UDC 821.161.1 Karamzin - 13.09: 398.21
Shchedrin I.L., postgraduate student
Zaporizhzhya National University, st. Zhukovsky, 66, Zaporozhye, Ukraine
In an article in the light of M.M. Bakhtin analyzes the genre specificity of the heroic tale of N.M. Karamzin's "Ilya Muromets" and the nature of the manifestation in its structure of the element of the epic as a more archaic genre.
Key words: genre, epic, heroic poem, fairy tale poem, memory of the genre.
TO MEMORY THE GENRE OF BILINI IN THE POEMI M.M. KARAMZINA "ILLYA MUROMETS".
Shchedrin I.L.
Zaporizkiy National University, vul. Zhukovskogo, 66, metro Zaporizhzhya, Ukraine
At the statti behind the help of M.M. The bakhtinim of the concept of "memory of the genre" carry out an analysis of the "rich poem" of M.M. Karamzina "Ilya Muromets" and I will show the character in the structure of the element of bouvalais like a larger archaic genre.
Key words: genre, bilina, rich poetry, charming Kazkova singing, memory of the genre.
BYLINA’S GENRE MEMORY IN THE POEM "ILIA MUROMETS" BY N.M. KARAMZIN
Schedrіn I.L.
Zaporіzhzhya National University, Zhukovsky str., 66, Zaporizhzhya, Ukraine
The author analyzes the heroic poem "Ilya Muromets" by N.M. Karamzin in the context of Russian epos, using M.M. Bakhtin's genre theory and the concept of the "genre memory". This problem is relevant in modern literary studies: there appear works about folklorism of the poem by Karamzin, but none of them has a complete study on the impact of this bylina on the poem. To solve this problem the article provides a comparative analysis of the main features of the literary work by Karamzin and genre differentiation criteria of bylina. The analysis is carried out according to 10 corresponding points: subject of works, individual authors ’worldview, characteristic literary devices, social and aesthetic value of work, poetic characteristics, unpoetic formal characteristics, genre distribution, extraliterary distribution, author’s definition of the genre. In the course of the study, the author for the first time establishes a narrative connection between the poem "Ilia Muromets" and prosaic "heroic fairy tale" by V.A. Levshin "Alyosha Popovich". The article notes the contradiction between the memory of bylina and Karamzin’s poem: in the chronotope, in the characteristics of the protagonist, in poetics. The author's analysis concludes that bylina's genre memory in the poem "Ilia Muromets" appeared mainly in the rhythmical system. Influence of the other criteria of the genre memory on Karamzin's poem is insignificant. The author argues that the main reason for this is the fundamental difference of Karamzin’s adjustment on fabrication and adjustment on strict authenticity, which was adhered by the narrators of folk tales. The author of this article concludes from his analysis that "Ilia Muromets" belongs to the inter-genre community of "heroic fairy tales". The author also suggests that namely deep contradictions between prior genres of Karamzin's poem (bylina, poem, literary fairy tale) led to the fact that the poem stayed unfinished.
Key words: genre, bylina, heroic fairy tale, magic fairy tale, genre memory.
The specifics of the appeal to folklore and the nature of its interpretation in the works of N.M. Karamzin is the subject of research by historians of Russian literature for 2 centuries. The interest of science in Karamzin's work is constant, but the writer's legacy is so significant and diverse that certain aspects of Karamzin's literary heritage remain less studied than others. One of these aspects is the folklore component of the unfinished “heroic tale” “Ilya Muromets”, created and published in 1795 in the collection “Aglaya”. Pre-revolutionary and Soviet researchers of Karamzin's work did not ignore this problem (,), however, they mentioned it most often in passing, noting the weakness of the correlation of the poem with authentic Russian epics. The judgment of Yu.M. Lotman: "Karamzin turns to the Russian epic without a desire to penetrate into its objective artistic atmosphere." According to one of the most authoritative experts in the history of Russian literature in the 18th century. G.A. Gukovsky: “When Karamzin was faced with the question of a romantic recreation of the“ color ”of the personality, he preferred to build romantic images surrounded by the Spanish knightly tradition or Ossian legends, than to turn to Russian folklore." However, the researchers limited themselves to these general estimates. The folklorism of the poem has become an object of serious study only in recent years, which indicates both the actualization of interest in genre-educational processes in Russian literature of the end of the 18th century, and the deepening of ideas about the specifics of the folklorism of literature of this period. It is worth noting, in particular, recent studies by O.E. Podoinitsina, A.D. Benkovskaya, E.G. Pozdnyakova.
