Written 119 poems, of which 26 translations and 6 imitations. His most popular original poems: "Recovery", "Merry Hour", "My Penates", "To D.V. Dashkov", "Crossing the Rhine", "Shadow of a Friend", "On the ruins of the castle of Sweden", "Tavrida" , "Separation", "Awakening", "Memories", "My Genius", "Hope", "Dying Tass", "Bacchae", "From the Greek Anthology".
There are 27 prose works by Batyushkov (from 1809 - 1816), which differ in stylistic merits. The main ones are: "An excerpt from the letters of a Russian officer from Finland", "Eulogy to sleep", "Walk in Moscow", "About the poet and poetry", "Walk in the Academy of Arts", "Speech on the influence of light poetry on the language" ( to which he gave great importance), “On the writings of Muravyov”, “Evening at Kantemir”, “Something about morality based on philosophy and religion”. It is impossible not to mention Batyushkov’s “notebook called: “Alien is my treasure”. There is a lot of translation in this book, but also various memoirs, sketches, independent thoughts, not devoid of interest.
Konstantin Nikolaevich Batyushkov. Portrait by an unknown artist, 1810s
Batyushkov's correspondence with friends, especially with Gnedich, to whom 85 letters were written, is almost of the same importance. Of the humorous works of Batyushkov, the most famous are "Vision on the banks of the Leta" and "The Singer in the camp of the Slavic Russians." Both are dedicated to ridiculing the Conversations party with Shishkov at the head.
The main merit of Batyushkov is the development of verse; he completely mastered its harmony and realized that it was necessary to learn it from the Italian poets, whose passionate admirer he had always been. Permanent models for translations were: Casti, Petrarch, Tibull, Guys, Tasso , while Ariosto was Batyushkov 's ideal . "Take the soul of Virgil, he writes, the imagination of Tassus, the mind of Homer, the wit of Voltaire, the good nature of Lafontaine, the flexibility of Ovid - that's Ariost." Belinsky wrote about Batyushkov: “Such verses are excellent even in our time, at their first appearance they should have generated general attention, as a harbinger of an imminent revolution in Russian poetry. These are not yet Pushkin's poems, but after them one should have expected not some other, but Pushkin's. He "prepared the way" for Pushkin, whose first works are imitations of Batyushkov. The young man Pushkin found dissonance in Zhukovsky's poetry and, achieving perfection, imitated Batyushkov.
KONSTANTIN BATYUSHKOV. "Hope". Bible story. video film
We must not forget that if Karamzin had such predecessors as Fonvizin and Derzhavin, then Batyushkov had no one and worked out the harmony of the verse completely independently. His poetry is distinguished by extraordinary sincerity. “Live as you write,” he says, and write as you live: otherwise, all the echoes of your lyre will be false. Batyushkov remained true to this ideal throughout his life.
His poetry is partly non-Russian in nature, cut off from his native soil. The influence of Italian poets was reflected in the Epicurean direction of Batyushkov's lyre. The removal from motives more characteristic of Russian nature was facilitated by the struggle with the Shishkovites, who deeply resented the poet. “You must love the fatherland; whoever does not love him is a monster. But is it possible to love ignorance? Is it possible to love mores and customs from which we have been separated by centuries and, even more, by a whole century of enlightenment?
Batyushkov's poetry, distinguished by sincerity, was in close connection with his personal life. As his life up to the entry into the police, and poetry was empty. After he survived the war, traveled abroad, his poetry takes on a more serious direction (“
For Batyushkov, the main evaluation criterion artwork is the concept of "taste". Batyushkov's "taste" is manifested in the unity of form and content, which is almost always present in his poetry. Batyushkov demands accuracy and clarity from the poet. Batyushkov himself is attracted not only by bright colors. In his dynamic paintings, we almost physically feel specific details: “happy Ile de France, plentiful, rich in water”, “a huge god of the seas”, “a thick shadow under this elm tree” ...
