Mandelstam. Artistic features of the lyrics O
To the talented poet O.E. It fell to Mandelstam to live and create in a harsh time. He witnessed the revolution of 1917, during the reign of Lenin and Stalin. Everything he saw and felt he “splashed” into his poems. That is why the work of this poet is so tragic, filled with fear, excitement, pain for the fate of the country and for his own destiny.
It is known that Stalin did not like this poet very much, because Mandelstam openly expressed his attitude to everything that was happening in the country and to the leader, in particular. An example of this is a satirical pamphlet on the ruler. After reading it, many said that this act was suicide on the part of the poet. And Mandelstam was well aware of this, but he was ready for death.
The lyrical hero of the poem “We live without feeling the country under us ...” acts as a brave citizen, standing up for the defense of his country and his people. He dares to openly say what everyone knows, but about which they are silent:
We live, not feeling the country under us,
Our speeches are not heard for ten steps,
And where is enough for half a conversation,
They will remember the Kremlin mountaineer there.
The hero laughs bitterly and even to some extent mocks the main face of the poem. In the eyes of the lyrical hero, Stalin turns into some kind of mythical monster: “thick fingers like worms”; "The cockroach's eyes are laughing And its tops are shining." He is not a man, but some kind of monstrous animal: "He is the only one who babaches and pokes."
No less terrible is the description of the actions of this monster:
Like a horseshoe, gives a decree for a decree -
Who in the groin, who in the forehead, who in the eyebrow, who in the eye.
Whatever the execution he has is raspberries ...
The courage of the lyrical hero of this poem can only be admired. Stalin "became interested" in Mandelstam, the poet was arrested. But the leader did not order the poet to be shot immediately. It would be too easy. He exiled Mandelstam to Voronezh.
Living in this city, the poet existed, as it were, on the verge of two worlds, always in anticipation of execution. It was in Voronezh that Mandelstam wrote the poem "Among the people's noise and haste ..." Here the intonations of the lyrical hero change. He feels guilty before the leader for everything that was created by him before. Now the lyrical hero evaluates the “leader of all peoples” differently. His “fatherly” look both “caresses and drills”. The hero feels that Stalin is scolding him for all his “mistakes”. But, in my opinion, all these feelings of the hero are far-fetched and insincere. This poem was written under pressure from Stalin, as was the next one, Ode (1937).
The title of this piece speaks for itself. It is dedicated to the chanting of the merits of Joseph Vissarionovich Stalin-Dzhugashvili. The poem focuses on Dzhugashvili. The poet emphasizes that, first of all, he describes not a leader, but a person. The hero calls him "father". He allegedly feels reverence for Stalin:
And I want to thank the hills
That this bone and this hand were developed:
He was born in the mountains and knew the bitterness of prisons.
I want to call him - not Stalin - Dzhugashvili!
Lyrical refers to the artists - his brethren. He calls on the creators to work for the good of the country, that is, for the good of the “father”. After all, this person is completely, with all thoughts and feelings, with his “children”, his people. “Artist, help the one who is all with you, Who thinks, feels and builds,” the poet calls.
The portrait of Stalin in this poem is written in the tradition of an ode. According to the hero, this is an epic hero who gave himself entirely to the cause of the people. Stalin has powerful eyes, a thick eyebrow, and a firm mouth. Dzhugashvili is a role model, according to Mandelstam. He must learn from him to give himself to others, without thinking about himself and without pitying himself.
The lyrical hero is aware of his restlessness in Soviet country, his guilt before her for scolding the once great Stalin. But the hero is always in front of his eyes - this image: "On a wonderful square with happy eyes."
But behind these pathos and lofty lines one can see the tragedy of a man driven into a corner. Behind each tortured line one sees a lyrical hero, frightened to death, who does not know what to do and how to live. That is why Mandelstam's poems dedicated to Stalin are the most effective documents against the Stalinist regime and the "father of peoples."
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Bibliographic description of the article for citation:
Davydova T. T. Lyrical hero in the poetry of O.E. Mandelstam in the 1930s // Scientific and methodical electronic journal"Concept". - 2014. - T. 20. - S. 2531–2535..htm.
Annotation. The article examines the image of the lyrical hero O. E. Mandelstam in the 1930s. and the characters of his works (the cycle "Armenia", poems on the death of A. Bely and from Voronezh notebooks), the genetic links of the poet's lyrics with the prose of E.-T.-A. Hoffmann, A. Koltsov's poetry and Russian folklore. The analysis is also carried out at the levels of motives, poetic imagery, style, artistic speech. Different editions of Mandelstam's poetic texts are compared.
Article text
Davydova Tatyana Timofeevnadoctor philological sciences, Professor of the Department of the History of Literature, FSBEI HPE "Moscow State University seal named after I. Fedorov, Moscow [email protected]
Lyrical hero in the poetry of O.E. Mandelstam in the 1930s
Annotation. The article examines the image of the lyrical hero O.E. Mandelstam in the 1930s and the characters of his works (the cycle "Armenia", poems on the death of A. Bely and from Voronezh notebooks), the genetic links of the poet's lyrics with the prose of E.T.A. Hoffmann, the poetry of A. Koltsov and Russian folklore are traced. The analysis is also carried out at the levels of motives, poetic imagery, style, artistic speech. Different editions of Mandelstam's poetic texts are compared. Key words: lyrical hero, Mandelstam, Russian poetry of the 1930s.
Section: (04) philology; art history; cultural studies
As shown by L.Ya.Ginzburg, 1930s. in creative development Mandelstam are characterized by the poet's new relationship with reality. Mandelstam's desire to invade "the thickness of time" is expressed in his poems, notebooks, and reviews of this period. It also gives rise to new themes of his works, socio-historical analysis modern life, variety artistic means. In Mandelstam's lyrics of the 1930s, along with symbolism and associativity, new images and tropes appear for him, genetically related to the tradition of Russian folklore, which the poet creatively assimilates. Dictionary of Mandelstam, in the 1910s. who had a reputation as a Hellenist, is enriched by colloquial and colloquial vocabulary. And this is by no means accidental, since now, according to L. Ginzburg, for Mandelstam, fate becomes a measure of values. modern man. At the same time, in the later works of the poet, the image of a lyrical hero, which is largely autobiographical, comes to the fore. According to the accurate observation of G. Kubatyan, “The “I” of Mandelstam’s poems is identified with Osip Emilievich, and the gaps between the poetic “I” of the 1930s and the “I” of the poet are not visible.” The components of this autobiography are the complex vicissitudes of Mandelstam's fate and his perception of the destructive upheavals of the Soviet era.
