. ZHTBZNEOFSHCH UVBFSHY
YOOPLEOFIK BOOEOULYK
ZHTBZNEOF LOIZY (zMBChB II "DECHSFYUPFSHCHE ZPDSH", Yb 6)
yUFPUOIL FELUFB: vBECHULYK h. yUFPTYS THUULPK MYFETBFHTSC XX CHELB. 2nd YODBOYE, RETETBV. J DPR. n., sjshchly UMBCHSOULPK LKhMShFKhTShCH, 2003. y. 36, 43-48. (1st YODBOYE: n.:, SJCHLY THUULPK LHMSHFHTSCH, 1999).
36
l RPFYUEULPNH RPLPMEOYA vTAUPCHB RTYOBDMETSBMY Y DTHZYE DELBDEOFSHCH - lPOUFBOFYO vBMSHNPOF, JDPT UPMPZHV, YOOPLEOFIK BOOEOULYK, YOBYDB ZYRRIKHU. chPKDS H MYFETBFHTH H LPOGE XIX CHELB, POY RETETSYMY FCHPTYUEULYK TBUGCHEF H DCHHI RETCHSHI DEUSFIMEFYSI CHELB DCHBDGBFPZP.
43
L RPLPMEOYA DELBDEOFCH Y RP CHP-TBUFKH, Y RP PUOPCHOSCHN PUPVEOOPUFSN FCHPTYUEUFCHB RTYOBDMETSBM Y IOOPLEOPLEOPHYK JJDPTPCHYU BOOEOULYK (1856-1909)*. yNEOOP PO U RTEDEMSHOPK UYMPK Y RPMOPFPK CHSHCHTBYM IHDPTSEUFCHEOOPE NYTPCHP'TEOYE NPDETOOYNB, PLBM OBYUYFEMSHOPE, PE NOPZYI PFOPIYOYSI TEYBAEEEE CHMYSOYE ABOUT RP'YA XX H.
* hDYCHMSEF, UFP Y CH 1999 ZPDH ZPD TPTsDEOYS BOOEULPZP PVP-OBYUBEFUS RP OBDZTPVYA, BOE RP ZhBLFH.
FP VSHCHM YuEMPCHEL ЪBNLOKhFSHKK, UBNPKhZMHVMJOOSHKK, BLMAYUJOOSHK H VTPOA IPMPDOK REFETVKhTZULPK LPTTELFOPUFY*. according to UMHTSYM RP CHEDPNUFCHH OBTPDOPZP RTPUCHEEEEOIS, PDOP CHTENS VSCHM DYTELFPTPN gBTULPUEMSHULPK ZYNOBYY, ZDE HUYMYUSH OEULPMSHLP VHDHEYI RPFPCH, CH FPN Yuyume oylpmbk zhnymёch.
* FP PDOPUFPTPPOOSS IBTBLFETYUFYLB, OE UZMBUKHAEBSUS UP UCHYDEFEMSHUFCHBNY UPCTENEOOILPCH th. and. BOOEOULPZP. "pDOP CHTENS" DBMEE - FFP RPYUFY 10 MEF.
44
бООЕОУЛЙК ВЩМ ЪОБФПЛПН Й РПЛМПООЙЛПН БОФЙЮОПУФЙ, ПО РЕТЕЧЈМ ЧУЕ ФТБЗЕДЙЙ ЧЕМЙЛПЗП ДТЕЧОЕЗТЕЮЕУЛПЗП ДТБНБФХТЗБ ьЧТЙРЙДБ Й УБН ОБРЙУБМ ОБ ФЕНЩ ЗТЕЮЕУЛПК НЙЖПМПЗЙЙ ЮЕФЩТЕ ФТБЗЕДЙЙ, ОП ФБЛ, ЮФП, РП ЕЗП УМПЧБН, Ч ОЙИ "ПФТБЪЙМБУШ ДХЫБ УПЧТЕНЕООПЗП ЮЕМПЧЕЛБ". DMS CHPURTYSFYS yCHTYRYDB Y UPVUFCHEOOOSHI FTBZEDYK BOEOULPZP OHTSOB CHUEPVYAENMAEBS LHMShFKhTB, LPFPTPK PVMBDAF MYYSH OENOPSYE. PO YCH TSYOYOY VSCHM DELBDEOFPN *. pDOBCDSCH H ZPUFYOPK iPDBUECHYU URTPUYM:
RTPUFIFE, YOOPLEOFIK JJDPTPCHYU, S, LBCEFUS, BBOSM CHBYE NEUFP?
- RPTsBMHKUFB, RPTsBMHKUFB, NPJ NEUFP - ABOUT LMBDVYEE, - KHUMSCHYBM ON CH PFCHEF **.
* yTPOYUOP-ULERFYUEULPE PFOPIEOYE L DELBDEOFUFCHH UBNPZP th. and. BOOEOULPZP Y'CHEUFOP.
** un. CH UPVTBOY UFBFSHA h. IPBUECHYUB"pV BOOEOULPN" . fTHDOP ULBEBFSh, CHUFTEYUBMUS MY PO U y. and. BOOEOULYN CHPPWEE. th dbmee -
FTHDOP OBCHBFSH TBUUKHTSDEOYE BCHFPTB, U LPFPTSCHN WITH REFINERY VSHCH UPZMBUIFSHUS.
BOOEOULYK UMPCHOP VSC OBTPYuOP PFZPTTBTSYCHBMUS PF UMHYUBKOPZP YUIFBFEMS; RPUMEDOSS EZP FTBZEDYS OBREYUBFBOB FYTBTSPN CH 100 LENRMSTCH. According to NOPZP Y CHEMILPMEROP RECETCHPDYM HFPOYOOOSHI ZHTBOGKHULYI BCHFPTPCH LPOGB XIX CH. and PF CHUEI ULTSCHCHBM, UFP RYYEF PTYZYOBMSHOSHCHE MYTYYUEULYE UFIY.