Batyushkov does not invent new words (which we will see in Yazykov's work) and very rarely new combinations ("ruins of luxurious attire"). The poet boldly uses in his poems archaisms (“straight agreement”, “zane”), Slavicisms (“right hand”, “vesi”, “stogny”); philosophical "lexicon" ("proportionality", "phenomena", "balance"); colloquial expressions.
In his elegy "Tauris" (1815) we find the same peculiarities of style; with “sublime phraseology” (“under the sweet sky of a midday country”, “under the roof of a quiet night”), everyday words (“rural garden”, “simple hut”) peacefully combine.
The author boldly inserts proverbs into the poetic text (“And happiness lives only there, // Where there are no us crazy ones”, “The day is long, painful for a lazy fool, // But short, on the contrary, useful for a wise man”; “Here there will be a meeting not according to dresses").
Contemporaries in Batyushkov's poems especially appreciated harmony, musicality, "sweetness". “No one has the charm of euphony to such an extent as he,” wrote V.A. Zhukovsky. - Gifted with a brilliant imagination and a refined sense of expression and subject matter, he gave authentic patterns of style. His poetic language is inimitable ... in the harmony of expressions. “Italian sounds, what a wonderworker this Batyushkov is”, “charm and perfection - what harmony,” Pushkin wrote admiringly, making his remarks on Batyushkov’s “Experiments”.
The smoothness and musicality of the rhythm - this is what especially captivates Batyushkov's poetry. So, in Batyushkov's poem "The Song of Harald the Bold" (1816), the picture of sailing on a stormy sea receives sound coloring due to the constant alliteration "l" - "r" - the intensification of the injection of these sounds is characteristic of the entire poem. Here is just one stanza:
There were only three of us on the light boat;
And the sea heaved, I remember, mountains;
The black night at noon loomed with thunders,
And Gela gaped in the salty wave.
But the waves in vain, raging, whipped,
I scooped them with a helmet, I worked with an oar:
With Harald, oh friends, you didn't know fear
And they flew into the peaceful marina with a boat!
In this poem, sound repetitions are also interesting (Wall, Stanina, pier, whipped), which give the verse greater expressiveness. Phonetic harmony is the background against which Batyushkov's poetic originality manifests itself with amazing force.
The rhythmic effect is achieved in various ways. The poet loves the anaphora:
To him alone, - all the warriors broadcast, -
He alone will lead us to glory.
("an excerpt from the 1st song" of "Jerusalem Delivered") (1808).
He also resorts to inversion (“I left the foggy Albion on the shore” - the arrangement of the words depends on the rhythm of the verse); intersperses various iambs (often six-, five- and four-foot); likes truncated adjectives:
You sang stormy abuse, and the Eumenides are pale
All the horrors of war were revealed by gloomy views ...
Scattered... gentle beauty...
That roses are young, dedicated to Cyprida ...
And what do my bewitched eyes see?
"To Tass", 1808
Batyushkov boldly combines different vocabulary, different styles. In the late Batyushkov, this diversity of usage “performs the most important task of destroying the harmonious image of the world,” writes N. Fridman, “Batiushkov needs the reader to experience the depth of loss with the greatest vividness of memories, so that he recognizes the beautiful before losing it.”
Summarizing all that has been said, one can determine the historical and literary significance of K.N. Batyushkov in the words of V.G. Belinsky: “Batiushkov contributed much and much to the fact that Pushkin was what he really was.
This merit alone on the part of Batyushkov is enough for his name to be pronounced in the history of Russian literature with love and respect.
Questions about the work of K.N. Batyushkov
- In what genres does Batyushkov try his hand?
- What is the main idea of his "Anacreontic" lyrics?
- What type of satire does Batyushkov use?
- In what genre does his talent flourish with particular force?
- What new things did Batyushkov bring to Russian poetry?
- Can it be argued that Batyushkov managed to recreate the "anthological" verse?
