrow, and misfortune, which either heals a “sick” soul or becomes a sign of its healing. Therefore, harmony is considered a kind of ideal and principle of poetic creativity, and poetry is its guardian. This conviction is characteristic of all “poets of Pushkin’s circle.” As for Pushkin, Russian poetry did not know a more sunny genius. Readers and Pushkin experts have been repeatedly amazed at the “all-resolving harmony” on which Pushkin’s poetic world is based. Delvig also fully defended the idea of ​​harmony. To a large extent, similar considerations apply to Yazykov’s poetry. It is no coincidence that his contemporaries admired the health and naturalness of his inspiration, the breadth and prowess of his creative personality, the joyful major sound of the verse. Baratynsky also proceeded from the presumption of the ideal, from harmony as the fundamental principle of the world, from the harmoniously healing power of poetry. Vyazemsky also strove for the harmony of verse, which was not always given to him.

The cult of harmony, falling in love with it does not at all mean that its priests are prosperous, successful people, insured against all kinds of disorder, mental anguish and melancholy. They are aware of all sad states of mind to the extent that the ideal of harmony turns out to be achievable for reasons of a social or personal nature. None of the “poets of Pushkin’s circle” is inclined, succumbing to such a mood, to forever remain “the singer of his sadness.” They had a different, opposite goal: to regain peace of mind, to again feel the joy of being, to again feel the temporarily lost harmony of the beautiful and perfect.

1810-1830s are considered the golden age of Russian poetry, which achieved significant artistic success in this romantic era. This period can safely be called the beginning of the creative maturity of Russian literature. The central figure of the poetic process in the 1st third of the 19th century was Pushkin. The first thirty years are usually called the Pushkin era. Many writers grouped around the poet, while some retained their own intonation and style in their works, while others imitated Alexander Sergeevich and formed the so-called Pushkin circle of poets.

Community of literary art

There was no formal association of poets at that time. The poets of Pushkin's circle, the list of which contains such names as Vyazemsky, Baratynsky, Yazykov, Delvig, were original and individual, with their own unique voice. They, one way or another, in their work started from Pushkin’s poems, but did not occupy a subordinate position in relation to him, sometimes they even argued and disagreed with him, and sometimes they even opposed their own understanding of the problems and nature of poetry to him. This was mainly characteristic of Yazykov and Baratynsky. Each poet, approaching Alexander Sergeevich, tried to maintain his creative independence from him.

What then is the commonality between these poets? Despite their different lyrical styles, the poets of Pushkin’s circle had the same views on attitude and worldview. A message on this topic, by the way, is often asked to prepare for schoolchildren in literature lessons, so the article will be useful for parents who help their children with homework. So, all the poets of Pushkin’s galaxy believed that poetry is the art of harmony, bringing harmony to the human soul. In moments of grief and sadness, people turn to poetry and find peace in them. Pushkin's circle of poets considered harmony as a kind of ideal and principle for the structure of the world, and poetry as the guardian of this ideal.

Denis Davydov

This is one of the most gifted poets known in the 1810-1830s, possessing an original poetic personality. Hussar Denis Davydov is a poet of the pre-Pushkin generation, who invented the mask of a fearless reckless warrior and at the same time a dashing, cheerful reveler. In Russian battle lyrics, which were distinguished by pomp, Davydov said a new word with his works. He invented dashingly twisted, energetic, biting verse, often ending with a sharp aphorism. The most famous works of the poet are the following: “Essay on the life of Denis Vasilyevich Davydov,” written in the genre of autobiographical prose, and memoirs rich in factual materials.

Pushkin admitted that he even studied with Davydov and tried to imitate him in “twisting verse.” However, in ordinary life, Alexander Sergeevich did not wear masks, but remained himself, which cannot be said about Denis Vasilyevich, who in life began to try on the image of a dashing hussar-poet and became one with him.

Konstantin Batyushkov

The poets of Pushkin's circle, whose poems were written in the genre of romanticism, most likely, in the process of creativity, were guided by the works of this Russian writer. After all, it is Batyushkov who is called one of the founders of the romantic movement in literature. His creative legacy consists of poems, letters and prose articles. Konstantin Batyushkov entered the history of Russian literature mainly as a representative of “light poetry,” to which Davydov, Bogdanovich, and Pushkin belonged. This direction goes back to the traditions of the Anacreontic style, when poems glorify the joys of love, friendship, inner freedom and life in general.

Peter Vyazemsky

This poet perceived himself as a poet of our time, but if at the beginning of his creative career he was in agreement with the time in which he lived, then after 1837 he rethought reality and, seeing its negative side, began to accept the past as the norm. Vyazemsky assessed his own fate as the tragedy of a person who did not want and was unable to live in accordance with the foundations that were characteristic of his century.

Like other poets of Pushkin’s circle, he found similarities between his poetic culture and the culture of Alexander Sergeevich. The two poets were close, and Vyazemsky even dedicated works to Pushkin. They were both heirs of the 18th century, and from childhood they imbibed a love of reason and enlightenment. In his work, Denis Vyazemsky gravitated towards traditional poetic forms: melancholic elegy, freedom-loving ode, fables, parables, didactics and satire.

Anton Delvig

Like some other poets of Pushkin’s circle, this poet became friends with Alexander Sergeevich in his youth. They met at the Lyceum, and their friendship with Pushkin determined Delvig’s further aesthetic and literary position. In his works, he propagated the image of the poet as a “young sloth” and clothed romanticism in classicist genres. Anton Delvig stylized ancient Greek and Roman poetic meters and forms, and in his lyrics recreated the conventional one in which beauty and harmony reign. The poet made his sketches in the genre of anthological poems and idylls.