The lyrical hero plays a significant role in "Armenia", being present in seven of the twelve poems of the poetic cycle. The moods and emotions of the lyrical hero in these works are extremely diverse - from falling in love with the history, culture, nature of Armenia, its inhabitants to disturbing forebodings, longing.
“The lyrical theme in “Armenia” manifests itself in waves: it either rolls up, or it subsides, leaving the surface,” we read from a modern researcher. The lyrical presence is revealed in this cycle both through the personality of the hero, and allegorically through the image of a flower, which was first encountered by Mandelstam in the 1909 poem “Given me a body - what should I do with it ...”:
I am the gardener, I am the flower,
In the darkness of the world, I am not alone.
On the glass of eternity has already fallen
My breath, my warmth, -
and endowed with a multi-valued symbolism. At the same time, in the poetic cycle "Armenia", the generalized image of "flower" is replaced by a specific one - "rose", "a universal symbol of beauty", associated in Mandelstam's mind with the symbolism of oriental poetry. In the first poem of this cycle, the line “You are swaying the rose of Hafiz”, which the Armenian researcher comments on as follows: “Here, however, is a strange thing. It's not just a rose. But the rose of Hafiz. Undertaking to affirm the spiritual independence of Armenia, Mandelstam begins with the fact that the country he writes about preserves and carries in itself someone else's beauty. Hafiz is an Iranian poet, his rose is fragrant with the aroma of a different culture. But it's all right. Christian literature, nurtured in the cradle of Mediterranean traditions, has long been influenced by Persian poetry. Well, the Persian lyrics in Russia were symbolized by Gafiz and Saadi. If in the first poem of “Armenia” the “rose of Hafiz” is an oriental image perceived by Armenian poetry, then in other texts of this cycle the rose is a permanent part of the landscape of the Transcaucasian republic, and all these are different facets of the image of the symbol of the rose.
From its different semantic components grows the meaning of the fifth poem of the cycle, called by G. Kubatyan "a strange study", "a gardener's study":
Let's get a rose without scissors.
But see that it does not crumble immediately -
Pink trash - muslin - solomon petal.
The image of a rose here is an allegory for the fragile, easily vulnerable soul of a lyrical hero. Other meanings of this symbol become more obvious from the semantic roll-call of the first and last lines of the eighth poem from the “Armenia” cycle: “It is cold for a rose in the snow” and “I am cold. I'm glad ... ”, conveying tenderness, vulnerability and at the same time falling in love with the life of a lyrical hero. The lyrical “I”, captured in the cycle “Armenia”, is further developed in other poems of the poet of the 1930s. with the help of doubles, literary and folklore characters that highlight different facets of the character of Mandelstam's hero, who exists in his own historical and cultural space and has his own "bundle" of meanings. Mandelstam, like A.A. Blok once, whose work the author of "Stone" and "Tristia", despite the denial of the aesthetics of the symbolists, highly appreciated, refers to eternal, erased images. (Yu.N. Tynyanov wrote about Blok in an article of 1921: he “prefers traditional, even obliterated images (walking truths), as they store the old emotionality; slightly renewed, it is stronger and deeper than the emotionality of the new image, for novelty distracts from emotionality towards objectivity”). For Mandelstam, such images are literary and folklore characters, well known to readers and therefore giving rise to instant associations in them. The fate of the lyrical hero of Mandelstam is involuntarily projected onto the circumstances of the life of his double, and in the image of the lyrical hero certain properties of the personality of this double are accentuated depending on the poetic context. One of these doubles is Hoffmann's Nutcracker.
His image is born in the subtext of the third poem "Armenia":
Ah, Erivan, Erivan! Not a city - a hardened nut,
Your large mouthed streets are crooked, I love Babylon
and is mentioned in the text of the poem “Where are you and I so scared”, written in October 1930, at the same time as the “Armenia” cycle - the poet worked on it from October 16 to November 5. In this poem, the Nutcracker becomes the comrade of the lyrical hero, keeping individual characteristics character of E.T.A. Hoffmann's fairy tale "The Nutcracker and the Mouse King" - external disgrace and such character traits as courage, nobility, willingness to go the hard way in life. The Nutcracker's ability to crack open even the hardest nuts becomes a metaphorical characteristic of the poet's own style, revealing his ability to get to the essence, or "core" of the concept. Semantically close to this hermeneutical interpretation is the following metaphor in Mandelstam's article "On the Nature of the Word": "every word in Dahl's dictionary is a nut of the acropolis, a small Kremlin, a winged fortress of nominalism...".
In the image of Hoffmann's character in Mandelstam's poem there are also features that appeared on Russian soil. The poet puts on the hero literary fairy tale the mask of a folklore fool - an ironic lucky man who hides his true thoughts and intentions behind outward ugliness and funny antics.
In the verses of Mandelstam 1933-1934. The “fool” becomes a double not of the double of the lyrical hero, as it was in the poem “Where is it scary for you and me ...”, but of the lyrical hero himself and the main character of the poems on the death of Andrei Bely. In the poem “The Apartment is as Quiet as Paper...”, written shortly after Mandelstam received an apartment in Moscow, in Nashchokinsky Lane, the lyrical hero is tormented by a premonition of tragic changes in his life:
And the damn walls are thin,
And nowhere else to run
And I'm like a fool on a comb
Someone has to play.
In the poem "Blue eyes and a hot frontal bone ...", written on the death of A. Bely, the following lines are noteworthy:
Gatherer of space, passing exams chick,
Writer, goldfinch, student, student, bell ...
N.I. Khardzhiev connects the image of the holy fool from the first two lines with the final poem of the cycle of A. Bely "Eternal Call" (1903), the hero of which is a madman:
Full of joyful anguish,
Silent fool.