A common feature of modern works is the dominant of the literary view on the poem by N.M. Karamzin: and A.D. Benkovskaya, and O.E. Podoinitsyn, they consider the work in the context of the history of the Russian poem, the work of Karamzin, the paths of development of Russian literature in general, however, practically no attention is paid to the comparative analysis of the poem and epic In these works about the folklore of the poem "Ilya Muromets", as well as the previous ones, the specificity of the epic as a folklore genre and the complexity of the image of Ilya Muromets, which are differently revealed in the versions of epics, remained outside the scope of the study. Despite the fact that these articles contain apt and correct remarks, they cannot be considered an exhaustive study of the folklore origins of the poem, if only because the ways and specifics of transferring the memory of the genre of the epic, like the literary history of the poem, are not disclosed in the research.
Genre memory is a concept proposed by M.M. Bakhtin, and proved its productivity in the study of non-canonical literary genres, in the structure of which the features of predecessor genres, both literary and folklore, are manifested. Within the framework of modern scientific discourse, such a definition is productive: the memory of a genre is an integral component of a literary genre, ontologically acting as a fixed or unrecorded (i.e. at the time of creation of works, existing only in the minds of the authors or recipients of the work) cultural tradition that affects the existence of this genre , as well as all his genres, successors and heirs. In a narrow sense, adequate to the topic of this study on the influence of the folklore genre on a literary work, the memory of the genre is a creative inertia that determines the formal and substantive characteristics of a work at the stage of its creation and is traced in the finished work using aspect analysis. The emergence and strength of this inertia is directly influenced by the reader's perception, his assessment of works, and the reader's request.
The objective of this research is to study and describe the specific features of the memory of the genre of epics in the "heroic poem" by N.М. Karamzin, using the conceptual scientific heritage of M.M. Bakhtin and subsequent researchers of the theory of the genre.
Based on the theory of M.M. Bakhtin and the controversy around it in Russian literary criticism (in particular, in the works of B.V. Tomashevsky), a list of possible features of the genre's memory expressed in the studied work or group of works was proposed:
1. Themes of the works.
3. Literary devices characteristic of the genre.
4. Plot and composition of genre works.
5. Socio-aesthetic value of the genre (which includes its audience and the perception of it by the reader as low or high, mass or elite).
6. Poetics: rhythm, vocabulary, phraseology and other poetic features typical of the vast majority of works of the genre.
7. Unpoetic formal characteristics of the text (for example, volume).
8. Genre distribution (which genres are genetically or thematically related to the researched, with which there is a fruitful exchange of material).
9. Extra-literary distribution (which types of art often interact with works of the genre).
10. The author's definition of the genre (more often than not, it is of greater importance than the literary classification, since it accompanies the work throughout its life in culture and, influencing the reception of the work, in fact, is itself a part of it).
After analyzing the poem "Ilya Muromets" in the context of Russian literature of the 18th century. and the Russian epic tradition, one can come to the following conclusions:
1. The poem "Ilya Muromets" is dedicated to heroic deeds, which is reflected in the title of the work. The motivational basis for the creation of the poem was N.M. Karamzin, in the wake of the growing interest in folk art (authentic or falsified - did not matter, given the inability of the mass and even elite reader to recognize a fake) to introduce an epic into the circle of images and themes of Russian literature. In connection with this application of the author, the reader had the right to expect an adventurous story about exploits, battles, fights, travels, and the love affairs of a hero-hero. At first glance, Karamzin's poem meets this expectation, since it is dedicated to the love affair of Ilya Muromets. But, it seems, more productive in studying the nature of this "heroic poem" is an approach that does not imply its consideration as a work "about the love of a hero."