Nikolay Yazykov

The work of this poet was completely different in tone and content. Yazykov entered literature as a student poet, which created his unique reputation. His works contained the effect of sweet immaturity and infantilism. The poets of Pushkin's circle perceived him as a recent child who could afford risky antics and pranks. Addressing his younger friend, Pushkin exclaimed: “How naughty you are and how sweet you are!” Yazykov was delighted with his own capabilities and abilities, which is why exclamatory intonations, solemn words and loud appeals are so natural in his speech.

Finally

Of course, in the article we did not list all the poets of Pushkin’s circle. is very extensive, and in addition to those mentioned above, includes Zhukovsky, Kuchelbecker, Krylov and others. The poetic destinies of the poets who worked at the same time as Alexander Sergeevich developed differently. Some entered the literary arena even earlier than him (for example, Denis Davydov) and developed creatively independently of the “sun of Russian poetry”, and only then joined his circle. But all the poets of Pushkin's circle - predecessors and contemporaries - were united by one thing: they created their works in an era that passed under the sign of Pushkin.

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 a unique work of the writer, 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 Pushkin was not alone in posing and solving the most important problems in the literature of the early 19th century. 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 very young men, like Dmitry Venevitinov. Before we get to know 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 secrets 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!
(on click a photo of Pushkin appears). 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 sarcastic intellectual, a master of epigrams, madrigals, friendly messages, close friend Pushkin and 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, familiar 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,
In crimson and gold clad woods…

– 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 whether you recognize the piece of music ( Appendix 4 ), which is the background of our lesson? Yes, this is “Griboedov’s Waltz”, “Oh, this Griboyedov’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 melancholy 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 instantaneous 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 partisan detachments, dashing hussar, friend of Pushkin - Denis Davydov (...on click) Let's listen to them.
The following creative group dedicated its literary newspaper to the work of Evgeniy Abramovich Baratynsky (...click)
Introduction to a new topic for 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 recognize 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 era...

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 one of Pushkin's poems (from the 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!

Literature lesson in 8th grade

Poets of Pushkin's galaxy.

Lesson type : extracurricular reading lesson.

Place of the lesson in the lesson system: the lesson opens a series of lessons dedicated to the “golden age” of Russian poetry.

Lesson form : lesson - oral journal

Lesson objectives:

educational

• To introduce schoolchildren to the poetic personalities of the “golden age”.
• Develop the ability to independently compose a monologue on a given topic.
• Start working on skills development literary analysis a work of art.
• Continue working on developing expressive reading skills.

developing

• Develop in teenagers artistic taste, memory, cognitive abilities, aesthetic emotions.
• Develop creative activity, form a creative approach to the study of literature.
• To develop students’ communication skills and the ability to work in a creative group in search mode.

educational

• To foster interest and respect for the classical heritage of Russian literature
• To cultivate the ethical and aesthetic foundations of relationships (the ability to listen, empathize).

health-saving

• During the lesson, prevent mental stress by changing types of activities.

Methods and techniques for working in the classroom.

• Methodical technique of “immersion in poetry.”

Although biographical information is important for students, here it is given in fragments, carefully selected, and the criterion for selecting information is whether these biographical facts explain the essence of the poet’s creative process.

The criterion for selecting literary texts was the task of showing, using the example of one poem, general features poetic manner of the author. It was necessary to find a poem that could become a kind of “calling card” of the poet. The text also had to be unexpected for the students, it had to surprise or delight them.

• Expressive reading.

The lyrical text is most fully perceived in its spoken version. High reading skill evokes an emotional response from the listener, speeds up the process of understanding and entering the poetic world. Children's performance skills serve as a kind of “control cutoff” for the teacher of the level of understanding of the text.

• Interpretation of the text.

Interpretation of the text allows students to develop their imagination, leading to creativity. This activity is the best preparation for writing an essay analyzing a poem.

• Differentiated approach.

The class staff is heterogeneous in terms of development and training. When preparing for the lesson, this fact was taken into account, as well as the interests and inclinations of the students (acting impersonation, search, analytical activities).

• Work in creative groups at the stage of preparation for the lesson.

The lesson was preceded by preparatory work: the students were divided into 6 groups, each received a creative task - to create a page of an oral journal on the topics:

Group 1 - E. A. Baratynsky in the Pushkin circle of poets

Purpose: to consider Baratynsky’s personal and creative connections in Pushkin’s circle of poets; analyze his main works against the background of creative searches for the “Pushkin galaxy”.

Group 2 – Life and work of D. V. Venevitinov

Goal: to trace the main milestones in the creative path of D. V. Venevitinov; study the general principles of poetry and artistic originality contemporary of A.S. Pushkin.

Group 3 Life and work of P. A. Vyazemsky.

Goal: to trace the main milestones of P.A.’s creative path. Vyazemsky; study the general patterns of poetry and the artistic originality of A.S. Pushkin’s senior contemporary.

Group 4 – Life and work of the poet D. V. Davydov

Goal: to identify the influence of Davydov’s special fate on his poetry: to show the main character traits of the hero of the poet’s lyrics

Group 5 A. A. Delvig is a poet of Pushkin’s era.

Goal: to reveal the life path of A.A. Delvig (creative friendship with A.S. Pushkin), to analyze the artistic and poetic originality of “Russian songs” and the poet’s idylls.

Group 6 - N. M. Yazykov in the Pushkin circle of poets

Purpose: to consider the creative connections of N. M. Yazykov in the Pushkin circle of poets; analyze his main works against the background of creative searches for the “Pushkin galaxy”.