BOOEOULYK CHRECHSCHE CHSHCHUFKHRIM U OYNY CH REYUBFY CH CHPTBUFE 48 MEF - UMHYUBK OEVSCCHBMSCHK DMS RETCHPLMBUOPZP RPFPB. h 1904 Z. PO YODBM "fYIYE REUOY" (U RTYMPSEOYEN UCHPYI RETECHPDCH YJ ZHTBOGHULPK RPIYY). y FERESH PO OE RTYOBMUS CH UCHPEN BCHFPTUFCHE, ULTSHMUS b RUECHDPOINPN. chNEUFP ZHBNYMYY BCHFPTB ABOUT LOYZA VSCHMP OBREYUBFBOP: "OIL. f-P" (YUYFBEFUS "OILFP"). fBL (FPMSHLP RP-DTECHOEZTEYUEULY) yNS BCHFPTB "FIYI REUEO" PUFBMPUSH OEYJCHEUFOP DBCE CH UBNPN FEUOPN MYFETBFHTOPN LTHZH REFETVKhTZB. h FP CHTENS CH MYFETBFHTH CHIPDYM UHFDEOF vMPL. h TEGEOYY PO YUHFSH-YUHFSH UCHSHCHUPLB, LBL OEPRSHCHFOPZP DEVAFBOFB, RPICHBMYM OIL. f-P Y FHF TSE RPREOSM ENH ABOUT "VEECHLKHUYE OELPFPTSCHI UFTPL Y DElbDEOFULYE YЪMYYEUFCHB".
b CH OEDTBI LFPK CHOEYOE URPLPKOPC, PVTBEIOOPK CH ZMHVSH UEVS MYUOPUFY VHYECHBM NPZHYUYK RP'FYUEULYK FENRETBNEOF. VE LFPZP OE NPTSEF VSHCHFSh RPLFB. h 1909 Z. DMS RTPDCHYTSEOIS CH RHVMYLH OPCHSHCHI IHDPTSEUFCHEOOOSCHI RPOSFIK, CH YUBUFOPUFY OPCHPK RP'YY, VSHCHM UPDBO TSHTOBM "brRPMMPO". BOOEOULYK RPDZPFPCHYM DMS OEZP GILM UFYIPFCHPTEOIK. tedBLFPT OBREYUBFBM YI OE UTBYH, B PFLMBDSCHCHBM PF OPNETTB L OPNETH: UMHYUBK PVSCHUOSCHK CH TSKHTOBMSHOPC RTBLFILE. BOOEOULYK OBUFBYCHBM, OETCHOYUBS, UFYIPFCHPTEOYS OE RPSCHMSMYUSH. th BOOEOULYK ULPTPPUFYTSOP ULPOYUBMUS - ABOUT IPDH, X RPDYAEDB gBTULPUEMSHULPZP CHPLBMB H REFETVKhTSE, H LPOGE LPTPFLPZP OYNOEZP DOS.
BOOEOULYK UPDBM OPCHSHCHK SJSHCHL RPYYY, CHULPTE YN ЪBZPCHPTYMY CHUE CHSHCHDBAEYEUS RPFSCH UETEVTSOPZP CHELB. рХЫЛЙО Й ДТХЗЙЕ РПЬФЩ-ЛМБУУЙЛЙ, ПУПВЕООП вБТБФЩОУЛЙК - ВПМЕЕ, ЮЕН ЛФП-МЙВП вБТБФЩОУЛЙК, зБНМЕФ-вБТБФЩОУЛЙК, РП УМПЧХ рХЫЛЙОБ, - ЬНПГЙЙ Й ЮХЧУФЧБ РЕТЕДБЧБМЙ РПУМЕДПЧБФЕМШОП, БОБМЙЪЙТПЧБМЙ ЙИ У РПНПЭША ТБУУХДЛБ. BOOEOULYK VPMEE TEYFEMSHOP, YUEN EZP UPCHTENEOOOYLY, RPTCHBM U UVPK FTBDYGYEK, PFCHETZ RPFIILH RPUMEDPCHBFEMSH-
45
OPZP RPCHEUFCHPCHBOYS PV YNPGYSI Y RETETSYCHBOYSI, OBNEOYM EY YTTBGYPOBMSHOPK RPFIILPK BUUPGYBGYK.
BUUPGYBGYY - LFP UCHSKY, LPFPTSCHE OERTPIYCHPMSHOP CHPOYILBAF CH RUYIYLE NETSDH OEULPMSHLYNY RTEDUFBCHMEOYSNNY, PVTBBNY, NSHUMSNY. y CHPF BOOEOULYK RYYEF FBL, UMPCHOP PO OE TBNSCHYMSS UMEDHEF BY B UCHPYNY OERTPYCHPMSHOSCHNY BUUPGIBGISNNY, SBOPUS ABOUT VKHNBZKH UMKHYUBKOSHCHE YUHCHUFCHB Y NSCHUMY CH UMHYUBKOPN RPTSD.
UPRPUFBCHYN UFYIPFCHPTEOYE BOEOULPZP "UFBOUSCH OPYUY" UP UFYIPFCHPTEOYEN rHYLYOB "with RPNOA YUHDOPE NZOPCHEOSHE ...". RHYLYO RETEDBYF RETETSYCHBOYE NOPZYI Y TBBOPPVTBOBOSCHI YUKHCHUFCH, YI YNEOYUYCHPUFSH, LPMEVBOYS. OP TBUULB P DCHYTSEOY YUKHCHUFCH RHYLYO UFTPIF RPUMEDPCHBFEMSHOP, PO UFTPZP LPOFTPMYTHEF DCHYTSEOYE YUKHCHUFCH TBBKHNPN. URETCHB ON HFCHETCDBEF; RPFPN PFTYGBEF; OBLPOEG, PFTYGBEF FP, UFP PFTYGBM, F. E. CHUE FTY YUBUFY UFTPZP UPTBNETOSCH, UPDETSBF RP CHPUENSH UFYIPCH; CHUE FTY YUBUFY RTYVMYJFEMSHOP PYOBLPCHP CHSHCHUFTPEOSCH.
with RPNOA YOUHDOPE NZOPCHEOSHE:
reTEDP NOPC SCHIMBUSH FS,
LBL NYNPMIFOPE CHYDEOSHE,
lBL ZEOIK YUYUFPK LTBUPFSHCH.
h FPNMEOSHSI ZTHUFY VEOBDETSOPK,
h FTECHPZBI YHNOPC UHEFSCH
ъChKHYUBM NOE DPMZP ZPMPU OETSOSCHK,
and UOYMYUSH NIMSHCHE YUETFSHCH.