- Is it possible to agree that Batyushkov created the beauty of the “ideal” form with his poetry?
- What distinguishes Batyushkov's poetic language?
- Do you agree with Belinsky’s words that in Batyushkov’s lyrics “the old and the new lived together side by side without interfering with one another”?
- Did Batyushkov manage to create his own “school”?
- What is the main difference between Batyushkov's poetry and Zhukovsky's poetry?
- How can one determine the role of Batyushkov and his significance in the history of Russian poetry?
Konstantin Nikolaevich Batyushkov
1787-1855
Ideological and artistic originality of Batyushkov's poetry.
Belinsky, defining the originality of the poetry of the author of The Bacchae, wrote: “The direction of Batyushkov's poetry is completely opposite to the direction of Zhukovsky's poetry. If uncertainty and vagueness are the distinctive character of romanticism in the spirit of the Middle Ages, then Batyushkov is as much a classic as Zhukovsky is a romantic. But more often the critic praised him as a romantic.
Batyushkov's work is very complex and contradictory. This gives rise to great discord in his assessment. Some critics and literary scholars consider him a neoclassicist (P. A. Pletnev, P. N. Sakulin, N. K. Piksanov). Based on the poet's obvious connections with sentimentalism, he is perceived either as a sentimentalist (A. N. Veselovsky), or as a pre-romantic (N. V. Fridman). Exaggerating the roll calls characteristic of Batyushkov with Zhukovsky, he was ranked among the "dull" romanticism. But Batyushkov, experiencing at the beginning of his work the partial influence of classicism (“Bag”), and then of humanistic-elegiac romanticism, did not belong to the orthodox adherents of either classicism or elegiac romanticism. All of it literary activity, poetic and theoretical, at its core unfolded in an unceasing struggle with classicism and its epigones. Clearly aiming for classicism, he asked in his “Message to N. I. Gnedich”: “What is in loud songs for me?” Batyushkov spoke in the difficult conditions of the transitional time: the outgoing, but still active, epigone classicism, the growing sentimentalism, the emerging and gaining popularity of humanistic-elegiac romanticism. And this is reflected in his poetry. But, experiencing and overcoming the impact of literary influences, Batyushkov was formed mainly as a poet of hedonistic-humanistic romanticism. His poetry is characterized by the creation of an objective image of a lyrical hero, an appeal to reality, expressed, according to Belinsky, in particular, in the introduction of “events under the form of memory” into some elegies. All this was news in the literature of the time.
A large number of Batyushkov's poems are called friendly messages. These messages pose and solve problems social behavior personality. Batyushkov's ideal in artistic embodiment is certainty, naturalness and sculpture. In the poems “To Malvina”, “Merry Hour”, “Bacchante”, “Taurida”, “I feel my gift in poetry has gone out” and similar ones, he achieves almost realistic clarity and simplicity. In "Tavrida" the heartfelt initial appeal: "Dear friend, my angel!" The image of the heroine is plastic, ruddy and fresh, like a "rose of the field", sharing "work, worries and lunch" with her beloved. Here, the alleged circumstances of the life of the heroes are also outlined: a simple hut, "a home key, flowers and a rural garden." Admiring this poem, Pushkin wrote: "In feeling, in harmony, in the art of versification, in luxury and negligence of the imagination, Batyushkov's best elegy." But the elegy “I feel my gift in poetry has gone out” is not inferior to her. With sincerity of feelings, sincere appeal to her beloved, she anticipates the best realistic elegies of Pushkin.
The details of the life of the lyrical hero ("Evening", "My penates") testify to the invasion of poetry Everyday life. In the poem “Evening” (1810), the poet speaks of the “staff” of a decrepit shepherdess, the “smoky hut”, the “sharp plow” of the yelling, the fragile “get along” and other specific details of the circumstances he recreates.