In the process of preparing for the lesson, group participants were engaged in research activities: they worked with additional literature, encyclopedias, carried out a contextual search for factual information related to the life and work of poets, using Internet access; We selected biographical material about the poets of Pushkin’s circle and independently analyzed the proposed poems. The teacher advised students and provided assistance in writing an analysis of the poem, as well as in selecting material for artistic design.

During the classes

I. Organizing time.

II. Teacher's opening speech.(slides No. 1, No. 2)

The first third of the 19th century is the heyday of Russian poetry. It was she, and not prose (this would happen later), that determined the development of Russian literature. Together with A.S. Pushkin was created by his contemporaries - the poets of Pushkin's time. But before talking about them, it is necessary to understand the very concept of “Pushkin’s time”. If the boundaries are defined formally, then all the poets who wrote during the life of A.S. Pushkin, 1799 - 1837, are included in this circle.

But logic dictates that the period should be limited to the time when Pushkin’s poetry became known to readers. Pushkin's literary debut took place in 1814. Poems before last days The poet's life was an integral part of his work. Thus, the boundaries of the poetry of Pushkin's time are determined by the years 1814 -1837. Senior contemporaries - V.A. Zhukovsky, K.N. Batyushkov, D.V. Davydov, who formed as poets in an earlier era, influenced the young Pushkin. Peers and the younger generation of contemporaries, on the contrary, assimilated Pushkin’s poetic experience, developing it in their work.

The poets of Pushkin’s circle are traditionally called the poets of the “Pushkin galaxy”. Where does this name come from? In ancient Greek mythology, the Pleiades are the daughters of the titan Atlas, transformed by Zeus into a celestial constellation. In the ancient world, the “Pleiades” was the name given to a group of seven famous tragic poets.

Pushkin's circle is a whole constellation of famous contemporary writers. In addition to Pushkin himself, the “Pushkin galaxy” traditionally includes

E. A. Baratynsky (1800-1844) D. V. Venevitinov (1805-1827) P. A. Vyazemsky (1792-1878)

D. V. Davydov (1784-1839) A. A. Delvig (1798-1831) N. M. Yazykov (1803-1847)

And the point here is not only in the external sign - the coincidence of the number 7. One cannot perceive the work of these poets only as an advantageous background against which Pushkin’s greatness stood out more clearly. Each name here is a significant milestone in the history of Russian culture. These were people of amazing poetic talent and no less amazing destinies, who were connected with Pushkin not only by personal friendship, but also by some kind of literary community that was new in its forms. This is an amazing community of minds and talents, which Pushkin called “the aristocracy of talents.” Pushkin turned out to be a leading poet, but who “studied” from whom and to what extent, who determined whose successes and how - this is still far from a clarified question.

Let's start our lesson "Poets of Pushkin's era." We will conduct this lesson in the form of an oral journal. Let us become its first readers and creators, critics and editors. You will not only have to familiarize yourself with the material, but also make your own amendments, and have someone read the pages.

1. So, open the first page. (slides No. 3-4)

Video Baratynsky “I didn’t love her, I knew her”

Baratynsky Evgeniy Abramovich (1800 - 1844)

Evgeniy Abramovich was born on February 19, 1800 in a family of the noble class. The Mara estate, where the Baratynskys lived, was located in the Tambov province. Having given the boy the traditional home upbringing and education in noble families, in 1812 he had to go toPetersburg , because his parents sent him to the Corps of Pages, an elite military school. They taught in the Corps of Pages not particularly diligently, and the situation with moral education was rather weak. In 1816, Eugene fell under the influence of bad company and became involved in a serious crime - theft. As a result, he was expelled from the corps, deprived of the right to enter service, with the exception of simple soldiering. These events broke Baratynsky and greatly influenced the formation of his character. For three years, his family worked for forgiveness while he himself remained inactive. But there was one option - to start from scratch, becoming an ordinary military man, and advance through the ranks to officer rank. And so in 1818 he came to St. Petersburg, and he was enlisted in the royal guard.

Baratynsky, who had fallen in love with poetry since childhood and wrote poetry himself, during these years of service met several people from the literary community, in particular Delvig, who in turn introduced his new friend to Pushkin and became Baratynsky’s mentor and patron in literary matters. Soon the first poems of E. Baratynsky appeared in print, and were met quite approvingly. In particularPushkin wrote quite commendable words about the “harmony and maturity” of his elegies. And if there were certain successes in the work of Yevgeny Abramovich, his military service did not advance. In 1820 he was promoted to the rank of non-commissioned officer and transferred to Finland. He spent more than five years there, but had the opportunity to come to St. Petersburg, often and for a long time. The service did not particularly burden him, so he devoted a lot of time to literature. His literary fame grew. And at this time friends were working hard so that Baratynsky would receive officer rank. Finally, in 1825, he received the rank of ensign, after which he immediately retired and went to Moscow. He moved in the circles of progressive literary youth close to the Decembrists, and this also influenced his development. And yet Baratynsky was not obsessed with topical political topics. He confined himself to purely artistic interests.

In the mid-20s, Baratynsky was in search of new creative paths. He tried to re-present the romantic poem using a realistic style of presentation. A.S. Pushkin spoke approvingly of his work.

In the 30s, Baratynsky finally found his way into philosophical poetry. It was the genre of philosophical lyrics that nurtured him into a major poet. And Baratynsky’s achievements in the “poetry of thought” were again noted by Pushkin, speaking about the independence of his thoughts, about deep and strong feelings, about poetic originality.