Quietly falls to the floor from the hands
Crazy cap/
We can also recall the poems composed by Senator Ableukhov for his son Kolenka:
Fool, fool
Kolenka dances:
He put on a cap
Rides on a horse.
However, the semantics of foolish foolishness in A. Bely's memory poems is wider than these reminiscences, and this semantics can be understood only with the help of the metatext of Mandelstam's poetry of the 1930s, where there is a tragically ironic image of a fool.
In the poem "The apartment is quiet as paper..." the image of the lyrical hero and his double is opposed by their antipode "honest traitor", "boiled in cleanings like salt". These images are revealed both in the life-like and folklore-conditional planes. The first artistic plan is associated with such signs of modernity, the 1930s, as the purges and studies of many Soviet citizens, the opportunism of some and the uncompromisingness of others. The second artistic plan is a projection of modernity onto eternity, eternal folklore images become twins of the lyrical hero Mandelstam and the antagonist of this hero. Comparison of a lyrical hero with a fool refers the reader to Russian folk tales about an ironic lucky man who, in order to achieve success in life, pretends to be a fool, fulfills the wishes of others, and so on. The metaphor based on the purges and referring to the traitor is reminiscent of the situation from folk tale-stay in a boiling cauldron, serving as a test of the magical properties of the characters. On the appeal of Mandelstam in the 1930s. folklore poetics is also evidenced by the image of the demonic “six-fingered untruth”, which evokes associations with Baba Yaga and the witch, from the 1931 poem “Untruth”.
In the poem in memory of A. Bely, the image of the folklore fool as an allegorical parallel to the image of the hero of the protagonist deepens. Humiliating for A. Bely "fool's cap" partly loses its inherent negative meaning due to a special lexical and figurative context:
They put a tiara on you - a fool's cap,
Turquoise teacher, tormentor, ruler, fool!
These are nouns denoting the ruler and his attributes - “tiara”, “teacher”, “tormentor”, “ruler”. True, the "tiara" acquires a dual meaning - ironic, since this sign royal power it turns out to be a "fool's cap", and serious, solemn, supported by the following nouns in the second line, denoting the power of the spiritual ruler over people. Thus, the poet's dramatic relationship with society is revealed, encrypted in Mandelstam's poem and through the relationship of the folkloric ironic lucky man or holy fool with a society that dishonors, humiliates him and at the same time submits to the power of his wise words.
Another facet of the image of A. Bely is closely connected with the semantics of the cap of the fool put on the poet by people:
Skater and first-born, persecuted by vzashey
Under the frosty dust of newly formed cases.
This facet enhances the picture of the poet's dramatic relationship with the age and contemporaries. As L. Ginzburg noted, “refined metaphors that reveal these relationships are made up of the material of everyday words - exams, cases, a skater driven by you, etc. . “Re-formed cases” is Bely's word creation. And since he is a skater, then frosty dust comes from cases. And the line: “An icy connection is born between you and the country”-corresponds to the line quoted above, where a portrait of A. Bely is drawn - the “tormentor”, “teacher”, “ruler” of the thoughts of his readers. These properties of the poet are reinforced by the images of his doubles Lermontov, Gogol and Mandelstam himself, present in the subtext of the poems in memory of A. Bely.
And above us is free
Lermontov, our tormentor,
And always sick with shortness of breath
Feta fat pencil, -
The poet wrote in 1932 (“Give Tyutchev a dragon…”). That this poem became the pretext of poems on the death of A. Bely, the image of a bold pencil, transferred with slight grammatical changes to a later work, also testifies:
Like dragonflies sit down, not smelling water, into reeds,
Greasy pencils flew over the dead.
In a rough draft of poems in memory of A. Bely, there was a comparison of this poet with Gogol, in to a large extent influenced Belogoprosaik:
Where did they bring it from? Whom? Who died?
Where? I don't know something...
Here, they say, some kind of Gogol died?
Not Gogol. So-so. Writer. Gogolek.
It is noteworthy that this comparison remained in the final edition, but in it it is given not directly, but as a hint, with the help of metaphorical occasionalism:
Like a snowball in Moscow made a mess of a gogolek, -
Incomprehensible, incomprehensible, confused, easy ....
However, in the white paper it is not entirely clear what or who in question- about flying snow or a writer who destroys the canons accepted in Russian literature, and the meaning becomes clear only after reading the sketches for poems about A. Bely. Finally, the “collector of space”, one of the properties of A. Bely, the artist of the word, was also inherent in Mandelstam, in whose cultural philosophy and creativity the ideas of architecture and architectonics, overcoming chaos, emptiness, that is, “gathering space” were of fundamental importance.
To understand the concept of the poet depicted in the analyzed verses, the concept of the style of A. Bely, presented by Mandelstam, is also important, which is contradictory in a modernist way: “Incomprehensible, incomprehensible, confused, easy ...”.
So, in Mandelstam's poem "Blue eyes and a hot frontal bone ..." the image of the poet is romantic: he is not understood by society and rejected by it, but still he is a genius, people need. The image of Andrei Bely summarizes the circumstances of the life and work of various Russian poets, as well as the ups and downs of the fate of the author of the work. It is no coincidence that S.S. Averintsev rated this work as “a magnificent poetic requiem for Andrei Bely himself, and for the era gone with him, and for the lost, destroyed culture, and, implicitly, for himself.”
No matter how hard it was for Mandelstam in Voronezh in 1934-1937, he was captured by new impressions from provincial, primordially Russian life. Most likely, this explains the poet's increased interest in Russian folk art during this period, the "expansion" in his poems of these years of figurative and expressive means of Russian folklore. E. Gershtein has already noted the folklorism of the poems “Buds stick with a sticky oath ...” and “On the slopes, the Volga, gush, Volga, gush ...”. literary traditions. For example, the system of twin heroes in Mandelstam's lyrics goes back to literary duplicity and resembles the psychological parallelism of works of oral folk poetry.