Bright plasticity the best works Batyushkov is determined by the strict purposefulness of all means of their image. So, the poem "To Malvina" begins with a comparison of a beauty with a rose. The next four stanzas play on and expand on this comparison. And the graceful work ends with a wish-recognition: “Let gentle roses be proud On the lilies of your chest! Ah, dare I, my dear, confess? I would die a rose on it. The poem "Bacchante" recreates the image of a priestess of love. Already in the first stanza, which reports on the rapid run of the Bacchus priestesses to the holiday, their emotionality, impetuosity, passion are emphasized: “The winds blew their loud howl, splash and groans with noise.” The further content of the poem is the development of the motive of spontaneous passion. Belinsky wrote about the elegy “On the ruins of a castle in Sweden” (1814): “How everything in it is sustained, complete, finished! What a luxurious and at the same time resilient, strong verse! ”(VII, 249).
Batyushkov's poetry is characterized by a complex evolution. If in his early poems he is inclined to express and depict states of mind more or less statically (“How happiness slowly comes”), then in the prime of his work the poet draws them in development, dialectically, in complex contradictions (“Separation”; “The Fate of Odysseus "; "To friend").
Batyushkov's works, embodying natural, individual feelings and passions, did not fit into the usual genre-specific formations and poetic metro-rhythmic schemes of classicism, intended to express abstract feelings. Following Zhukovsky, the poet also contributed to the development of syllabo-tonic verse. "Light poetry", which demanded naturalness, spontaneity, led Batyushkov to widely appeal to the iambic variety, which is distinguished by colloquialism, expressiveness, and flexibility. According to I. N. Rozanov, almost two thirds of his poems were written in this size (“Dream”, “Message to N. I. Gnedich”, “Reminiscence”, etc.). But for most of the most resilient lyrical works, glorifying love, Batyushkov preferred the game trochee ("To Filisa", "False Fear", "Lucky", "Ghost", "Bacchante"). Expanding the possibilities of syllabotonics, the poet, in addition to the four-foot (“How happiness slowly comes”), the six-foot (“Message to my poems”) iambic, also uses the three-foot one. The liveliness of the message "My penates", written in iambic trimeter, evoked the praise of Pushkin and Belinsky.
Batyushkov in a number of poems showed examples of strophic art and a remarkable mastery of the symmetrical construction of the verse (“On the death of the wife of F.F. Kokoshkin”; “To a friend”, “The Song of Harald the Bold”, “Crossing the Rhine”). Giving his poems ease, the immediacy of the flow of feelings and thoughts, he more often uses free stanza, but even in it he strives for symmetry (“Merry Hour”).
Taking care of the naturalness of poetry, the poet pays much attention to their harmony. He loves the musical consonances of consonants: “They play, dance and sing” (“To Malvina”); “The clock is winged! don’t fly” (“Advice to friends”); “She shone in all her grandeur” (“Recollection”); "Horses with a silver rein!" ("Lucky"). Skillfully repeating, concentrating the sounds p, p, b, etc., the poet creates a whole musical symphony in the poem: “You awaken, O Baia, from the tomb When aurora rays appear ...” (1819).
Batyushkov is one of the first among poets to violate the absolute boundaries between genres established by the classicists. He gives the message the properties of an elegy (“To a friend”), then a historical elegy (“To Dashkov”), he enriches the genre of the elegy and turns it into a lyrical-epic work (“Crossing the Rhine”, “Hesiod and Omir are rivals”, "Dying Tass").
Expanding the possibilities of colloquial speech in poetry, Batyushkov achieves immediacy in verse: “Give me a simple flute, Friends! and sit around me Under this thick shade of elm, Where freshness breathes in the middle of the day ”(“Advice to Friends”). But at the same time, where necessary, he turns to anaphoras ("An excerpt from the XXXIV song of the Furious Orland"), inversions ("Shadow of a friend") and other means of syntactic representation.