The main theme of late lyricism is the tragic fate of the poet. In 1842, Baratynsky’s last collection of poetry with the telling title “Twilight” was published. In 1843, Evgeny Baratynsky went to live abroad. For a year he lived in Germany and France, and then in Italy. In Naples on July 29, 1844, Baratynsky died suddenly.

Reading a poem Discouragement

Don't tempt me unnecessarily

The return of your tenderness:

Alien to the disappointed

All the seductions of former days!

I don’t believe the assurances

I don't believe in love anymore

And I can’t give in again

Once you have changed your dreams!

Do not multiply my blind melancholy,

Don't start talking about the past,

And, caring friend, the patient

Don't disturb him in his slumber!

I sleep, the sleep is sweet to me;

Forget old dreams:

There is only excitement in my soul,

And it’s not love that you will awaken

2. Open the second page (slide No. 5-6)

Video Venevitinov D.V. "Elegy"

Venevitinov Dmitry Vladimirovich (1805 - 1827).
Venevitinov Dmitry Vladimirovich - poet-philosopher, critic. Born on September 14 (September 26), 1805 in Moscow, in rich family of noble origin. He received his primary education at home. He studied French, Latin, and German perfectly, and was seriously involved in painting and music.
In 1822 - 24, as a volunteer, he attended lectures at Moscow University. He was interested not only in history, philosophy and the theory of literature, but also in mathematics and natural sciences. Having passed the exams for a university course, he entered the service of the Moscow Archive of the Collegium of Foreign Affairs, but his main occupation was literature. At the university he is actively involved in translating Virgil and Horatio.

In 1826, at his own request, he was transferred to St. Petersburg, where he continued his activities in the Asian Department of the Ministry of Foreign Affairs. In the same year he was arrested for suspicion of involvement in the Decembrist conspiracy. Three days spent in custody in a damp and cold room, constant interrogations shocked him physically and morally.

Venevitinov lived very little - not a full 22 years, but during his short life he became a representative of the philosophical movement of Russian poetry, translated dozens of works, and wrote several critical and philosophical articles.
In his literary activity, Venevitinov showed diverse talents and interests. He was not only a poet, but also a prose writer, wrote literary, programmatic and critical articles, translated prose works of German authors, including Goethe and Hoffmann. Venevitinov wrote only about 50 poems. Many of them, especially the later ones, are filled with deep philosophical meaning, which is a distinctive feature of the poet’s lyrics.

Dmitry Vladimirovich always adhered to liberal points of view in politics, for which many revered him. The poet considers self-knowledge to be the highest goal of man and humanity, which for him is the path to harmony of the world and personality. Freedom was reflected in his poems. In 1826, a group of Slavophiles began work on the creation of the Moskovsky Vestnik magazine. Venevitonov took an active part in this.

March 2, 1927 Dmitry Vladimirovich caught a bad cold. And on March 15 (March 27), 1927, he died of pneumonia in St. Petersburg. The funeral took place in Moscow, where A. Pushkin and A. Mitskevich came to pay their last tribute to the memory of the young talent.

Venevitinov had distant family ties and strong friendships with Pushkin. And Pushkin visited Venevitinov’s house, and Venevitinov visited Pushkin. At Pushkin’s suggestion, Venevitinov became one of the organizers of the new literary magazine “Moskovsky Vestnik”. Contemporaries recalled: Pushkin accepted with pain the death of the young poet-philosopher, who did not have time to fully reveal his talents... And among the talents, by the way, there was also music; There is evidence that Dmitry wrote music for Pushkin’s poem “Night Zephyr” - the notes were lost long ago and without a trace...

Reading a poem

Leave me, forget me!
I loved you alone in the world,
But I loved you as a friend
How they love a star on air,
How they love the bright ideal
Or a lucid dream of the imagination.
I have recognized a lot in life,
In love alone I did not know torment,
And I want to go to the grave,
Like a charmed ignoramus.

3. Open the third page. (Slide No. 7-8)

Video by P.A. Vyazemsky “You are a bright star”

Vyazemsky Pyotr Andreevich (1792-1878), poet, critic, memoirist.

Born on July 23, 1792 in Moscow. He belonged to an old noble family. The writer and historian N.M. Karamzin played a major role in the upbringing of the young prince, who became his guardian after the death of his parents (1807). Thanks to Karamzin, Vyazemsky early became close to the circle of writers.

In 1815, he became one of the founders of the literary circle "Arzamas", which united in its ranks V. A. Zhukovsky, K. N. Batyushkov, D. V. Davydov, and other poets, where Vyazemsky was jokingly called Asmodeus (prince of demons ). Earlier than many, Vyazemsky guessed the genius talent in the youngest “Arzamas resident” - A. S. Pushkin. Their friendship lasted twenty years, until the poet's death.

In the poems of Vyazemsky at the end of the 10s. XIX century The genres of elegy and friendly message, characteristic of the poetry of Pushkin’s circle, prevailed. Distinctive feature his poetic individuality was a desire for precision and aphorism of thought, to which harmony and lightness of syllable were sometimes sacrificed.

With the beginning of the Patriotic War of 1812, Vyazemsky joined the militia and took part in the Battle of Borodino. From 1918 to 1921 he served in Warsaw as a diplomatic official. He was removed from service for opposition views, but secret organizations revolutionaries never entered. One of the literary critics called this writer “a Decembrist without December.” Vyazemsky’s deeply skeptical mood after the massacre of the Decembrists was expressed in the satirical poem “Russian God” (1828), which was distributed in lists.

The turning point in Vyazemsky’s life was the death of Pushkin, which was a deep shock for him (poem “For Memory”, 1837).