LFY CHPUENSH UFYIPCH PVMBDBAF UCHPEK CHOHFTEOOOK MPZYLPK: H RETCHPN UFYIE ZHPTNKHMYTHEFUS UPVEEOYE, CH UMEDHAEYI POP RPDTPVOP TBCHYCHBEFUS. RP FBLPK TSE WIENE CHSHUFTPEOSCH DCHE DTHZYE YUBUFY UFYIPFCHPTEOYS RHYLYOB.
FERETSH PVTBFYNUS L UFYIPFCHPTEOYA BOEOULPZP "UFBOUSCH OPYUY" (UFBOUSCH - FFP PFOPUYFEMSHOP UBNPUFPSFEMSHOSHCHE UFTPZHSHCHCH).
NETS FEOEK RPZBUMY UPMOGB RSFOB
ABOUT REUL H ЪBZTEYCHYEN UBDH.
CHUЈ CH FEVE FBL UMBDLP-OERPOSFOP,
OP FChPJ BRPNOYM S: "rTYDH".
OE UYUEUFSH UFYIPFCHPTEOIK, LPFPTSHCHE TBUULBSCCHCHBAF P FPN, UFP POB OBOBYUMB ENH UCHYDBOYE. NSCH TsDЈN: RTYYMB POB YMY OE RTYYMB?
yuЈTOSHCHK DSHCHN, OP FSCH CHPDHYOYEK DSHCHNB,
fng OETSOEK RHYYOPL X MYUFB.
46
rPLB NSCH CHYDYN, UFP PFCHEF PFLMBDSCHCHBEFUS. RP LBLPC-FP UMHYUBKOPC BUUPGIIBGIY, YUYFBFEMA OERPOSFOPC, RPLF CHURPNYOBEF YUЈTOSHCHK DSCCHN. yuyfben dbmshye.
with OE KOBA LEN, OP FS MAVYNB,
with OE KOBA, YUShS FSH, OP NEYUFB.
UFY UFYY KHCHPDSF UPCHUEN H UFPTPOH. h OBYUBME POB PVEEBMB RTYKFY ABOUT UCHIDBOYE, B FERESH OYJCHEUFOP, PLBSHCHCHBEFUUS, LFP EJ MAVIF, LFP P OEK NEYUFBEF.
bB FPVPK CH RHUFSHCHOOSHCH RPLPY
OE UPCDHF BMNBOSCHE PZOY
<...>
NPTsOP RPOSFSH, UFP POY CHUFTEFYMYUSH CHEYUETPN CH UBDH (RECHPE YuEFCHETPUFYYSHE) Y POB PVEEBMB RPIEC RTIKFI L OENH CH DPN. FERETSH PO DBTS OE HCHETEO, LFP EI RP-OBUFPSEENH MAVIF, PO PRBUBEFUS, UFP POBOE RTIDЈF: RPFPNKH Y RPLPY RHUFSHOOSHCH, Y BMNB'OSCHE PZOY UE UPKDHF. UBN PVTB BMNB'OSCHI PZOYEK CHSHCHCHBO LBLYNY-FP UHVYAELFICHOSCHNY BUUPGYBGYSNY; ChPNPTSOP, ChPPVTBTSEOYE RPPFB HLTBUYMP YNY TSEOEYOKH, B NPTCEF VSHCHFSH, POB DEKUFCHYFEMSHOP OPUIMB VTYMMYBOFSHCH.
DMS FEVS DHYUFSHCHE MECHLPY
YDEUSH LPCHTPN TBULYOKHMYUSH PDOY.
uOPCHB OEPTSYDBOOSCHK ULBYUPL BUUPHYBGIK. lPCHЈT MECHLPCH ... OBYUYF, BY TsDЈF HER CHUY-FBLY OE CH RPLPSI, B CH UBDH? dekufchyfemshopufsh tbdchbychbefus, UFBOCHYFUS SHCHVLPK, OEPRTEDEMIIOOPK. LFP EY MAVIF, ZDE OBOBBYUEOP UCHIDBOYE, RTYYMB POB YMY OE RTYYMB - OYYUEZP OYYCHEUFOP.
uFH OPYUSh S RPNOA H DBCHOEK ZTYE,
OPOE WITH FPNYMUS Y CEMBM:
<...>
eUMY TsDBM EY OE S, RPYUENKh S FBL IBRPNOIM LFH OPYUSH? x rHYLYOB CHUY SUOP: S RPNOA YUHDOPE NZOPCHEOSHE, RPFPNKh UFP WITH HER HCHYDEM, Y POB NEOS RMEOIMB, Y S HER RPMAVIIM. x BOOEOULPZP OE SUOP OYUEZP. LPOGPCHLB UYIPFCHPTEOYS FBL OYUEZP YOE RTPSUOSEF:
ULCHPЪSH ZHPOBTSH, ЪBVSCHFSCHK ABOUT VETIE,
fBMSCHK CHPUL Y RMBLBM Y RSHCHMBM.