Democratizing literary language, the poet is not afraid of words and expressions of a wider range than the society of the enlightened nobility, dear to him. We will find appropriately used words in him: “crash” (“Advice to friends”), “stomping” (“Joy”), “blushing” (“Prisoner”).
The plastic expressiveness of Batyushkov's works is also helped by precise, concrete, figurative means especially epithets. He has a red youth, a cheerful Bacchus, winged hours, green meadows, transparent streams (“Advice to Friends”), frisky and lively nymphs, a sweet dream (“Merry Hour”), an innocent maiden (“Source”), curly groves (“Joy ”), the camp is slender, the cheeks of the girl are flaming (“Bacchae”).
But, fully mastering the art of the artistic word and brilliantly showing it in many beautiful lyrical creations, Batyushkov also left poems, to one degree or another unfinished. This was also noted by Belinsky. According to his observation, the poet's lyrical works are predominantly "below the talent he discovered" and far from fulfilling "the expectations and requirements he himself aroused." In them there are difficult, clumsy turns and phrases: “Rather by the sea, one can comfortably sail on a rolled boat” (“N. I. Gnedich”, 1808). Or: “Guided by the Muses, penetrated into the days of youth” (“To Tass”, 1808). They are not always spared from unjustified archaism: in the elegy “The Dying Tass”, written in 1817, there are words that clearly fall out of her style: “koshnitsy”, “kiss”, “vesi”, “finger”, “orata”, “ matured”, “fire”, “woven”, “right hand”, “stognam”, “voice”, “non-violent”.
Batyushkov is a remarkable connoisseur of antiquity. He introduces historical and mythological names of this world into his poems. The poem "Dream" recalls marshmallows, nymphs, graces, cupids, Anacreon, Sappho, Horace and Apollo, and in the poem "Advice to Friends" - nymphs, Bacchus, Eros. He has poems "To Mal-Vina", "Message to Chloe", "To Filisa". However, the abundance of ancient names, historical and mythological in the poems about modernity, undoubtedly introduces stylistic diversity. That is why Pushkin noted about the message “My Penates”: “The main flaw in this charming message is too obvious a mixture of ancient mythological customs with the customs of an inhabitant village near Moscow". In this poem, in the “wretched hut” with the “shabby and tripod table”, “hard bed”, “skunky junk”, “goblets”, “golden bowl” and “bed of flowers” coexist.
5. Features of conflict and composition in A. S. Griboedov's comedy "Woe from Wit"
At the heart of social conflict lies the clash of two ideologies: the Decembrist, whose spokesman is mainly Chatsky, and the patriarchal-conservative ideology of Chatsky's main opponent, Famusov. Their constant heated disputes, affecting various sides public life that era, we can observe throughout the play. But this confrontation would not be so tangible, and even more so would not come to the fore, if only these two characters were involved in it. Griboyedov, on the other hand, draws almost all of his heroes into this conflict to one degree or another. Together with Famusov, Chatsky's ideas are opposed by Molchalin, Skalozub, Khlestova, Zagoretsky, and all the rest with their remarks only confirm Chatsky's accusation against Moscow society. He, having returned to Moscow after several years of wandering, cannot come to terms with her morals and ardently opposes the cruel manifestations of serfdom (“He is fat, his artists are skinny”), kowtowing before superiors, striving for ranks and awards (“I would be glad to serve, sickening to serve"), society's attitude to education ("And shouting demanded an oath, // So that no one knew and learned to read and write"), the idleness of this society ("Yesterday there was a ball, and tomorrow there will be two"), the dominance of everything foreign ( "Will we ever be resurrected from the foreign power of fashion?"), etc. Everything that does not correspond to his ideas about life causes a storm of emotions in Chatsky. Initially, he seems to us a lone fighter against all kinds of social vices, but Chatsky is alone on stage, but in life he has like-minded people, it is not for nothing that he often pronounces the word "we", speaking on behalf of some particular social force; individual off-stage characters are also associates of Chatsky. This is the cousin of Colonel Skalozub, who "suddenly left the service, // In the village he began to read books", and the nephew of Princess Tugoukhovskaya, and professor Pedagogical Institute In Petersburg. All this makes Chatsky a realistic