At the end of the 50s, with the beginning of the reign of Alexander II, Vyazemsky significantly moved up the career ladder. Fellow Minister of Education, head of the censorship department, member of the State Council, senator, he moved in court circles and was a member of the royal family. However, he always maintained his internal independence.

Despite a successful career, internal discord with modernity grew within him. Over the years, he increasingly idealized the era of his youth, and felt more and more keenly the connection with the bygone generation (poems “Wake,” “All my peers have long since retired...”, “To Friends.”).

In his declining years, Pyotr Andreevich admitted in one of his letters: “...I was created somehow piece by piece, and my whole life went on fragmentarily.” Great place in Vyazemsky’s late work, memories took over - about famous figures Russian culture, about “Griboedov’s” Moscow.

The “Notebook,” which he kept from 1813 until his death, is an invaluable chronicle of the era, recording anecdotes, jokes, and testimonies of anonymous contemporaries.

From 1863 he mainly lived abroad and died in Baden-Baden (Germany) on November 22, 1878. He was buried in St. Petersburg, in the Alexander Nevsky Lavra.

Reading a poem

On the human side

On a residential shore

I'm sad, I'm sick

And I can’t say.

I would run away

Under the dense shadow,

Where on the green night

The bright day has sunk.

The trees are intertwined there

Emerald tent,

The flowers have grown there

An incense carpet.

From everyday worries

I would rest there

I would lie down on the flowers

And he fell asleep carelessly. April 1847

4. Open the fourth page. (Slide No. 9-10)

Video by D. Davydov “For God’s sake, give me the phone...”

Davydov Denis Vasilievich, (1784 – 1839), Russian poet, hero of the Patriotic War of 1812

Denis Vasilyevich Davydov was born into a military family in 1784, his father had a high military rank and commanded a regiment.

One day at dinner, Davydov Sr. was accompanied by the Great Russian commander Suvorov, who was inspecting his father’s regiment. Seeing Denis, he asked the boy if he loved soldiers? The boy replied that he loved Suvorov, saying that Alexandra Vasilyevich had everything: soldiers, victories and glory.Suvorov was delighted with the answer, and said that the boy would be a military man, and an extraordinary one at that. Denis Davydov, of course, complied with the insistence. He really became a military man and, moreover, an extraordinary one. BecameHero of the Patriotic War of 1812 .

Since childhood, Davydov had been interested in military affairs, studied military science, the history of battles, and took military lessons from a major in the French army, who was now in Russian service. Since childhood, Denis was drawn not only to military exploits, but also to poetry. His many poems achieved some success and fame. For his creativity, sometimes daring, he was out of favor with his superiors.

In 1806 he became Bagration's adjutant. In January 1807, he took part in his first battle, showed himself successfully, was almost captured, but was very brave. For his actions, Davydov was awarded the Order of St. Vladimir, 4th degree. He took part in many battles with the French and received several memorable orders and awards.

He met the beginning of the Patriotic War of 1812 with the rank of lieutenant colonel and commanded one of the battalions in Bagration’s second army. Davydov took part in defensive battles on the Russian borders, retreated into the interior of the country with the army and experienced the bitterness of the defeats that overtook the Russian army. Soon, shortly beforeBattle of Borodino , appealed to Bagration with a request to allow him to begin the formation of partisan detachments. He, in fact, was the author of the project for a people's war against the French interventionists.

The first raid of Davydov’s partisans is dated September 1, when the partisans defeated one of Napoleon’s rear groups, capturing a convoy with valuables, transport, military equipment, the success was obvious. Weapons captured from the French were distributed to the peasants. The uniform of the Russian and French hussars was similar. Incidents often occurred when Russian peasants mistook their soldiers for strangers. Then Davydov dressed his partisans - the hussars - in peasant clothes, and the commander himself also changed his appearance. In the army they made fun of their appearance, but Denis Vasilyevich himself stood up for himKutuzov , stating that in a people's war such measures are necessary.

Davydov was lucky. His detachment grew, inflicting increasingly strong and heavy blows on the French. Neither day nor night, the partisans gave no rest to the enemy. On November 4, he captured the French generals. For participation inPatriotic War of 1812 national hero Denis Davydov received the Order of St. George, and was also promoted to colonel.

In 1823 he retired, and there was time for creativity. The general published several essays and books. He was friends with Pushkin and other famous poets. In 1826, Davydov returned to active army. He takes part in the Russian-Iranian war. After Ermolov's resignation, he left the Caucasus and lived in the village for several years. For his successes, he received the rank of lieutenant general and new orders. He died at the age of 54, in 1839. The name of Denis Vasilievich Davydov will forever remain in the memory of grateful descendants.

Reading a poem ROMANCE

Don't wake up, don't wake up

Of my madness and frenzy

And fleeting dreams

Don't return, don't return!

Don't repeat the name of the one to me

For which memory is the torment of life,

Like in a foreign land the song of the fatherland

An exile from his native land.

Don't resurrect, don't resurrect

Misfortunes that have forgotten me,

Give rest to the worries of passion

And do not irritate the wounds of the living.

Or no! Rip the cover off!..

It’s easier for me to grieve self-will,

Than false cold-bloodedness,

Than my deceptive peace. 1834

5.Open the fifth page. (Slide No. 11-12)

Video by A.A. Delvig “Romance” (Don’t say love will pass...)