2. Perception of the era of Kievan Rus as the ideal time for the emergence of a unified Russian statehood is an integral characteristic of Russian epics. The reason why the feats of epic heroes were transferred during the Kievan Rus is not a subject of scientific discussion: as Academician B.D. Greeks, “popular sympathies are directed to the time when the Russian land, gathered under the rule of the first Kiev princes from the East Slavic tribes and some non-Slavic ethnic elements into one political whole, really represented a force that was formidable for enemies and at the same time provided an opportunity for the development of a peaceful national labor is the key to the future future of the country ”. This is what caused the special attitude of the people to epics, with which the author's position of Karamzin, expressed in the poem, is radically different. First of all, this distinction concerns the attitude towards reliability.
The lines from the programmatic preface of Karamzin's poem are indicative:
Oh! not everything to us is a bitter truth
torment your languid hearts!
oh! not all of us are tearful rivers
pouring about significant disasters!
Let's forget for a minute
in the sorcery of red fiction! ...
Such an attitude to the epic is deeply alien to the narrator. The epic in the perception of the people is not recognized, in contrast to the fairy tale, a poetic fiction. On the contrary, as the collectors noted, "... the North Russian peasant singing epics, and the vast majority of those who listen to him, certainly believe in the truth of the miracles that are depicted in the epic."
This difference in N.M. Karamzin and the narrators of epics, noted by previous researchers of the problem (,), set the basic characteristics of the poem. However, it is worth noting that Karamzin's line is contradictory. On the one hand, the poem is a "fairy tale, fiction"; on the other hand, the main argument of Karamzin in favor of "Russian fables, Russian tales" is the impossibility of believing "that God Saturn could turn an amiable parent into a miserable freak; so that the Ledy were - hens and in the spring they lay eggs; so that the Polluxes and Helen were born of white swans. " This contradiction can only be resolved in one key: if we assume that ancient mythology deserves the author's "reproaches" not so much for actual unreliability (ie fantastic), but for ethical and aesthetic. Karamzin leaves room for such an interpretation. Saturn could not "turn the parent into a miserable freak" not because he cannot, but because the parent is "amiable." Leda cannot lay eggs like some kind of chicken, because this does not fit with the image of Tyndareus's beautiful wife. Thus, the choice between “Russian fables” and “wondrous, strange inventions” of ancient mythology is not a choice between reality and fiction, but between “our” tale and “not ours,” ideological, not logical.
Another fundamental difference between the worldview expressed in the poem "Ilya Muromets" and the epic one is also interesting. The world of epics is organized geographically: in its center is the capital Kiev-city, near the center or on the periphery - specific geographical objects: rivers (Pochaina, Smorodinka), cities (Chernigov, Murom), villages (Karacharovo), mountains, etc. The specific toponyms cited by the narrators of epics have a genre-differentiating meaning and are the subject of a prolonged scientific dispute within the framework of the historical school of epic studies. At the same time, the world of the poem "Ilya Muromets" is organized not geographically, but literary. Greece, Troy, Italy, Parnassus - have no spatial significance for N.M. Karamzin, but correspond to the literary network of coordinates in which the action of the poem develops. Thus, the beginning of the action is a reference to the coordinates of ancient literature and mythology, which the author refuses in favor of “other tales”. In the "boundless Russian region" described by the author, forests and plains are absolutely devoid of substantive meaning, which cannot be said about the style of Solomon Gessner's idylls, which is clearly and clearly felt by the author, which has a decisive influence on the landscape described from the position of a hero who "has a tender heart" ... The further journey of Ilya Muromets, through the mediation of the prayer genre, ends in the literary coordinates of a love story that is closest to Karamzin (which affected the duration of the hero's delay in this part of the narrative). From here the hero no longer has a way out, since the poem ends there. Description of the wanderings of Ilya Muromets in the poem by N.M. Karamzina betrays her absolute literary centricity, completely alien to the narrator of the epic. The epic is an artistic reality of the second level, layered on the real world. Poem by N.M. Karamzin is already a reality of the third level, “a work about works”. It is also noteworthy that the bearer of traditional Russian peasant culture, even if he is a contemporary of N.M. Karamzin, would not have caught the "third layer" and would have perceived the poem as a "narration of events." We must deviate from this interpretation of the work, since it obviously does not characterize and does not exhaust the artistic meaning of Ilya Muromets, and most importantly, it does not at all explain the author's motivation for creating the poem. At the same time, the perception of the “heroic poem” as a purely literary-centric work explains the duration and significance of the programmatic preface and the beginning of the poem. It is also explainable why N.M. Karamzin left the plot without completion: for him the end of the poem was not its plot-event ending, but the denouement of an artistic experiment. Thus, the breaking off of the poem “in mid-sentence” (from the point of view of the reader looking for an eventful meaning in the poem) is in fact a regularity.