According to the principle of negative psychological parallelism, the famous “My goldfinch, I will throw my head ...” was created, where the lyrical hero is implicitly compared with the bird with his qualities and habits, in particular, Mandelstam’s inherent self-esteem, outwardly expressed in the habit of holding his head high. At the same time, a poet who is not free, who is in exile, is opposed to a free bird, which can fly in any direction at any moment. The image of the goldfinch, the zoomorphic counterpart of the lyrical hero, is revealed by other facets in the poem "This area is in dark waters ..." (edited poem "Night. Road. Primary dream ..."), written, like the previous text, in December 1936.
This work is dominated by natural images of “Tambov full of snow”, “white white cover of Tsna”, “winterless steppe”, “sleet”, united by the seme of cold. Despite this, in the first part of the poem, the love of the lyrical hero for the Voronezh land is expressed, admiring the luxury of the Russian winter:
This area is in dark water:
An abyss of bread, a bucket of thunder
Not a nobility
Ocean core...
I love her drawing
He looks like Africa.
Give light to transparent holes
You can't count on plywood.
Anna, Rossosh and Gremyache,
I repeat their names.
Eider white snow
From the carriage window.
I circled in the fields of state farms
The mouth was full of air
Formidable sunflower suns
Directly in the eyes of a turn.
I entered at night in a mitten,
Snowy Tambov,
I saw Tsna river ordinary
White, white, white coat.
Workday of a familiar country
I remember forever:
Vorobiev district committee
I will never forget!
By the way, the comparison of the cartographic image of the Voronezh region with Africa reminds (here a kind of secret writing is used) of N. Gumilyov, in whose poetry the African theme is widely represented, and the toponym "Anna", due to its inherent polysemy, calls the poet's friend Anna Andreevna Akhmatova, who visited Mandelstam in link. In a stanza
Where I am? What's wrong with me?
Steppe winterless goal...
This is Koltsov's stepmother...
You're kidding motherland carduelis!
The mood of the lyrical hero changes, in whose mind fear, bad forebodings, compassion for the fate of one of his predecessors arise. Like the goldfinch from the poems on the death of A. Bely, the goldfinch in this text is a metaphorical image of the poet, this time A. Koltsov, and the folklore poetics associated with his work. It is interesting that the lyrical hero of this poem turns out to be no longer a double of a bird, but of Koltsov, who is close to her, while the zoomorphic double of Mandelstam's lyrical hero, the goldfinch, having existed for a short time in the text of this work, as if "descends into its subtext." In accordance with the pathos expressed in these lines, the lyrical hero and his double poet are drawn against the dreary landscape background of the “winterless steppe”, and the image of provincial Russia, which gave Koltsov to Russian culture, is semantically contradictory, since it combines hatred for the stepmother’s stepson, reinforced by the semes of cold and lack of cover (in the text there is the meaning of the snow layer on the ground, and in the subtext - tender patronage, parental love), and the positive meaning of the motherland that nurtured the talented poet. So the lyrical hero joins the sad fate of Alexei Koltsov and, as it were, prophesies a no less bitter fate for himself. By the way, the image of a bird is also present in an earlier poem from the Voronezh Notebooks, dated April 1935:
Let me go, give me back, Voronezh:
Will you drop me or will you miss me,
Will you drop me or bring me back
Voronezh whim, Voronezh raven, knife...
Only here is another bird of prey, a raven associated with death (crows feed, in particular, on carrion), threatening lyrical hero and in no way being his counterpart.
Lyrical hero of Mandelstam 1930s. finds moral support in the nature and life of Russian provincial Voronezh, Russian oral poetry, professional art. Moreover, if for Mandelstam's lyrics of 1910–1920s. architecture was of paramount importance, which was already noted by V.M. Zhirmunsky in a review of "Tristia", then in the works of Mandelstam recent years music and literature become especially significant in his life. And the idea of construction continues to exist in the poet's work, passing from the material world into inner world lyrical hero.
Love for music, a keen sense of the sounding flesh of the language were inherent in Mandelstam [see: 13, p.220]. The same features are endowed with his lyrical hero. The author's passions for music and the word are revealed in the poems "Azure and clay, clay and azure ...", "Alexander Gertsevich lived ...", "For Paganini with long fingers ...". In the second of the above works, an additional musical effect is given by the monorhyme of the character’s repeated patronymic (“Once upon a time, Alexander Gertsovich ...”, “What, Alexander Gertsovich ...”) and the author’s occasionalisms formed on its basis (“Drop it, Alexander Serdtovich ...”, “Everything, Alexander Gertsovich ... "," Drop it, Alexander Skertsovich ... "), a monorhyme reminiscent of musical variations, which are invaded by dramatic chords:
Us with blue music
Not afraid to die
There, even with a crow's coat
Hang on a hanger...
Everything, Alexander Gertsovich,
Completed long time ago
Come on, Alexander Skertsovich,
What is there! Does not matter!
These poems affirm the idea of the saving power of art, which for some time overcomes in the soul of the lyrical horror of the power of a totalitarian state.
So, in creating the image of a lyrical hero in Mandelstam's late poetry, a significant role is played by his literary and folklore counterparts A. Bely, A. Koltsov, the musician, Hoffmann's nutcracker, and the dandy bell. Some of these heroes are able to get to the essence of the phenomena of life, expose its innermost meaning, freeing it from the outer shell, in any circumstances they behave courageously (the nutcracker) and maintain inner independence (the fool). Others associated with art create beauty, give joy to those who come into contact with their work (Bely, Lermontov, Koltsov, musicians). All these properties are integrated in the multifaceted image of the lyrical hero of Mandelstam's poetry in the 1930s. This image is closely connected with modernity - the personality and circumstances of the life of the "disgraced poet" (A. Akhmatov), which largely explains the fullness of the lyrical hero Mandelstam. At the levels of poetics, this image is created in the traditions of Russian folklore, Russian and Western European literature, which is joined by a certain common Eastern poetic tradition that helps to capture the festive and life-affirming image of Armenia. With love for Armenia, as well as for the word, music and Voronezh land, the lyrical hero of Mandelstam tried to protect himself from the horror and absurdity of the Soviet 1930s, from the gradually more and more acute foreboding of imminent death.