Anton Antonovich Delvig (1797-1831)

A. A. Delvig is a poet, a German baron by birth. Born on August 6, 1798, he was educated at the Tsarskoye Selo Lyceum. Here he meets Pushkin, with whom his friendship lasts for life.
Special attention devotes himself to Russian literature and poetry, begins to write poetry and soon becomes one of the first lyceum poets, competing with Pushkin.
He published his first work, the ode “To the Capture of Paris,” in “Bulletin of Europe” in 1814. After graduating from the Lyceum in 1817, he served at the Ministry of Finance, then under the leadership of I.A. Krylov, in the public library, and since 1825 - in the Ministry of Internal Affairs.

In 1818 he was elected to the " Free Society lovers of literature, science and art", writes a lot.
All this time, Delvig continued to write and published his poems in popular, at that time, Russian literary magazines. In 1825, he began publishing his almanac “Northern Flowers”; the best writers of that time were published in it, including A.S. Pushkin. In the same year, Delvig married and made his home one of the centers of literature.

In 1829 and 1830 published two books of the almanac “Snowdrop”. On Delvig’s initiative, in January 1830, the weekly Literaturnaya Gazeta, opposing the government, began to be published, the soul of which was Pushkin. “Literaturnaya Gazeta” was banned at the end of the same year. The troubles and persecutions that preceded the closure of the newspaper broke Delvig. And soon, on January 14, 1831, after the illness that followed this event, he died.

After his death, Literaturnaya Gazeta fell into decline. But Pushkin transferred its best traditions to his Sovremennik. Delvig wrote little and had little talent, nevertheless, he is considered to belong to the best representatives of the “Pushkin galaxy”. Poetry belongs to his pen various styles and directions - these are songs, odes, idylls, elegies, personal lyrics, messages, as well as the first sonnets in Russian poetry.

German by origin, Delvig, for his love of Russian folk poetry and song, can be called one of the first Russian populist poets. Pushkin loved him for his serene contemplation and childlike clear soul, calmness and solidity. The idyllic tone of his poetry and favorite themes - silence, laziness, peace - created his external “Hellenism” with an admixture of romantic melancholy and German sentimentality.

Reading a poemRomance (I just recognized you...)

I just recognized you -

And with a sweet thrill for the first time

My heart began to beat inside me.

You squeezed my hand -

And life and all the joys of life

I sacrificed for you.

You told me “I love you” -

And pure joy flew away

Into my dark soul.

Silently I look at you, -

There is no word for all the torment, all the happiness

Express my passion.

Every bright thought

High every feeling

You conceive in the soul. 1823

6. Open the next page. (Slide No. 13-14)

Video by N. M. Yazykov “Imitation of Psalm 136”

Nikolai Mikhailovich Yazykov (1803-1847).

N. M. Yazykov is one of the talented Russian poets of Pushkin’s era.

On March 4, 1803, a son, Nikolai, was born into the family of a wealthy Volga landowner. The parents were educated people, therefore, from his very infancy, they instilled in their son a love of knowledge. The family upbringing was brilliant. The best teachers The boy was educated at home. IN early age He became interested in literature and began to write poetry.

When the time came to receive a special education, the parents sent their son to the St. Petersburg Mining School cadet corps, where he successfully, but reluctantly studied, because he did not feel any attraction to the exact sciences. Then, again at the insistence of his parents, he was a student at the Institute of Railway Engineers for several years. But even here I did not find my calling. As a result, Yazykov left the institute and entered the Faculty of Philosophy at the University of Dorpat. By this time, the young man had already decided on his priorities, had literary acquaintances, publications and approving criticism.

This period of Yazykov’s life is the brightest and most fruitful. He enthusiastically studied history, philosophy, political economy, and mastered the German language flawlessly. In addition, freedom-loving morals reigned at the university. Yazykov enjoyed student life: he took part in parties, composed freedom-loving and mischievous poems, which his fellow students knew by heart and even set to music, singing their favorite songs in chorus. Here, in Dorpat, the freethinking and patriotism of the poet was formed. In a circle that he organized at the university, young people discussed philosophical and political issues and the future of Russia. Inspired by the ideas of the circle members, he wrote his famous poems, which became songs: “From a country, a distant country...” and “Our sea is unsociable...”. These songs are still for a long time accompanied democratic-minded youth of several generations.

It is not surprising that in the atmosphere of “free life” an extraordinary personality with advanced social and political positions was formed. The poems of the young Yazykov shone with bold thoughts about autocracy. He considered Pushkin the pride of the country andRyleev A. He glorified heroic story of his people. Yazykov's poems quickly gained wide popularity in youth and literary circles. He talked about him with delightGogol and Pushkin.

It so happened that in the summer of 1826 Yazykov came to visit his comrade Wulf in the village of Trigorskoye. At this time, Pushkin was in exile in neighboring Mikhailovskoye, who was friends with the inhabitants of the Trigorsky estate and often visited them. There the two poets met. This friendship enriched both of them.Pushkin in his poems he addressed Yazykov many times, admired his talent, and as for Yazykov, he was simply captivated by the work of the great Pushkin and was very proud of his friendship with him.

In 1829, a difficult period began in the poet’s life: a painful illness overtook him. At times he lived in his homeland, but mostly in Moscow. Here he met Aksakov, Baratynsky and others.

His illness progressed. In 1837, Yazykov went abroad for treatment. European resorts, however, did not alleviate the patient’s plight. He returned to Moscow completely disabled and spent the remaining three years of his life in terrible physical and moral torment.

In 1844 and 1845 Yazykov published his last two collections. Yazykov died on December 26, 1846.

Reading a poem Storm

Huge clouds hung wide

Over the sea and hid the brilliant day.