3. The author of the poem "Ilya Muromets" practically does not use the artistic techniques characteristic of the epic. You can see the attempts of N.M. Karamzin of symbolic parallels between the behavior or appearance of the characters and descriptions of nature: the author does not tire of comparing the cheeks of Ilya Muromets with the dawn, the charms of the anonymous "beauty" loosely covered with clothes - with mounds, and so on. Nevertheless, all symbolic comparisons without exception in the poem "Ilya Muromets" have nothing to do with epic formulas. This is especially noticeable in the description of the hero's image.
4. The very plot of the poem "Ilya Muromets", which is based on the meeting of a hero with a girl sleeping in a tent during distant wanderings, can be based on an epic plot. Considering the plots about Ilya Muromets, parallels with the plot of the poem by N.M. Karamzin can be traced only in the epic "Ilya Muromets and his daughter." The outset of the epic is based on the fact that a meadow appears in the vicinity of Kiev with the aim of "ruining the capital Kiev-city". Three heroes in turn leave to meet the Polyanitsa, but only Ilya decides to take the battle. In battle, he wins, but then his daughter is recognized, and Ilya has mercy on Polyanitsa. The daughter, feeling resentment for the dishonor of her mother, tries to kill the hero in a dream, but dies at his hand. So, the common denominator with the poem by N.M. Karamzin - a meeting with a heroic girl (as evidenced by the fact that she has armor). The poem ends at the moment when fully dressed in armor Ilya Muromets and the heroine grateful to him sit next to each other "under shady bushes" and are silent for two minutes, after which "a miracle is happening." We hardly know what miracle N.M. had in mind. Karamzin, but the likelihood of the subsequent battle, recognition of the heroine of the heroine of the hero and her tragic death at the hands of Muromets - tends to zero. In addition, in the manuscripts and lists of epics of the 18th century and older described by the researchers, which could have been available to N.M. Karamzin, the epic about the meeting of Ilya Muromets with his daughter is not found. As far as we know, this epic was first recorded by P.N. Rybnikov from Trofim Ryabinin in 1871 in the village of Kizhi, Petrozavodsk district. The epic is a unique version of a more widespread story about Ilya's meeting with his son, which reduces the chances of N.M. Karamzin. Nevertheless, the question of the influence of this plot on the poem cannot be considered closed.
5. The place of Karamzin's poem in the circle of reading of his contemporaries is fundamentally different from the circle of listeners of epics. The poem "Ilya Muromets" is intended by the author for an educated public seeking an appeal to Russian cultural roots, "national exoticism". The elitist views of N.M. Karamzin's literary creativity "emasculated" folk "exoticism", but his formal innovation was appreciated not so much by his contemporaries as by his successors - in particular, A.S. Pushkin. Nevertheless, the aesthetics of a narrow aristocratic circle of connoisseurs and creators of new Russian literature was alien to the Russian peasantry, which was the custodian of the true epic. Influence the epic epic poem
6. Innovation N.М. Karamzin's attempt to convey the tonic verse of Russian epics is beyond doubt. For Karamzin, this attempt was mainly the nationality of his poem. The tendency, reflected by the author of Ilya Muromets, resulted in the dominance of syllabo-tonic versification in Russian poetry. The mechanisms behind the use of N.M. Karamzin of tonic verse illustrate the complexity of the reconstruction of the ways of memory of the genre in the fate of the work. At the time of the creation of "Ilya Muromets" potentially available to N.М. Karamzin had handwritten sources with musical notation, from which he could understand and restore the musical and rhythmic nature of Russian epics. Already V.A. Levshin in "Russian Fairy Tales" cites fragments of epics written in short lines, as is customary in songs and poems - and even from these lines, the main rhythmic characteristics of the epic verse are more or less clear.