Links to sources 1.Ginzburg L.Ya.About lyrics. M., 1997.2. Kubatyan G. From word to word: commentary on O. Mandelstam's cycle "Armenia" // Vopr. lit. 2005. No. 5. 3. Mandelstam O.E. Full coll. op. and letters: in 3 vols. M.: ProgressPleyada, 2009. Vol.1. Poems.4. Tynyanov Yu.N. Blok // Tynyanov Yu.N. Archaists and innovators. L., 1929. 5. Mandelstam O.E. Full coll. op. and letters: in 3 vols. M.: ProgressPleyada, 2010. Vol. 2. Prose. 6. Khardzhiev N.I. Notes // Mandelstam O.E. Poems. L., 1974.7. Bely A. Sobr. op. Poems and poems. M.: Respublika, 1994.8. Bely A. Sobr. op. Petersburg. M.: Respublika, 1994. 9. Ginzburg L.Ya. Poetics of Osip Mandelstam // Ginzburg L.Ya. About old and new. L., 1982. 10.
Averintsev S.S. The fate and message of Osip Mandelstam // Mandelstam O.E. Works: in 2 volumes / comp. S.Averintsev, P.Nerler. M.: Artist. lit., 1990. V.1: Poems, translations. 11. Gershtein E. [Introduction] to: Mandelstam O.E. lit. 1980. No. 12.12. Zhirmunsky V.M. On the way to classicism (O. Mandelstam - “Tristia”) // Zhirmunsky V.M. Theory of literature. Poetics. Stylistics. L., 1977.13. See. about this: Shtempel N.E. Mandelstam in Voronezh // New world. 1987. No. 10. P.220.
Davydova Tatyana Timofeevna, doctor of philological sciences, professor of History of Literature Department, I. Fyodorov's Moscow State University of Printing [email protected] lyrical hero O.Mandelstam lyrics poetry of the 1930thAbstract. The image of lyricalhero and images of characters O.Mandelstam lyrics poetry of the 1930th (cycle “Armenia”, rhymes dedicated to A.Belyi death and from “Voronezh notebooks) are investigated in the article”. Genetic literary liaisons between his lyrical poetry and Hoffman‱s prose, A.Koltsov verses, Russian folklore are investigated. The analysis is carried out at the levels of motifs, figurativeness, style, artistic speech. Various redactions of O.Mandelstam poetic texts are compared. Keywords: lyrical hero, Mandelstam, Russian poetry of the 1930th.
The writing
To the talented poet O.E. It fell to Mandelstam to live and create in a harsh time. He witnessed the revolution of 1917, during the reign of Lenin and Stalin. Everything seen and felt by Mandelstam "splashed out" in his poems. That is why the work of this poet is so tragic, filled with fear, excitement, pain for the fate of the country and for his own destiny.
It is known that Stalin did not like this poet very much, because Mandelstam openly expressed his attitude to everything that was happening in the country and to the leader, in particular. An example of this is a satirical pamphlet on the ruler. After reading it, many said that this act was suicide on the part of the poet. And Mandelstam was well aware of this, but he was ready for death.
The lyrical hero of the poem “We live without feeling the country under us ...” acts as a brave citizen, standing up for the defense of his country and his people. He dares to openly say what everyone knows, but about which they are silent:
We live, not feeling the country under us,
Our speeches are not heard for ten steps,
And where is enough for half a conversation,
They will remember the Kremlin mountaineer there.
The hero laughs bitterly and even to some extent mocks the main face of the poem. In the eyes of the lyrical hero, Stalin turns into some kind of mythical monster: “thick fingers like worms”; "The cockroach's eyes are laughing And its tops are shining." He is not a man, but some kind of monstrous animal: "He is the only one who babaches and pokes."
No less terrible is the description of the actions of this monster:
Like a horseshoe, gives a decree for a decree -
Who in the groin, who in the forehead, who in the eyebrow, who in the eye.
Whatever his punishment is raspberries ...
The courage of the lyrical hero of this poem can only be admired. Stalin "became interested" in Mandelstam, the poet was arrested. But the leader did not order the poet to be shot immediately. It would be too easy. He exiled Mandelstam to Voronezh.
Living in this city, the poet existed, as it were, on the verge of two worlds, always in anticipation of execution. It was in Voronezh that Mandelstam wrote the poem "Among the people's noise and haste ..." Here the intonations of the lyrical hero change. He feels guilty before the leader for everything that was created by him before. Now the lyrical hero evaluates the “leader of all peoples” differently. His “fatherly” look both “caresses and drills”. The hero feels that Stalin is scolding him for all his “mistakes”. But, in my opinion, all these feelings of the hero are far-fetched and insincere. This poem was written under pressure from Stalin, as was the next one, Ode (1937).
The title of this piece speaks for itself. It is dedicated to the chanting of the merits of Joseph Vissarionovich Stalin-Dzhugashvili. The poem focuses on Dzhugashvili. The poet emphasizes that, first of all, he describes not a leader, but a person. The hero calls him "father". He allegedly feels reverence for Stalin:
And I want to thank the hills
That this bone and this hand were developed:
He was born in the mountains and knew the bitterness of prisons.
I want to call him - not Stalin - Dzhugashvili!
Lyrical refers to the artists - his brethren. He calls on the creators to work for the good of the country, that is, for the good of the “father”. After all, this person is completely, with all thoughts and feelings, with his “children”, his people. “Artist, help the one who is all with you, Who thinks, feels and builds,” the poet calls.
The portrait of Stalin in this poem is written in the tradition of an ode. According to the hero, this is an epic hero who gave himself entirely to the cause of the people. Stalin has powerful eyes, a thick eyebrow, and a firm mouth. Dzhugashvili is a role model, according to Mandelstam. He must learn from him to give himself to others, without thinking about himself and without pitying himself.
The lyrical hero is aware of his restlessness in the Soviet country, his guilt before her for scolding the once great Stalin. But the hero is always in front of his eyes - this image: "On a wonderful square with happy eyes."
But behind these pathos and lofty lines one can see the tragedy of a man driven into a corner. Behind each tortured line one sees a lyrical hero, frightened to death, who does not know what to do and how to live. That is why Mandelstam's poems dedicated to Stalin are the most effective documents against the Stalinist regime and the "father of peoples."