NPCEF VSHCHFSH, SCHOOL FBEF Y RSHCHMBEF, LBL UETDGE CHPMAVMEOOPZP, OE DPTsDBCHYEZPUS CHUFTEYUY?
rPDPVOSCHN PVTBYPN ABOUT CHPUUPDBOY RPFPLB BUUPHYBGIK - RPFPLB UPOBOYS, LBL RPJCE UFBMB ZPCHPTYFSH LTYFYLB, - CHRPUMEDUFCHYY VKHDEF RPUFTPEOB
47
OE FPMSHLP RPIYS, OP Y RTPIB b. VEMPZP, RPYS bINBFPCHPK, nBODEMSHYFBNB, rBUFETOBLB ... rPUME UNETFY BOEOULPZP VSCHMB YODBOB RPDZPFPCHMEOOBS YN LOIZB UFYIPCH "LYRBTYUPCHSHCHK MBTEG". NPTsOP VSHMP VSH UFTPIFSh TBOSCHE DPZBDLY, PFLHDB CHSMPUSH LFP OBZMBCHYE. LIRBTYU DMS ITYUFYBO VSCHM UCHSEOOOSCHN DETECHPN, VSHFSH NPTSEF, DEMP CH FFPN? plbshchchchbefus, x booeoulpzp vshchm mbteg y lyrbtyub, lkhdb po y ulmbdshchchbm myufly UP UCHPYNY UFYIPFCHPTEOYSNNY. y ChPF RP LFPK UHVYAELFICHOPK BUUPHYBGIY, BUCHEDPNP OERPOSFOPC YUYFBFEMSN, RPPF DBM OBCHBOYE UCHPEK VHDHEEK LOIZE.
oE UMEDHEF DKHNBFSH, YuFP OPCHSHCHK UFYMSH - RTYOBL OEVTETSOPUFY, OEKHNEOYS. lbl tb b b "ufboubny opyuy" UFPIF VPMSHYBS IHDPTSEUFCHEOOBS Y RUYIPMPZYYUEULBS RTBCHDB. BOOEOULYK VSHCHM TSEOBF ABOUT CHDPCHE, YNECHYEK DCHHI USCHOPCHEK PF RETCHPZP VTBLB, Y RPMAVYM TSEOH UFBTYEZP YЪ OYI. POB PFCEFYMB OB EZP YUKHCHUFCHP, OP BOOEOULIK TEYFEMSHOPZP YBZB OE UDEMBM, UPCHEUFSH ENKH OE RPCHPMYMB. LTPNE EZP Y EY, OILFP OYUEZP OE OBM DP UBNPK EZP UNETFY. EK RPIF Y RPPUCHSFYM UFBOUSCH OPYUY, CH LPFPTSCHI OBNELOKHM ABOUT OEPRTEDEMIOOOSCHE PFOPIEOYS NETSDH OYNY, ABOUT OEEUVSCCHIEEUUS UYUBUFSH.
DEUSH NSC RETEIPDYN L DTHZPK CHBTsOPK PUPVEOOPUFY MAYTYLY BOOOLPZP. sFP - RPJIS OBNЈLPC. RHYLYO RTSNP OBSCCHCHBEF YUHCHUFCHB, UPUFPSOYS DHYY: CHDPIOPCHEOSHE, MAVPCSH. BOOEOULYK FPMSHLP OBNELMEBEF ABOUT RETETSYCHBOYS.
ftEFSHS CHBTSOBS PUPVEOOPUFSH - YULKHUUFCHP DEFBMY. h YULKHUUFCHE UMPCHB RPDTPVOPUFSH, DEFBMSH CHPPVEE YNEEF PZTPNOPE OBYUEOYE. OP DEFBMSh BOOEEULPZP PUPVEOOBS. pOB RTJTBYOB. eZP YULKHUUFCHP - YULKHUUFCHP RTJTBYOPK DEFBMY. POB OEOBDITSOB, POB EUFSH Y EJ OEF.
uFYMSH BOOEOULPZP NPTsOP OBCHBFSH YNRTEUUIPOYUFYUOSCHN (PF ZhT. impression "CHREYUBFMEOYE"). ON OBRTBCHMEO ABOUT FP, UFPVSHCH RETEDBFSH NZOPCHEOOPE CHEYUBFMEOYE, HMPCHYFSH NYNPMIFOSHCHE BUUPHYBGYY, YJ LPFPTSCHI Y UPUFPYF, RP NOOYA RPFB, TSYOSH YuEMPCHEYUEULPZP DHIB. PRTEDEMSAF EZP UFYMSH Y LBL UHZZEUFYCHOSCHK (PF BOZM. to suggest "CHOHYBFSH"): CHOHYBFSH YUYFBFEMA YUHCHUFCHB, OBUFTPEOYS, RETETSYCHBOYS. DELBDEOFULPE NYTPPEHEEOYE, BUUPHYBFYCHOPUFSH,. RTJTBYUOPUFSH DEFBMEK, YNRTEUUYPOYUFYUOPUFSH U BLPOYUEOOSCHN UCHETEOUFCHPN CHSTTBTSEOSHCH UUYIPFCHPTEOYJ "Ego" (RP-MBFSCHOY "S"):
c - UMBVSHCHK USCHO VPMSHOPZP RPLMEOSHS,
th OE RPKDH YULBFSH BMSHRIKULYI TP,
OH TPRPF CHPMO, OH TPLPF TBOOYI ZTP
NOE OE DBDHF PFTBDOPZP CHPMOEOSHS.
oP
bMNBOBOSCHE Y RMBYUKHEYE ZPTSCH,
in HLEFSCH TP HCHSDYI ABOUT UFPME,
y RMBNEOY CHEYUETOEZP HЪPTSHCH.
48
lPZDB CE UOPN PVYASFB ZPMCHB,
yuyfba ztj s rpcheufsh oevschmkha,
UZPTECHYI LOYZ BVSCHFSCHE UMPCHB
h FHNBOOPN UOE WITH FTEREFOP GEMHA.
lPZDB-FP METNPOFCH H "dKhNE" CHUMED ЪB yBBDBECHSHCHN VTPUYM UCHPENKH RPLPMEOYA HRTЈLY H ЪBVCHEOYY ZTBTSDBOULYI DPVMEUFEK, CH TBVPMERUFCHE Y TBCHOPDHYYY. FERETSCH BOOEOULIK RYYEF P UCHPЈN RPLPMEOYY, EZP OBSCCHCHBEF VPMSHOSCHN, OP P EZP VPMEYOSI ZPCHPTYF UCHPETIEOOOP YOBYUE. DElbDEOFH OE OHTSOSCH DPTPCHSHCHE, EUFEUFCHEOOOSCHE RETETSYCHBOYS, ZPTSHCH, CHPMOSHCH, ZTPPSCH. Chesh LTHZ CHREUBFMOOOOK Kommersant Ufero Lpnobfsch, b ubne chebfmeis Ninpmјfosch, defbmy RTYTBYOSH: NPTPS HPTSH OF Ufelm, HZTB RMBNEYA LBEMEED ... gemkha UMPCHB - OP BVSHCHFSHCHE. UMPCHB YЪ LOYZ - OP UZPTECHYI. UMPCHB LFY PVTBYHAF RPCHEUFSH - OP OEVSHMHA, RPCHEUFSH ZTYЈ.