character, not without reason criticizing society, in contrast to Molière's Alceste, the protagonist of the comedy The Misanthrope, who, although he rightly condemns human shortcomings, appears before the reader as some kind of eccentric who even his best friend does not understand, a misanthrope by nature. This is explained by the fact that, unlike Molière, who strictly adhered to classicist norms, Griboyedov's task was to realistically reflect the era of his time, taking the life conflict that was relevant for that time with the correct alignment of forces, as well as the correct denouement. Indeed, with all the author's sympathy for his hero, Chatsky is expelled, because the time has not yet come for his victory, the conflict is by no means settled. By giving just such a denouement to his work, Griboedov violated the indispensable requirement of classicism for a good end, which gave the comedy even greater originality. But along with the realistic features in "Woe from Wit" there is also a romantic coloring: in the eyes of the reader, Chatsky seems to be a lone wrestler, since no one from acting characters he cannot wait for any support and he alone has to cope with his difficult mission.
As mentioned above, in Griboedov's comedy there is also a love conflict, which is no less interesting than the public one. According to I.A. Goncharov "every step of Chatsky, every word of his in the play is closely connected with the play of his feelings for Sophia", that is, without a love conflict, a public one would not have happened. But the first deserves attention not only as the cause of the second, he, like everything else in Griboyedov's work, is unusual. Its originality lies in the unconventionality of the love triangle: unlike classic comedies, where two rivals fight for the hand and heart of their beloved, in Woe from Wit, the girl herself, protecting her lover, tries to resist his rival. This fact alone proves that this girl, that is, Sophia, is not some kind of thoughtless coquette, but rather a strong personality.
Besides that love triangle unconventional, it also turns out to be "inverted", a parody of love affairs common in sentimental literature. So, it was customary to portray a girl in love with a smart, noble and sensitive commoner, but involuntarily marrying a rich, but narrow-minded and narrow-minded nobleman. An example of just such a love conflict is the novel by J.J. Rousseau's "Julia, or the New Eloise", whose main character, Julia d'Entage, is in love with her teacher, Saint Preux, but is forced to marry Monsieur de Volmar. Griboedov, on the other hand, ridicules sentimentalist traditions, portraying the poor commoner Molchalin as low and vile, and the nobleman Chatsky as smart, noble and sublime.
But what then explains the choice of Sophia? This is where many critics disagree. Some are more inclined to conclude that Sophia chose Molchalin to take revenge on Chatsky, who left her three years ago, and yet continues to unconsciously love him. So, for example, academician Nechkina believes, arguing that Sophia is an interesting person, whose image Griboyedov did not fully develop, fearing thereby to overshadow the image of Chatsky, and therefore "Sophia is not clearly drawn," as A.S. Pushkin. Other critics claim the opposite, saying that Sophia is just a cold coquette who has read French novels and is not endowed with either a special mind or a special feeling.
But Sophia's ambiguity is also artistically justified, as it helps in many ways to connect social and love intrigues. So, in the first act, we cannot predict the denouement of the comedy, Chatsky's chances for Sophia's reciprocity in the eyes of the reader still remain, we believe in a change in her attitude towards her old friend. In the fainting scene, the reader and the viewer learn about Sophia's deep and strong attachment to Molchalin, which can already be called love. It becomes clear that Chatsky has nothing to hope for, but now the reader's interest is riveted to the behavior of Chatsky, we are watching when he is convinced of the futility of trying to win Sophia. At the same time, Chatsky also leads political struggle, which, of course, is influenced by his love experiences caused by Sophia's behavior. An unexpected turn in the action is the gossip launched by Sophia about Chatsky's madness, which makes the girl a direct participant in the social conflict and puts her in a number of Chatsky's worst enemies; it is at this moment that the two intrigues of the comedy merge, which later cannot be separated from each other.