7. The volume of the poem "Ilya Muromets" is comparable to the volume of the average epic, however, given that the poem is not completed, we can assume its much longer duration, at the level of other heroic poems (for example, "Alyosha Popovich" by NA Radishchev). If we consider the poem by N.M. Karamzin is on a par with the adventurous stories of the 18th century authors about the heroes, it is legitimate to assume that the plot of the unfinished poem barely had time to start.
8. In the program preamble of the poem by N.М. Karamzin characterizes its genre distribution in accordance with his artistic views: "fairy tales", "Russian fables, Russian stories", "Russians were with fables." Such distribution is unusual for epics, even if N.M. Karamzin is a purely literary genre of fable.
9. At the same time, the analysis of this aspect of the possible preservation of the memory of the genre is possible only in the context of comparing two arrays of works, and not one work with an array. It can be stated that the Russian epic is included in a relatively narrow circle of close folklore genres: a prosaic retelling of an epic, a folk heroic tale, a historical song. “Ilya Muromets”, on the one hand, can be regarded as a poem with a magical and fairy-tale flavor. On the other hand, the connection (plot and stylistic) with the “heroic tale”, “heroic opera”, and other “heroic poems” allows us to consider it in the context of the intergenre unity of the works of Russian literature of the second half of the 18th - early 18th century. XIX centuries, written based on or under a certain influence of epics.
10. The author of the poem "Ilya Muromets" unambiguously defined it as a "heroic poem". The significance of this definition can hardly be overestimated, since it includes the work in a wide genre context, and not only epic ones. By that time, "Heroic Tales" had already gained popularity: by the time of the creation of "Ilya Muromets", tales about heroes by V.A. Levshina, M.D. Chulkova, M.I. Popov, and Levshin's stories had the author's definition of "heroic tales." After N.M. Karamzin, Russian authors continued to create heroic poems, paving the way for the flourishing of romanticism - even if classicistic principles dominated in the creation of these works (as, for example, in the play by I.A. "Woe-bogatyr Kosometovich"). Poem by N.M. Karamzina influenced subsequent authors of poetic tales and poems based on Russian epics and fairy tales. An assessment of this influence and the specificity of the manifestation of the memory of the genre in the works of N.M.'s predecessors and successors. Karamzin is worthy of being the subject of a separate study.
In search of the origins of the plot of the poem "Ilya Muromets", it makes sense to abandon attempts to compare the poem with the plots of the epics about Muromets: the very logic of the image of the “young hero-lover” is absolutely alien to the epic stories about the eternally “old” (but mighty) hero. However, such a plot, with an indication of the name of another hero, Alyosha Popovich, can be found in the literary "heroic tale" of the 18th century by V.A. Levshin. In the original "The Tale of Alyosha Popovich - a hero who served Prince Vladimir", included in the collection of V.A. Levshin's "Russian Fairy Tales", we find Alyosha's "biography" composed by the author based not so much on epics as on European knightly novels. At the very beginning of his wanderings, the 13-year-old, but already a mighty and brave hero meets a tent in which the Tsar Maiden is, whose sleep is guarded by a slave. According to the guard: “The heroes cannot withstand her blows, but this horse can be found in spirit, even if I have gone a thousand miles. She travels around the world, beats the heroes and recently, while driving through the Russian land, she caused terrible ruin. " Nevertheless, the brave young hero enters the tent in order to "avenge the earth's offense." However, seeing the sleeping girl, Alyosha is convinced that "Lada herself, the goddess of love, did not at all have so many charms, as many of them seemed to him," and prefers to cover the sleeping girl with kisses and caresses, having previously tied her. Later, he transports the dangerous Tsar Maiden to Kiev and hands her over to Prince Vladimir. The parallel with the plot of Karamzin's poem is obvious, although incomplete.