METNPOFPC OEZPDPCBM Y PVCHYOSM - BOOEOULYK CHOHYBEF.
vMPL RMBLBM OBD UFYIBNY BOEOULPZP.
OYLPMBK ZKHNYMECH - NBUFET UFYB
Zh TBZNEOFSCH
yUFPUOIL FELUFB: OYLPMBK ZHNYMECH. YOUMEDPCHBOYS. nBFETYBMSCH. VYVMYPZTBJYS. urV., "oBHLB", 1994. at. 75, 79-80, 92.
75
zKHNYMICH HOBUMEDPCHBM CHSHCHUPYUBKYHA UFYIPCHHA LKHMSHFKHTH ZHTBOGKHULPZP "rBTOBUB", ZHTBOGKHULYI Y THUULYI UYNCHPMYUFCH. EZP OERPUTEDUFCHEOOSHCH RP'FYUEULYE HYUYFEMY BOOULYK Y VTAUPCH VSCHMY ZMHVPLYNY, TB'OPUFPTPOOYNY ZHIMMPZBNY, LTHDYFBNY, OPUIFEMSNY MYFETBFHTOSCHI FTBDYGYK EDTCHB MYOBOE CHUEI. h PFOPIOYY L UCHPENKH DEMKH zHNYMICH VSHCHM VMYCE L vTAUPCHKH, YUEN L BOOEOULPNKH.
79-80
utbchoychbs ffpf teretfhbt u fchptyueufchpn EZP<зХНЙМЈЧБ>UPCHTENEOOILCH, UTBYH TSE CHYDYN UHEEUFCHEOOOSCHE PFMYUYS. сНВЩ, ИПТЕЙ, ФТЈИУМПЦОЙЛЙ Й ОЕЛМБУУЙЮЕУЛЙЕ ТБЪНЕТЩ, Ч ЪОБЮЙФЕМШОПК УФЕРЕОЙ ЧПЪОЙЛЫЙЕ Й ТБУРТПУФТБОЙЧЫЙЕУС Ч ОБЮБМЕ XX Ч. УППФОПУСФУС Ч ЬФП ЧТЕНС ЛБЛ 50: 20: 15: 15.* тБЪХНЕЕФУС, Ч РТЕДЕМБИ ЬФЙИ УТЕДОЙИ Й РТЙВМЙЪЙФЕМШОЩИ ДБООЩИ ОБВМАДБАФУС ЙОДЙЧЙДХБМШОЩЕ ПФМЙЮЙС. fBL, DMS BOOEOUULPZP OBIPDYN UPPFOPYOYE 41.2: 21.7: 26.3: 10.8.** DMS vTAUPCHB 45.0: 20.6: 18.6: 15.8.*** lBL CHYDYN, IPTEK X PVPYI HYUYFEMEK ZKHNYMJCHB TBURTPUFTBOYO ABOUT UTEDOEN HTPCHOE DMS CHUEZP RETYPDB, SNVB X PVPYI OEULPMSHLP NEOSHY. x vTAUPCHB RTPGEOF FTЈIUMPTSOILPC Y OELMBUUYUYUEULYI NEFTCH VMYêPL L UTEDOENH. CHYDOP, UFP CHUS UYUFENB TB'NETCH LRPIY ULMBDSCHCHBMBUSH RPD UYMSHOSHCHN CHMYSOYEN vTAUPCHB; PFUADB VMYYPUFSH DBOOSHI RP NEFTAYLE vTAUPCHB Y CHUEZP RETYPDB. x BOEOULPZP UHEEUFCHEOOP VPMSHIE FTIUMPTSOILCH Y NEOSHIE OELMBUUYUYUEULYI NEFTCH: BY EEI UCHSBO U FTBDYGYEK CHFPTPK RPMPCHYOSCH XIX CH.
x zHNYMJCHB UPPFOPYOYE NETSDH SNVBNY, IPTESNY, FTIIUMPTSOCHNY NEFTTBNY Y OELMBUUYYUEULPK NEFTYLPK TBCHOP, RP OBYN RPDUYuJFBN, 33.3: 20.8: 25.1: 20.8. ipteyyuyeulye TBNETSC ABOUT HTPCHOE UTEDOYI DBOOSCHI RP RETYPDH, ABOUT HTPCHOE DBOOSCHI RP UFYIPUMPTSEOYA BOOEOUULPZP Y vTAUPCHB. ftЈIUMPTSOIL TBURTPUFTBOOSCH RTYVMYJFEMSHOP LBL X BOEOULPZP Y, UMEDPCHBFEMSHOP, OBYUYFEMSHOP RTECHPUIPDSF HTPCHEOSH YI X vTAUPCHB Y UTEDOIK DMS CHUEZP RETYPDB. oblpoeg, opchsche oelmbuuyueulye NEFTSHCH TBURTPUFTBOOSCH VPMSHIE, YUEN CH UTEDOEN H BOEOULPZP Y H vTAUPCHB. fp dpufyzbefus bb yujf svpch<...>.
* zBURBTPCH n. m. pYUETL YUFPTYY THUULPZP UFYIB. N.: 1984, U. 208.
** mPFNBO a. n. NEFTYUEULYK TERETFHBT i. BOOEOULPZP // fTHDShch RP THUULPK Y UMBCHSOULPK ZHYMPMPZYY. fBTFKh, 1975, XXIV, p. 138.