And I descended deep into the blue abyss

And a heavy shadow settled in it;

But the abyss of the sea is already indignant,

She wants light, and she grumbles,

And soon, the mighty one will rise, formidable,

It will rage extensively and loudly.

Already raising great strength,

She builds shelves from water masses,

And the giant shaft, shaking his head,

He stands in a row, and the rows say;

And so, their dark faces frown

And the white combs waver, they

They're coming. Lights flashed in the black clouds,

III. Summarizing. Teacher's word.

Today we talked about poets who are rightly called “the stars of Pushkin’s galaxy.” With their creativity they contributed to the development of national literature: they improved versification, introduced many new themes - social, historical, personal, and brought poetry closer to the people. But their main merit is that they sensitively responded to the needs and interests of their people, promoted the ideas of patriotism, and spoke out in defense of human rights and dignity.

Why do we reread them again and again today, poems written so long ago? The answer is simple. The questions that worried the poets of Pushkin's time: love, the beauty of nature, the interests of the people, war, human rights and dignity, continue to worry us, residents of the 21st century. These questions will always be relevant, no matter how much time passes.

In his last performance, “Funeral Requiem,” the wonderful actor Evgeny Leonov, who left us so early, but who managed to give us warmth, light, and joy of life with his creativity, said wonderful words with which I would like to end our lesson: “There are no generations, past and present, We are all contemporaries."

Homework:analyze your favorite poem

APPLICATION

Hussar feast. DENIS DAVIDOV

For God's sake, give me the phone!

Place the bottles in front of us!

Call all riders

With a curled mustache!

So that the chorus thunders here

Squadron of flying hussars;

To fly to the sky

I am in their mighty arms;

To the walls from cheers

And they shook and trembled!..

It would be better if they screamed in the field...

But others were at their throats:

“And the time will come for us!”

Burtsov, brother! What an expanse!

The punch is cruel!.. The choir thunders!

Burtsov, I drink your health:

Be, hussar, drunk and well-fed!

Show off as you show off

Flank as you flank;

In peaceful days, do not be discouraged

And rock and roll in battles!

Life flies: don’t be embarrassed,

Don't sleep on her flight.

Drink, love and have fun!

Here's my friendly advice. (1804)

This is one of the first poems by Denis Davydov. It was written in 1804, during his service in the Belarusian Hussar Regiment, published much later and circulated among the poet’s contemporaries in handwritten copies, quickly winning universal love. As the author himself would later note, such a poem “could not then even appear at the imperial review of the censorship committee.” But a forbidden product is like a forbidden fruit: its price doubles from the prohibition.

This is everyday heroism, combined with the indispensable hussar glass! The rudeness and daring of army life is contrasted here with etiquette and the normative boredom of social life. The tension of feelings - in war or behind the “peaceful bottle” - does not leave the lyrical hero.

The name of the dashing brawler Alexander Petrovich Burtsov, the author’s senior colleague, drunkard and reveler, to whom the lyrical hero addresses, would have long since sunk into eternity if not for this poem.

The poet himself called his poems “cool,” which was manifested in a special “eccentricity” of language and style. Professional vocabulary (“pont” is a card term, “flank” is a cavalry term) is famously combined in the poem with the colloquial exclamation “rock and roll.” We now vaguely understand both the meaning of these terms and the meaning of this exclamation, but this does not interfere with the perception of the most important thing: the special lightness of the poetic mood, everyday bravado.

To my ring. DMITRY VENEVITINOV

You were dug up in a dusty grave,

Herald of age-old love,

And again you are dust from the grave

You will be bequeathed, my ring.

But not love now by you

Blessed with the eternal flame

And above you, in heartache,

She made a holy vow;

No! Friendship in the bitter hour of farewell

Gave to weeping love

You are the key to compassion.

Oh, be my faithful talisman!

Protect me from serious wounds

And the light and the insignificant crowd,

From the caustic thirst for false glory,

From a seductive dream

And from spiritual emptiness.

In hours of cold doubt

Revive your heart with hope,

And if you are imprisoned in sorrows,

Far from the angel of love,

It will plan a crime -

With your wondrous power you tame

Gusts of hopeless passion

And from my rebellious breast

Turn away the lead of madness,

When will I be at the hour of death

Saying goodbye to what I love here,

Then I'll beg my friend.

So that he is cold from my hand

I didn’t take you off, my ring,

So that the grave does not separate us,

And the request will not be fruitless:

He will confirm his vow to me

With the words of the fatal oath.

Centuries will fly by, and perhaps

That someone will disturb my ashes

And in it he will discover you again;

And again timid love

He will whisper to you superstitiously

Words of tormenting passions,

And again you will be her friend,

As it was for me, my ring was faithful. (1827)

The lyrical hero of the poem is a romantic in love, suffering because the “angel of love” responds to his passionate feeling only with friendly compassion. “Gusts of passion” inspire him with tragic thoughts of suicide.

The poem is about a ring - a gift from Zinaida Volkonskaya, which she gave to Venevitinov before his departure from Moscow in October 1826. According to legend, it was found in Herculaneum during excavations. This ring, carefully kept by the poet, becomes in his poems a kind of magical talisman that protects the owner from heart wounds and “spiritual emptiness.” The image of the talisman ring will later be rethought in Pushkin’s poem “Keep Me, My Talisman...”. Before Venevitinov’s death, friends fulfilled the request made in the poem and put the ring, which the poet never parted with during his lifetime, on the finger of the dying man. When the poet was reburied in 1930 during the destruction of the Simonov Monastery, the ring was removed from his hand and transferred to the Literary Museum, thus the poem written by the poet on the eve of his death turned out to be prophetic.