Indicate all the numbers in the place of which HN is written.
Subsequently, I found in the pantry some unusual (1) manuscripts, bound (2) in volumes and writing (3) in Latin.
Explanation (see also Rule below).
Here is the correct spelling.
Subsequently, I found in the pantry some unusual manuscripts, bound in volumes and written in Latin.
unusual - adjective, traditional spelling
intertwined-communion owls. view;
written (how? with what?) - par. with dependent word.
Answer: 123
Answer: 123
Relevance: Used since 2015
Difficulty: advanced
Rule: Task 15. Writing H and HH in words different parts speeches
SPELLING -Н-/-НН- IN VARIOUS PARTS OF SPEECH.
Traditionally, it is the most difficult topic for students, since a reasonable spelling of Н or НН is possible only with knowledge of morphological and word-formation laws. The "Reference" material summarizes and systematizes all the rules of the topic H and HH from school textbooks and gives additional information from V.V. Lopatin and D.E. Rosenthal to the extent that is necessary to complete the tasks of the exam.
14.1 Н and НН in denominative adjectives (formed from nouns).
14.1.1 Two NNs in suffixes
The suffixes of adjectives are written HH, if:
1) the adjective is formed from a noun with a base on H using the suffix H: fogH + H → foggy; pocket+n → pocket, carton+n → carton
ancient (from old+N), picturesque (from picture+N), deep (from depth+N), outlandish (from outlandish+N), remarkable (from a dozen+N), true (from truth+N), corvée ( from barshchina + N), communal (from community + N), long (from length + N)
note: the word "weird" in terms of modern language does not contain the suffix H and is not related to the word "country". But it is possible to explain HH historically: a person from a foreign country was considered a dissident, a stranger, an outsider.
The spelling of the word "genuine" can also be explained etymologically: genuine in Ancient Russia called the truth that the defendant spoke "under the longs" - special long sticks or whips.
2) the adjective is formed on behalf of the noun by adding the suffix -ENN-, -ONN: cranberry (cranberry), revolutionary (revolution), solemn (triumph).
Exception: windy (but: windless).
Note:
There are adjective words in which H is part of the root. These words must be remembered. They were not formed from nouns:
crimson, green, spicy, drunken, swine, red, ruddy, youthful.
14.1.2. The suffixes of adjectives are written N
The suffixes of adjectives are written N, if:
1) the adjective has the suffix -IN- ( dove, mouse, nightingale, tiger). Words with this suffix often have the meaning of "whose": dove, mouse, nightingale, tiger.
2) the adjective has the suffixes -AN-, -YAN- ( sandy, leathery, oatmeal, earthy). Words with this suffix often mean "made of what": sand, leather, oats, earth.
Exceptions: glass, pewter, wood.
14.2. Н and НН in the suffixes of words formed from verbs. Complete forms.
As you know, both participles and adjectives (= verbal adjectives) can be formed from verbs. The rules for writing H and HH in these words are different.
14.2.1 HH in suffixes of full participles and verbal adjectives
In the suffixes of full participles and verbal adjectives, HH is written if AT LEAST ONE of the conditions is met:
1) the word is formed from the verb perfect look, WITH OR WITHOUT A PREFACE, for example:
from the verbs to buy, redeem (what to do?, perfect form): bought, redeemed;
from verbs to throw, to throw (what to do?, perfect form): abandoned-abandoned.
The prefix NOT does not change the form of the participle and does not affect the spelling of the suffix. Any other prefix makes the word perfect.
2) the word has suffixes -OVA-, -EVA- even in imperfective words ( pickled, paved, automated).
3) with a word formed from a verb, there is a dependent word, that is, it forms a participle turnover, for example: ice cream in the refrigerator, boiled in broth).
NOTE: In cases where the full participle turns into an adjective in a specific sentence, the spelling does not change. For example: Excited With this message, the father spoke loudly and did not hold back his emotions. The highlighted word is participle in participial turnover, excited how? this message. Change the sentence: His face was excited, and there is no longer communion, there is no turnover, because the person cannot be “excited”, and this is an adjective. In such cases, they talk about the transition of participles into adjectives, but this fact does not affect the spelling of NN.
More examples: The girl was very organized and educated. Both words here are adjectives. The girl was not "educated", and she has always been educated, this permanent signs. Let's change the sentences: We were in a hurry to a meeting organized by partners. Mom, brought up in severity, and raised us just as strictly. And now the highlighted words are participles.
In such cases, in the explanation to the task, we write: participle adjective or adjective passed from the participle.
Exceptions: unexpected, unexpected, unseen, unheard of, unexpected, slow, desperate, sacred, desired..
note to the fact that from a number of exceptions the words counted (minutes), done (indifference). These words are written according to the general rule.
Add more words here:
forged, pecked, chewed eva / ova are part of the root, these are not suffixes to write HH. But when prefixes appear, they are written according to the general rule: chewed, shod, pecked.
the wounded is written one N. Compare: wounded in battle(two N, because the dependent word appeared); Wounded, the view is perfect, there is a prefix).
smart to define the type of word is difficult.
14.2. 2 One H in verbal adjectives
In the suffixes of verbal adjectives, N is written if:
the word is formed from an imperfective verb, that is, answers the question what did you do with the item? and the word in the sentence has no dependent words.
stew(it was stewed) meat,
shorn(their hair was cut)
boiled(it was boiled) potatoes,
brokenNaya(it was broken) line,
stained(it was stained) oak (dark as a result of special processing),
BUT: as soon as these adjective words have a dependent word, they immediately go into the category of participles and are written with two N.
stewed in the oven(it was stewed) meat,
recently cut(their hair was cut)
steamed(it was boiled) potatoes.
DISCOVER: participles (right) and adjectives (left) different meanings! capital letters stressed vowels are highlighted.
named brother, named sister- a person who is not biologically related to this person, but who agreed to fraternal (sisterly) relations voluntarily. - the address I gave;
planted father (acting the role of the parent of the bride or groom at the wedding ceremony). - planted at the table;
dowry (property given to the bride by her family for life in marriage) - given a chic look;
narrowed (as the groom is called, from the word fate) - narrowed skirt, from the word narrow, make narrow)
Forgiveness Sunday (religious holiday) - forgiven by me;
written beauty(epithet, idiom) - oil painting.