*** tHDOEC r. b. NEFTYUEULYK TERETFHBT h. vTAUPCHB // vTAUPCHULYE UFEOYS 1971 ZPDB. eTECHBO, 1973, U. 327.
92
oEPVIPDYNP PFNEFYFSH SCHMEOYE VPMEE UMPTSOPE Y VPMEE FPOLPE.<...>UPCHRBDAF OBYUBMP Y LPOEG TYZHNHAEYI UMPC, TBMYYUBEFUS UETEDDYOB. rPDPVOSCHE UPPFOPIEOYS UMCH (OEBCHYUYNP PF YI RPMPTSEOIS H TYZHNE YMY CHOE EЈ) f. DE UPUAT* OBSHCHCHBM "NBOELEOBNY" Y CHYDEM CH OYI RTPSCHMEOYE CHBTSOSCHI UCHPKUFCH RP'FYUEULPZP NSCHYMEOYS - UPUTEDPFPYUEOOPUFY ABOUT PUPVP CHBTSOSCHI U FPYULY TEOYS UENBOFILY LPNRMELUBI ZHPOEN ZHPOEN. x zKHNYMЈCHB DBOOSHK RTYЈN Y PVSCHYUEO Y CHSHCHTBYFEMEO. h UBNPN OBYUBME UFPMSh CHBTsOPZP UFYIPFCHPTEOIS "rBNSFY BOEOULPZP" UFPYF "NBOELEO"MADEK: MEVEDEK. mHYuYI YY MADEK Y MHYUYEZP UTEDY MHYYYI, j. BOOEOULPZP, zHNYMICH UPPFOPUYF U MEVEDSNY.
* zhETDYOBOD DE upuuat (Ferdinand de Saussure, 1857-1913) - CHEMYLYK YCHEKGBTULYK MYOZCHYUF, BLMPTSYCHYK PUOPCHSH WENIPMPZYY Y UFTHLFHTOPK MYOZCHYUFYLY, UFPSCHYK X YUFPLCH TSEOECHULPKYUZCHYUL. IDEY Well. DE uPUUATB, LPFPTPZP YBUFP OBSCCHCHBAF "PFGPN" MYOZCHYUFYLY XX CHELB, PLBBMY UKHEUFCHEOOPE CHMYSOYE ABOUT ZHNBOYFBTOKHA NSHCHUMSH XX CHELB CH GEMPN, CHDPIOPCHYCH TPTsDEOYE UFTHLFHTBMYЪЪ. PUOPCHOBS TBVPFB Zh. DE uPUUATB - "LHTU PVEEK MYOZCHYUFYLY" (CHYLYREDYS).
Poems by A. Akhmatova “Imitation of I.F. Anneskiy” and I. Anneskiy “Stans of the Night” are both strikingly similar and dissimilar to each other.
Annessky's work "Stans of the Night" is written in a sensual and penetrating language of associations.
The title of the poem already indicates that its parts will not be logically connected, because "stanzas" are stanzas independent of each other.
The pentameter trochaic was chosen for him - a melodious and smooth poetic meter, evoking romantic and sad memories.
Our experts can check your essay by USE criteria
Site experts Kritika24.ru
Teachers of leading schools and current experts of the Ministry of Education of the Russian Federation.
Cross rhyme.
The poem begins with an exposition - a description of the place and time. Further, it is said about the appointment of the beloved of the lyrical hero of the date. And this thought does not continue, but goes somewhere to the side, and a number of associations incomprehensible to the reader arise with black smoke (smoke also correlates with air and fire), with leaf fluff.
After that, we understand that the girl referred to in the work is not the beloved of the hero, and is not even familiar with him: “I don’t know by whom, but you are loved, I don’t know whose you are, but a dream.”
The “desert” chambers are intended for a stranger: fragrant left-handed carpets are spread out for her, diamond fires must descend behind her. However, it belongs to another, which is confirmed by the lines: “but it was not I who languished and desired.” And then a new association arises with the wax in the lantern that "cries and sobs." Here a candle is also a symbol, a symbol of the heart of the lyrical hero of the poem, a symbol of tragic love. Again, it is related to fire.
This poem is irrational, as if Annessky puts on paper the feelings and thoughts that arise under the influence of random associations. And the jumps of these associations do not allow establishing a connection between the subsequent thought and the previous one.
Now let's turn to Akhmatova's work “Imitation of I.F. Annessky".
It is written in three-foot anapaest. This flexible meter, capable of conveying various intonations and moods, is very suitable for this poem.
The whole intonation structure of the poem, the construction of sentences, the brevity of thought, the presence of verbs - all this is not Annensky at all, it is character traits in the lyrics of Akhmatova.
The meaning of this work is diametrically opposed to Annes. If in the latter the lyrical hero suffered from unhappy and non-reciprocal love, then in the former he was rather the object of suffering.
This poem, like the Stanzas of the Night, is undoubtedly filled with symbols (the east is a symbol of the sun, the book and its pages symbolize life) and associations (farewell - the east turns blue - “I won’t forget” - changing faces - the folded corner of the book - one and the same page - a heart of fire - "close to me or only loved me?"). But unlike the associations of Annevsky's poem, these associations are ordered and logical.
There is a striking similarity between these poems: the image of fire is very vivid in both of them. A fiery heart, the east, a candle burning in a lantern - here fire is a symbol of love.
The poem "Imitation of I.F. Annesky" was written from male, and this is unusual for Akhmatov's lyrics.
Both poets were adherents of different literary movements. Annesky is a convinced symbolist, Akhmatova is a bright representative of the acmeists. And, probably, the meaning of Anna Akhmatova's appeal to the form of imitation is explained by her attempt to write a poem in the spirit of symbolism. But, even filling it with symbols, associations and allegory, Anna Andreevna did not change her style - it remained as clear and understandable as all her lyrics.
Updated: 2018-01-25
Attention!
Thank you for your attention.
If you notice an error or typo, highlight the text and press Ctrl+Enter.
Thus, you will provide invaluable benefit to the project and other readers.
Stanzas of the night
Coming late XIX century. The worldview of the artist is changing, the classical clarity and clarity of ideas about the world are leaving. Symbolism comes.
Let us turn to the poem of the young symbolist I. Annensky "The Stanzas of the Night". The pentameter trochaic was chosen for him - an asymmetric emotional dimension of romanticism and neo-romanticism. The thesis is put forward:
Between the shadows the sun spots went out
On the sand in a dreamy garden.