Murmur. EVGENY BARATYNSKY

It's close, the date is near,

I will see you, my friend!

Say: with the delight of anticipation

Why doesn't my chest tremble?

It’s not for me to grumble, but days of sadness,

Perhaps it's too late:

With longing I look at joy, -

Her radiance is not for me,

And my hope is in vain

I wake up in my sick soul.

Fate's caressing smile

I don't quite enjoy it:

Everything is imaginary, I’m happy with the mistake,

And fun doesn't suit me. (1820)

A poem in an elegiac tone, typical of a romantic poet. This poem was born from the poet’s desire to peer as closely as possible into the inner world of a person, into the subtlest shades and movements of his feelings and thoughts. This is a psychological and philosophical elegy in which the poet seeks to recreate the character young man of his time, tired of life, disappointed. He is a skeptic and an individualist. Why, in the joyful moment of waiting for a date, is the lyrical hero sad, why does “fun not suit him”? His soul has grown cold, it is sick with “Byronian disappointment.”

Pushkin’s famous statement about Baratynsky is known: “He is original with us because he thinks.” The last “shock” lines of the poem appear as a phenomenon of aphoristic thought. It seems that the poet had a spectacular ending first, and for the sake of the thought expressed in it, everything that preceded it was composed. This is a formula line that captures general state human soul.

Swimmer. NIKOLAY YAZYKOV

Our sea is unsociable.

Day and night it makes noise;

In its fatal expanse

A lot of troubles are buried.

Bravely, brothers! Full of wind,

I set my sail:

Will fly on the slippery waves

Swift-winged rook!

Clouds are flying over the sea,

The wind grows stronger, the swell becomes blacker, -

There will be a storm: we will argue

And let's be brave with her.

Bravely, brothers! A cloud will burst

The mass of waters 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 you there

Only the brave soul!..

Bravely, brothers, full of storms,

My sail is straight and strong. (1829)

“What an excess of strength, what a youthful exuberance!” - this is what Pushkin said about this poem. “He was born not for elegies..., but for dithyrambs and hymns,” Gogol said about the poet. And indeed, in the poem the poet is open, impetuous and simple-minded. It is filled with light, daring strength, spontaneity. It fascinates with its pressure, temperament and extreme glibness of words.

Everything that evokes courage in a young man - the sea, waves, storm, firm faith in the future - is expressed in the poem with unnatural force. In it one can clearly hear the poet’s deep inner conviction that, fortunately, “the waves endure only those who are strong in soul.” This courageous swimmer, searching for the storm and the blissful country hidden behind it, is, of course, a symbol of the life of Yazykov himself. At the same time, this is a universally significant artistic image, so this poem has long become a favorite folk song, although many fans of the song “Our Sea is Unsociable” do not know that they are singing the words of a language poem.

In a sense, “Swimmer” also became a revolutionary anthem, expressing the freedom-loving sentiments of the advanced noble youth of the Decembrist era. The ideas of freedom and struggle were in the air then, and the young romantic poet perceived them directly, emotionally.

All of Yazykov’s poetry is a romantic impulse, a strong, direct movement of feelings.

Russian song. ANTON DELVIG

What, young beauty, haven’t evil people heard

Why are you crying, sweetie? Our conversations?

What about the little head, sighing, Didn’t evil people ask

Are you leaning toward a white hand? With my own father;

Either with a word or with a glance, didn’t the companions ask

Did I offend you? For your dear one:

Or an immodest conversation: “Whose ring is on her hand?

Did you put on paint in front of people? Whose ribbon is in the bandage?

No, there lies a different melancholy Ribbon, colored ribbon,

On your heart! With gold border;

No, another twisted ring with niello painted,

You put it into thought! With a pure emerald?

You don't want, you don't want

Well done, open up

You're afraid of my dear friend, don't be tormented, reveal the reason

Command the secret! Your burning tears!

Pour it into my heart

All the sadness and sadness,

Pour over the melancholy

Sweet kiss:

The two of us are sad and sad

Let's explain it easier. (1823)

Half German, Delvig amazingly correctly guessed the structure and spirit of Russian folk song. His song very subtly and accurately reproduces folk poetics and living folk language. The poem contains many constant epithets characteristic of folk poetry: “white hand”, “dear friend”, “burning tears” - repetitions: “anguish-sorrow”. Before the reader are again beloved folklore heroes: a beautiful maiden and her lover, who hide their feelings from strangers. The simplicity and melodiousness of the poem is amazing. It was set, like many other poems by the poet, to music by M. I. Glinka, V. Volkov, V. T. Sokolov.

Forests. PETER VYAZEMSKY:

Do you want to explore your thoughts in your soul,

Which have neither images nor words, -

Where gloomy darkness thickens all around,

Listen to the silence of the forests;

There are noises running through the silence,

I listened to them, listened to them,

I trembled as if before the face of a shrine,

I was full of consonances, but silent ones,

And from the chest, like a prisoner from a stronghold,

I seethed in vain, my verse burst in vain. (1830)

Why is the author attracted to “gloomy darkness”? Let's listen with him to the silence and look closer at the darkness. “Noises run across the silence...”, and voices are heard behind the noise. From darkness to sound, from noise to voice - this is the path to spiritual harmony. The poet ends the poem with a complaint about the impossibility of creating a perfect work. The final lines, of course, speak of the modesty of Vyazemsky, who was already a well-known poet in the 20s of the 19th century, and he had no reason for creative uncertainty. But with the last line, the author seems to remind the reader that his talent is only God’s gift, and the created poems are God’s mercy.