The fact that the plot of "Ilya Muromets" goes back to the fairy tale of V.A. Levshin, very likely for two reasons: firstly, by the time the poem was written, "Russian Tales" had already undergone several reprints, received fame with a scandalous tinge and were well known to numerous readers. Secondly, the image of the main character of the epic is more similar to the epic image of Alyosha Popovich - a young hero known for his love exploits, although the epic stories about him do not give grounds to suspect sentimentality or excessive “tenderness” in Alyosha - but rather adventurism and frivolity. Similarly, Ilya in N.M. Karamzin is not just young (like, for example, Dobrynya), but even young and handsome. Beauty is not only an integral quality of a knight in the European novel tradition, but also a property of an epic hero - however, usually a special reference to it is associated with some kind of love exploits of the hero. Alyosha, in the epic tradition, is a hero, more than others known for his love affairs: both with the wife of Dobrynya Nikitich, and with the sister of Zbrodovich. So, the logic of the plot of the poem "Ilya Muromets" is perfectly combined with the image of Alyosha, as it develops in folklore and literary works, with which NM could be familiar. Karamzin. But the epic image of Ilya (there were no literary works about this hero before N.M. Karamzin), the poem contradicts, which was noted earlier. In most versions of the epics, Ilya acts as a mighty old hero - which is understandable, given the late start of his heroic career. At the age that we assume for the hero of Karamzin's poem, Ilya could not get up from the stove, let alone ride a horse. In addition, there are no stories about Ilya's exploits in love, no indications of his "tender heart."
In addition, Ilya Muromets N.M. Karamzin calls him a "miracle worker", which weakly correlates with the folklore image of this hero and with the epic worldview in general. In epics, the image of a wizard / sorceress in the overwhelming majority of cases is extremely negative, and the image of a hero is extremely positive; thus, the hero-wizard is almost an oxymoron. The confrontation between the hero and the sorceress forms the basis of the well-known epic story about Dobryna and Marinka. At the same time, the bogatyr, naturally deprived of magical powers, loses in a magical competition (turns into a round), but wins "on his own field": when he picks up a "sharp saber" and cuts off the head of the witch Marinka. Despite the fact that the folklore image of Ilya Muromets is associated with the miraculous (both his strength and the story of its acquisition through healing or as a result of a meeting with Svyatogor are wonderful), he is neither called nor depicted as a sorcerer or miracle worker.
N.M. Karamzin could not, but she had a significant impact on the further fate of the "heroic poem" in Russian literature, shifting the balance from the authentic Russian folklore beginning in favor of the "internationally-fabulous".
Note N.M. Karamzin to the poem “In discussing measure, I will say that it is completely Russian. Almost all of our ancient songs are composed of such verses "caused the comments of researchers about the wrongness of the author of the" heroic poem ". So, A.D. Benkovskaya notes: “The author's assertions that this type of speech organization was primordially popular (all songs are“ composed in such a size ”) are an illusion (genuine folk forms of rhythmization will appear in the works of the Decembrist poets, in A.S. Pushkin: raeshny verse, tonic , tactician, etc.) ". Such a mistake would allow us to conclude that N.M. Karamzin with folk verse - however, in reality, the words “such verses” very little oblige the author of the poem “Ilya Muromets” to thoroughly observe Russian folk sizes. By "such" Karamzin could well mean "rhymeless". Anyway, the verse by N.M. Karamzin is much closer to the epic than everything that was created before "Ilya Muromets" in the Russian literature of the Karamzin time. The effect of stylization, as noted by A.D. Benkovskaya, is achieved mainly through dactylic and rhymeless clauses. As for the remark about “the inconsistency of the four-foot chorea with the folk metric,” it is only partially true: the tonic verse of many epics tends to the choreic rhythm. This was noted, in particular, by M.L. Gasparov: “If we compare the tactical rhythm of the" Tale of Woe and the Evil Part "(17th century) with the rhythm of the epic recordings of Kirsha Danilov (18th century), we will see: both here and there, the metric scheme of a 3-cycle tactician does not fit less than 4/5 of the entire text, and among the rhythmic variants of this scheme, choreic ones prevail ”. Thus, we can state the closeness of the rhythmic characteristics of "Ilya Muromets" to the epic verse. The reason for this innovation could be the acquaintance of N.M. Karamzin already at the time of the appearance of the poem with the Russian heroic epic.