Everything about you is so sweet, incomprehensible,
But I remembered yours: "I will come."
Note that the message (actually the thesis) is given only in the last verse of the quatrain; before that there was an exposition associated with a description of the place, time of action. Do not count the poems that begin with the fact that she made an appointment with him. We are waiting: what, did you come or not?
^ Black smoke, but you are more airy than smoke
You are more tender than fluff on a leaf.
Brought up on classical poetry, we are waiting for the antithesis, but these lines lead somewhere to the side. These verses highlighted in brown can be perceived as retardation - slowing down the action in order to increase the tension of expectation. We are waiting for what will happen next?
^ I don't know by whom, but you are loved
I don't know whose you are, but a dream.
But these verses immediately lead to the side, and it is not entirely clear which way. It seems that at the beginning it was definitely said that she promised him a date, but now it is still unknown who loves her, who dreams of her. The course of associations that led to these two verses cannot be unequivocally reconstructed. Here there is no question of antithesis: no correspondence to what is said in the thesis. Let's see what's next?
^ Follow you to the desert chambers
The diamond lights will not come down...
Apparently they met in the garden (the first quatrain) and she promised to come to his house later. She fears that she will not come, and therefore the chambers are deserted, and the diamond fires will not come down. The very image of diamond lights is caused by some subjective associations; it is a symbol: with sparkling diamonds, the poet's imagination has adorned a woman who will not come and is loved by no one knows whom.
^ For you fragrant levkoy
Here alone are spread out like a carpet.
Again, an unexpected leap of associations. So, the date is still in the garden? Reality splits into two, becomes unsteady, uncertain. Who loves her, it is not known where the meeting is to be, it is also unclear.
^ This night I remember in a long dream
But it was not I who languished and wished:
"I remember a wonderful moment." "I remember this night in an old dream." How clear and definite the memories are in Pushkin's poem, how vague and indefinite they are in Annensky's poem. In Pushkin, thought unfolds sequentially, one follows from the other; Annensky's leaps of associations do not make it possible to establish a connection between a subsequent thought and a previous one. Moreover, the last verse quoted states that it was not the character of this poem who languished and wished for a date. In general, it is not known to whom the date was appointed, to whom she whispered: "I'll come." However, after the blue lines there is a colon. Perhaps, further, in the final couplet of the whole poem, something will become clearer?
^ Through the lantern, forgotten on the birch,
The melted wax wept and burned.
Why is there a colon before this couplet? What does it explain? Perhaps the candle melts and burns, as the heart of a lover who has not waited for his beloved melts and burns? A candle in a lantern is also a symbol, a symbol of the heart of the lyrical hero of the poem, a symbol of tragic love.
We have a wonderful poem. Its logical inconsistencies are not shortcomings, but virtues. It's just a completely different poetic school, a different style, a new worldview.
This poem by Annensky is dedicated to O.P. Khmara-Barshchevskaya. I. Annensky was married to N.V. Khmara-Barshchevskaya, a widow who had two sons from her first marriage. Innokenty Fedorovich Annensky was 14 years younger than his wife. Olga Petrovna Khmara-Barshchevskaya, the addressee of the Stanzas of the Night, was the wife of Annensky's elder stepson, Plato. 8 years after Annensky's death, she wrote a letter that literary historians have only recently become aware of. “You ask if I loved In. Fed,? God! Of course, I loved, I love ... Was I his "wife"? Unfortunately no! You see, I sincerely say “alas”, p.ch. I am not proud of this for a moment: there was no connection between us, which is patronized by the "Snake-Angel". And not because I was afraid of sin, or didn’t dare, or didn’t want to, or cradled myself with false assurances that “you can love with two halves of the heart” - no, a thousand times not! Understand, dear, he did not want this, although, perhaps, he loved only me ... But he could not cross ... he was killed by the thought: What am I? First I took away my mother (from my stepson), and then I will take a wife? Where can I hide from my conscience?
Now it becomes clear why everything is so unsteady and vague in the Stanzas of the Night from the event side, why at the beginning she tells him: “I will come”, and at the end he is not waiting for her. It becomes clear what a great psychological truth is behind this poem.
In this analysis of the poems of Pushkin and Annensky, materials from the remarkable book by V.S. Baevsky "History of Russian poetry 1730 - 1980", M., Interpraks, 1994.
Stanzas are a genre of medieval poetry that remained popular in the poetry of later eras. Various writers created stanzas, and Russian poets often turned to this poetic form.
How did the stanzas appear?
Italy is considered the birthplace of the stanzas. The very word "stanzas" is translated from Italian as "room", or "stop". A stanza in Italian Renaissance architecture is a room in which papers were signed or important meetings were held, such as the Stanza della Senyatura. The famous Rafael Santi took part in the creation and decoration of this room.
In literature, stanzas are stanzas, each of which has its own special meaning, that is, each new stanza does not continue the previous one, but is a complete whole. One stanza expresses any one idea, but in the whole poem the stanzas are organically connected with each other and all together create an artistic whole.
Stanzas in medieval literature
So, Italy was the birthplace of stanzas, and there they were most often used to glorify representatives of the nobility. The stanzas were first written by Angelo Poliziano, an Italian poet who lived in the 15th century, and they were dedicated to Giuliano de' Medici. A stanza is a poem consisting of eight stanzas that have a rhyme.
Stanzas of Byron
George Gordon Byron is a great British poet who was a contemporary of Pushkin. Byron's poetry was dedicated to the pride of the human spirit, the beauty of love. Byron took part in the uprising of the Carbonari and the Greeks, and wrote his Stanzas in 1820.
There are also Byron's stanzas dedicated to Greece and the beautiful corners of Greek nature. The main theme of his stanzas is love for a beautiful Greek woman and the struggle of Greece for freedom and independence. Byron's poetry had a great influence on Pushkin's work.
Stanzas in Russian poetry
Stanzas are a genre that began to develop actively in Russian poetry in the eighteenth century. In Russian literature, this is a small poem, which consists of quatrains, and most often its size is Stanzas in Russian literature, most often devoted to the love of a lyrical hero for a young girl, but sometimes they were associated with socio-cultural breakthroughs in the life of the country, such as, for example, Pushkin's stanzas.