14.2.3. Spelling Н and НН in compound adjectives
As part of compound word the spelling of the verbal adjective does not change:
a) the first part is formed from imperfective verbs, so we write N: plain-dyed (paint), hot-rolled, homespun, multi-colored, gold-woven (weave); whole-cut cut), gold-forged (forged), little-traveled (ride), little-walked (walk), little-carried (wear), slightly salted (salt), finely crushed (crush), freshly slaked (quench), freshly frozen (freeze) and others.
b) the second part of the compound word is formed from the prefixed verb of the perfect form, which means we write NN: smooth about dyed ( about paint), fresh per ice cream ( per freeze), etc.).
In the second part of complex formations, H is written, although there is a prefix PER-: ironed-over-ironed, patched-re-patched, worn-carried, washed-washed, shot-re-shot, darned-redarned.
Thus, tasks can be performed according to the algorithm:
14.3. Н and НН in short adjectives and short participles
Both participles and adjectives have not only full, but also short forms.
Rule: In short participles, one N is always written.
Rule: AT short adjectives the same number of N is written as in the full form.
But in order to apply the rules, you need distinguish between adjectives and participles.
DISCOVER short adjectives and participles:
1) on the issue: short adjectives - what? what? what are what is it? what are?, short participles - what is done? what's done? what is done? what are done?
2) by value(a short participle is related to the action, can be replaced by a verb; a short adjective characterizes the word being defined, does not report the action);
3) by the presence of a dependent word(short adjectives do not and cannot have, short participles have).
Brief participles | Short adjectives |
---|---|
written (story) m. what is done? by whom? | the boy is educated (what?) - from the full form educated (what?) |
written (book) f.rod; what's done? by whom? | the girl is educated (what?) -from the full form educated (what?) |
written (composition) cf. what is done? by whom? | the child is educated (what?) -from the full form educated (what?) |
works written, pl. number; what are done? by whom? | children are educated (what?) -from the full form educated (what?) |
14.4. One or two N can also be written in adverbs.
In adverbs in -O / -E, the same number of N is written as there are in the original word, for example: calmly with one H, since in the adjective calm suffix H; slowly with HH, as in the adjective slow NN; enthusiastically with HH, as in the sacrament HAPPY NN.
With the seeming simplicity of this rule, there is a problem of distinguishing between adverbs, short participles and short adjectives. For example, in the word focus (Н, НН) о it is impossible to choose one or another spelling WITHOUT knowing what this word is in a sentence or phrase.
DISCOVER short adjectives, short participles and adverbs.
1) on the issue: short adjectives - what? what? what are what is it? what are?, short participles - what is done? what's done? what is done? what are done? adverbs: how?
2) by value(a short participle is related to the action, can be replaced by a verb; a short adjective characterizes the word being defined, does not report the action); an adverb expresses an action, how it occurs)
3) by role in the sentence:(short adjectives and short participles are often predicates, while the adverb
refers to the verb and is a circumstance)
14.5. Н and НН in nouns
1.In nouns (as in short adjectives and adverbs), the same number of N is written as in the adjectives (participles) from which they are formed:
HH | H |
---|---|
prisoner (prisoner) | oilman (oil) |
education (educated) | hotel (living room) |
exile (exiled) | anemone (windy) |
larch (deciduous) | confusion (confused) |
pupil (educated) | spice (spicy) |
humanity (humane) | sandstone (sandy) |
elevation (sublime) | smoked (smoked) |
poise (balanced) | delicious ice cream (ice cream) |
devotion (devotee) | peat bog (peat) |
Words are formed from adjectives
related / ik from related, third-party / ik from third-party, like-minded / ik from like-minded, (malicious / ik, co-intentional / ik), set / ik from set, drowned / ik from drowned, numerical / ik from numerical, compatriot / ik from compatriot) and many others.
2. Nouns can also be formed from verbs and other nouns.
HH is written, one H is included in the root, and the other is in the suffix. | N* |
---|---|
moshen / nickname (from moshna, which meant a bag, wallet) | worker / enik (from toil) |
squad / nickname (from squad) | much / enik (from torturing) |
raspberry/nick (raspberry) | powder / enitsa (from powdering) |
name day / nickname (name day) | birth / birth (give birth) |
cheating / nickname (treason) | brother-in-law / e / nit / a |
nephew | var/enik (cook) |
dowry/nice | BUT: dowry (from give) |
insomnia | student |
aspen/nickname | besrebr / enik |
ringing / ringing | silver/nickname |
Table note: *Words that are written with H and are not formed from adjectives (participles) in the Russian language are rare. They need to be learned by heart.
HH is written and in words traveler(from traveling) predecessor(preceded)
Osip Emilievich Mandelstam - the creator and most prominent poet of the literary movement - acmeism, a friend of N. Gumilyov and A. Akhmatova. But despite this, the poetry of O. Mandelstam is not well known to a wide range of readers, and meanwhile, the “breath of time” is perfectly reflected in the work of this poet. His poems are straightforward and truthful, they have no place for cynicism, hypocrisy, flattery. “I wrote as I felt” - this is about Mandelstam. It is precisely for the unwillingness to become like poets who sing and glorify Soviet power and personally Comrade Stalin, he was doomed to non-recognition and exile, to hardships and hardships. His life is tragic, as, indeed, the life of many Russian poets.
The lyrical hero of O. E. Mandelstam's poetry is a man living in the rhythm of his age. His life depends on what is happening around, but this does not prevent the hero from responding to all events, giving them his own assessment, often sharp and too unambiguous. In other words, the lyrical hero is the poet himself.
Osip Mandelstam was born in Warsaw, his childhood and youth were spent in St. Petersburg. Later, in 1937, Mandelstam wrote about the time of his birth:
I was born on the night from the second to the third
January ninety one
Unreliable year...