In the interweaving and further merging of the two intrigues, the realistic and multifaceted nature of the protagonist, who appears before us as an ardent lover and an eloquent speaker, plays an important role. It is his appearance that creates a lively, vivid action. Chatsky immediately begins a struggle on two fronts, which leads him to "a million torments" at the end. But not only his relationship with Sophia affects his struggle with the "gone century", as already mentioned, but also his constant clashes with the Famus society, causing him anger and irritation, make his further conversations with Sophia so harsh, poisonous and repulsive to the girl ("Not a man, a snake!").
In addition to Sophia, another person who helps to tie the two conflicts together is Molchalin; he is both a rival in love and a political opponent of Chatsky. The conversation of these two heroes is a clash of two antipodes, each of which considers the other a nonentity. Molchalin is the personification of all the baseness and ceremonial worship of the Famus society, which further enhances Chatsky's grief, since it turns out that it is the society that he hates that takes away his beloved ("And you! Oh my God! whom did you choose for yourself?").
The presence of two intrigues in Griboyedov's comedy at the same time caused heated debate in Russian criticism, the first to consider in detail the close connection of these two storylines was I.A. Goncharov, who wrote: "Two comedies seem to be nested one into the other ... When the first one is interrupted, an unexpectedly different one appears in between, and the action is tied up again, a private comedy is played out in a common battle and is tied into one knot."
Composition features
Writers who explore the work of the outstanding Russian poet Batyushkov come to the same problem - the ratio of the two I of the poet's lyrical hero.
Feature of creativity Batyushkov
This is due to the rather noticeable closeness of the "biographical" and artistic image of Batyushkov. In the work of other poets, this is also found, but in the case of Batyushkov, such closeness boils down from a slightly different side, more mysterious and ambiguous.
The poet himself emphasized this feature of his lyrics. The ratio of creativity and real life Batyushkov can be called main feature his creativity.
Two I of the lyrical hero Batyushkov
The central hero of Batyushkov's work is what we used to call lyrically a hero. This is a form of expression of the author's consciousness, therefore, parallels are always drawn between the image of the author and the image that he places at the center of his lyrics.
But Batyushkov's work is quite special in this regard. Many writers note that the "portrait" of his lyrical works has always been emphasized and frank. Therefore, we are not talking about the standard duality of the romantic hero of poetry, but about the two I of this particular poet.
In Batyushkov's lyrics we are presented with two heroes, each of which embodies completely different sides inner personality the author, which is also confirmed by his biography. It is for this reason that in this situation it is impossible to apply the stereotyped understanding of the "lyrical hero".
In relation to Batyushkov's poetry, this would not be enough. And if unity is embodied in his two heroes, then this is the unity of image and theme. This theme can be called a dream, which led to the emergence of precisely two types of lyrical heroes.
His work is saturated with this image, and two I Batyushkov reveal this topic from different angles. A good example is Batyushkov's poem with the characteristic title "Dream".
It is noteworthy that the poet edited it three times, and the editors share the same time interval - seven years. It was in 1803, when Batyushkov was 16 years old, in 1810 and 1817. The dream becomes a through motif of the poet's work, his two I will live in completely different spheres of being.
First hero lives in the real and material world, and second- in the imaginary, where true bliss will be available to him and his soul is calm. Thus, the two I represent fundamentally different attitudes, but each is forced to live according to his nature.
But in both of these images Batyushkov reveals the facets of his personality, because he cannot unite his inner life and the world in which he lives in one lyrically. Batyushkov's work is a vivid example of the internal contradiction that every person is capable of experiencing.
Only in this way did the poet succeed in expressing his essence and creative manner - for this he filled his lyrics with two different lyrical heroes, the reflection of each of which we see in his different poems.