Stanzas of Pushkin
Alexander Sergeevich Pushkin wrote his famous Stanzas in the autumn of 1827. In this work, which has been discussed many times, the image of Peter the Great, the famous Russian emperor, appears.
The appearance of this poem is associated with the beginning of the reign of Nicholas I. Pushkin, whose Stanzas became a glorification of imperial power, hoped that this monarch would change the life of the common people for the better. For his part, Nicholas the First hoped that Pushkin would help him calm the mood of the youth. He invited Pushkin to help change the system of upbringing and education.
The Stanzas compare two monarchs: Peter the Great and his great-grandson Nicholas the First. The ideal for Pushkin is Peter the Great. This king was a real worker who did not shy away from any occupation. He was a navigator, an academician, and a carpenter. The days in which Peter the Great ruled, according to Pushkin, made Russia a great power. Although this tsar darkened the beginning of his existence with the executions of the objectionable, but later, with his help, Russia was able to become great. Peter the Great constantly studied and forced others to study, he worked hard for the glory of his country.
Alexander Sergeevich Pushkin, whose Stanzas became famous work in Russian literature, calls on Emperor Nicholas I to repeat the feat of Peter the Great and raise Russia to a new level of development.
In addition to "Stans", at about the same time, the poet also wrote poems "To Friends" and "Prophet". It was assumed that all these three poems form a single cycle and will be published in 1828 in the journal Moskovsky Vestnik. But Pushkin's hopes were not justified: the emperor forbade the publication of his poems, about which Pushkin was informed by the head of the Russian police, Benckendorff.
Stanza Lermontov
Mikhail Yuryevich Lermontov is one of the most prominent creators in Russian poetry. What are stanzas, Lermontov learned after reading English poetry, in particular, with the work of Byron.
Lermontov's stanzas appear as small poems in which genre features are not defined. In 1830-1831, Lermontov wrote six poems that can be defined as stanzas in form. Their main theme is romantic love, in poems a young man refers to his beloved. Lermontov, whose stanzas arose under the influence of John Byron's Stanzas to Augusta, influenced the literary tradition of writing such works after him.
Lermontov's poems are filled with the sadness of the protagonist, who sees the vanity and misery of his earthly life, dreams of another life. The poet writes about his loneliness in this world, compares himself to a cliff that can withstand the onslaught of wind and storms, but cannot protect the flowers growing on the rock from them. Mikhail Lermontov, whose stanzas fully express the poet's worldview, has become a model for many other creators of Russian literature.
Stanzas of Annensky
Innokenty Fedorovich Annensky is considered "the swan of Russian literature". Having discovered his poetic talent at the age of 48, Innokenty Annensky became an outstanding literary creator. His poem "The Stanzas of the Night" became a notable phenomenon in contemporary literature. Its content is the expectation of a meeting with a beloved, who should come in the darkness of the night. Many researchers believe that his poetry has common features with Impressionist poetry, in particular with paintings
Stanza Yesenin
Sergei Alexandrovich Yesenin became a representative of the new Russian literature, which took the side Soviet power. He fully supported October revolution, and all his works are aimed at supporting the then emerging Soviet system, at supporting the actions of the Communist Party. But at the same time, they also have their own characteristics.
Being in Baku, in Azerbaijan, the poet began to write "Stans". Yesenin himself mentions this in a poem: he preferred to leave Moscow because of misunderstandings with the police. But, recognizing his shortcomings (“let me sometimes be drunk”), Yesenin also writes that his mission is not to sing of girls, stars and the moon, but of the name of Lenin and Marx. He denies the influence of heavenly forces on human society. People themselves must build everything on earth, the poet believes, and for this it is necessary to apply all industrial power.
Yesenin did not accidentally give his work the name "Stans", this poem clearly echoes Pushkin's "Stans". Yesenin was a fan of Pushkin's work, laid flowers at his monument. But Yesenin believed that stanzas are not a form love lyrics but a way to express one's citizenship.
Yesenin's Stanzas did not evoke the approval of party leaders who wanted to see in Yesenin a fully party poet dedicated to the ideals of the revolution. But this poem marks the poet's turn from the "Moscow Tavern" to the new Soviet reality. Many critics thought so. The workers of the Krasnaya Nov magazine enthusiastically reacted to this work, who considered that Yesenin was finally becoming truly his own. The correct direction of the poet's work was considered a consequence of the beneficial influence of the climate of the city of Baku, where he then lived, and friendship with Peter Ivanovich Chagin.
Stanza Brodsky
Joseph Aleksandrovich Brodsky was an outstanding Russian poet who was equally fluent in Russian and English. He became at a relatively young age - at 47 years old.
A native of St. Petersburg, he lived first in Russia, then in the United States of America. In all his poems, Petersburg flashes, especially often this city is mentioned in famous work"Stances to the city".
Numerous studies of the book “New Stanzas for Augusta” show that such lexical units as the names Marie and Telemachus, as well as the words “madame”, “dear”, “friend” are often used in this work. The main addressee of "New Stanzas to Augusta" - who is waiting for her friend. All the gentle appeals of the poet are addressed to her. According to Brodsky's poems, one can judge what stanzas are in literature. Brodsky's central character is a lyrical hero; the motif of exile is also important for his poetry.
The collection "New Stanzas for Augusta" was dedicated to Maria Basmanova. It contains not only images of lyrical heroes, but also objects. They have symbolic meaning. Lyrical hero gives his girlfriend a turquoise ring. Turquoise is a stone made from human bones. The hero asks his beloved to wear this stone on her ring finger.
In the poem "A Slice of the Honeymoon", the author explores the marine vocabulary. His beloved name is Marina, so he pays special attention to the marine theme.
The poem "Night Flight" is dedicated to traveling in the belly of an airplane, and the poet admits that he always wanted to go to Central Asia. Traveling by plane has a double meaning for him - it is both a flight to another life and a journey to the resurrection. The poet strives for another reality, where there will be no misfortunes and torments.