"Poems of the Unknown Soldier"
Here "in the night" contains an ominous omen of the poet's tragic fate in the 20th century. and serves as a metaphor for the entire 20th century, according to Mandelstam’s definition, “the century-beast”. Mandelstam's memories of childhood and youth are restrained and strict; he avoided revealing himself, commenting on his own actions and poems. He was an early matured, more precisely, an enlightened poet, and his poetic manner is distinguished by seriousness and severity. The little that we find in the poet's memoirs about his childhood, about the atmosphere that surrounded him, about the air that he had to breathe, is rather painted in gloomy tones:
From the pool of evil and viscous
I grew up, rustling with a reed,
And passionately, and languidly, and affectionately
Breathing forbidden life.
"From the pool of evil and viscous"
These lines are from Mandelstam's poem "From the pool of evil and viscous." "Forbidden Life" is about poetry. From his mother, Mandelstam inherited a heightened sense of the Russian language, the accuracy of speech. The first collection of the poet was published in 1913, he was published at his own expense. It was assumed that it would be called "Sink", but the final name was chosen differently - "Stone". The name is quite in the spirit of acmeism. Stone - natural material, durable and solid, eternal material in the hands of the master. For Mandelstam, stone is, as it were, the primary building material of spiritual culture. In the poems of this time, one could feel the skill of the young poet, the ability to master the poetic word, to use the wide musical possibilities of Russian verse.
First half of the 20s. was marked for the poet by the rise of creative thought and a surge of inspiration, however, the emotional background of this rise is painted in dark colors and is combined with a sense of doom:
You can not breathe, and the firmament is teeming with worms,
And not a single star speaks...
In verses of the 20s and 30s. the social principle, the open author's position acquires special significance. In 1929, he turned to prose and wrote a book called The Fourth Prose. It is not large in volume, but the pain and contempt of the poet for the writers ("members of MASSOLIT"), who for many years tore Mandelstam's soul, fully splashed out in it. "The Fourth Prose" gives an idea of the character of the poet himself - impulsive, explosive, quarrelsome. Mandelstam made enemies very easily, because he always said what he thought, and did not hide his judgments and assessments. Almost all the post-revolutionary years, Mandelstam lived in the most difficult conditions, and in the 30s. - in anticipation of imminent death. There were few friends and admirers of his talent, but they were. Awareness of the tragedy of his fate, apparently, strengthened the poet, gave him strength, gave a tragic, majestic pathos to his new creations. This pathos lies in the opposition of a free poetic personality to its age - the “age-beast”. The poet did not feel himself an insignificant, pitiful victim in front of him, he realizes himself equal:
A wolfhound age throws itself on my shoulders,
But I am not a wolf by blood.
Stuff me better, like a hat, in a sleeve
Hot fur coat of the Siberian steppes,
Take me to the night where the Yenisei flows
And the pine reaches the star
Because I'm not a wolf by my blood
And only an equal will kill me.
"For the explosive valor of the coming centuries..."
Mandelstam's sincerity bordered on suicide. In November 1933 he wrote a sharply satirical poem about Stalin that began with the lines:
We live, not feeling the country under us, -
Our speeches are not heard for ten steps,
And where is enough for half a conversation, -
They will remember the Kremlin highlander there ...
According to E. Yevtushenko: “Mandelstam was the first Russian poet who wrote poems against the personality cult of Stalin that began in the 30s, for which he paid the price.” Surprisingly, Mandelstam's sentence was rather lenient. People at that time died for much smaller “offences”. Stalin's resolution only read: "Isolate, but preserve," and Osip Mandelstam was sent into exile in the distant northern village of Cherdyn. After the exile, he was forbidden to live in twelve large cities of Russia, Mandelstam was transferred to less harsh conditions - to Voronezh, where the poet eked out a beggarly existence.
The poet got into a cage, but he was not broken, he was not deprived of the inner freedom that lifted him above everything even in prison:
Depriving me of the seas, takeoff and expansion
And giving the foot the emphasis of violent earth,
What have you achieved? Brilliant calculation:
You couldn't take away the moving lips.
The poems of the Voronezh cycle remained unpublished for a long time. They were not, as they say, political, but even "neutral" poems were perceived as a challenge. These verses are imbued with a sense of imminent death, sometimes they sound like spells, alas, unsuccessful.
I must live though I have died twice
And the city went crazy from the water, -
How good he is, how cheerful, how cheeky,
Like a plowshare, a fat layer is pleasant,
How the steppe is silent in the April twist...
And the sky, the sky is your Buonorroti!
"I must live, although I have died twice." 1935
After the Voronezh exile, the poet spent another year in the vicinity of Moscow, trying to obtain permission to live in the capital. Literary magazine editors were afraid to even talk to him. He begged. Friends and acquaintances helped: V. Shklovsky, B. Pasternak, I. Ehrenburg, V. Kataev, although it was not easy for them themselves. Subsequently, Anna Akhmatova wrote about 1938: “The time was apocalyptic. Trouble followed on the heels of all of us. The Mandelstams had no money. They had absolutely nowhere to live. Osip was breathing badly, catching air with his lips. In May 1938 Mandelstam is arrested again, sentenced to five years hard labor and sent to the Far East, from where he will never return. Death overtook the poet in one of the transit camps near Vladivostok on December 2, 1938. One of the poet's last poems contains the following lines:
Mounds of human heads go into the distance,
I'm shrinking there - they won't notice me,
But in affectionate books and in games, children
I will rise again to say that the sun is shining.
All the poetry of O. E. Mandelstam is a kind of tragic Oratorio with its own inner music in the wonderful presentation of the Singer - Poet - Seer. Yes! This is truly an amazing phenomenon. It conquers. It's mesmerizing. His poems are worth reading and re-reading. The language itself will captivate - this is “wonderful tongue-tiedness”, it will captivate a certain fusion of lyrical philosophy and Great Love for Man - the most disenfranchised and humiliated creature on our sinful earth. The Poet understands and pities the man, but who will pity the Poet himself - him - the most unfortunate - the most innocent - the most ruined
The fall is the constant companion of fear,
And the very fear is a feeling of emptiness -
Few live for eternity.
And among these few is Osip Emilievich Mandelstam.