From a lexical point of view, the memory of the genre of epics in the work of N.M. Karamzin is practically not expressed. In addition to the word “hero”, which marks the epic genre (which, incidentally, NM Karamzin equates with the word “knight”), the lexical structure of the poem is not at all epic: Karamzin avoids archaisms, historicisms, dialectisms. There are attempts to imitate the epic phraseology in the poem: Ilya Muromets rides "on a stately nightingale", holds a "damask spear" in his hands. Nevertheless, in the overwhelming majority of cases, Karamzin's phraseology is author's, not folklore.
“Black shield”, “feathered helmet”, “blue tent” (instead of the traditional “white tent”), “mouth of raspberry” (instead of the epic “sugar”, “honey”) and most of the details describing the decoration of the hero and his weapons are either a rethinking epic formulas (and, consequently, their destruction), or created by the author without relying on folklore epic. Such a discrepancy with epic epithets is a sign of a deep difference between the "heroic poem" of N.М. Karamzin and Russian folk epic. While constant epithets played a huge functional role in the existence of epithets, simplifying the memorization and reproduction of songs, for the writer N.M. Karamzin, this function of the epithet is irrelevant. On the contrary: he is forced to destroy the epic formulas by the attitude to innovation, inherent in literary creativity, in contrast to folklore. It is also worth noting that in the epic the description of the decoration of the hero, his weapon, the horse is usually given more space than the description of the landscape. N.M. Karamzin - exactly the opposite, which also emphasizes the contradiction between the poetic characteristics of the poem "Ilya Muromets" folk epic tradition.
Analysis of N.M. Karamzin gives grounds to assert: the memory of the genre of epics determined a number of characteristics of this work. At the same time, the interaction within the framework of one work of memory of multiple literary genres-predecessors (literary tale, poem) often came into conflict with the memory of the genre of epics. N.M. Karamzin could not help feeling how far his perception of the world and the emerging creative result are from the folk heroic epic. It can be assumed that this is precisely why the poem "Ilya Muromets" remained forever unfinished, and in the history of the Russian epigram, a mocking appeal by A.S. Pushkin “And, grandmother, she started something empty! Finish us with Ilya the hero. "
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10. Grekov B.D. Kievan Rus / B.D. Grekov. - M.: Gospolitizdat, 1953 .-- 568 p.
11. Karamzin N.M. Ilya Muromets / [Electronic resource] / N.М. Karamzin /.
12. Hilferding A.F. Onega epics, written down by Alexander Fedorovich Hilferding in the summer of 1871 / A.F. Hilferding. - SPb. : Printing house of the Imperial Academy of Sciences, 1873. - 732 p.
13. Ilya Muromets and his daughter [Electronic document] // Ilya Muromets. - M .; L .: Publishing house of the Academy of Sciences of the USSR, 1958. - S. 207–217. (Lit. monuments). / [Electronic resource].
14. Comment [Electronic document] // Ilya Muromets. - M.; L.: Publishing House of the Academy of Sciences of the USSR, 1958. - P. 447–518. (Lit. monuments). / [Electronic resource].
15. Levshin A.V. Russian fairy tales / V.A. Levshin. - M.: N. Novikov University Printing House, 1780. - 520 p.
16. Gasparov M.L. Essay on the history of Russian verse / M.L. Gasparov. - M.: Fortuna Limited, 2000 .-- 351 p.
References
1. Berkov, P.N., Makogonenko G.P. (1964) “Life and Works of N.M. Karamzin ”, Zhizn i tvorchestvo N.M. Karamzina. - Moscow – Leningrad: Khudozhestvennaia literatura, Vol. 1, pp. 5–78. (rus)
2. Gukovskii, G.A. (1941) Karamzin, “History of Russian Literature,” Istoriia russkoi literatury. - Moscow - Leningrad: AS USSR. V. 5., 1941. URL: http://feb-web.ru/feb/irl/il0/il5/il520552.htm. (rus)
3. Lotman, Yu M. (1999) "Karamzin's Poetry", Pojeziia Karamzina. - Saint Petersburg.
4. Podoinitsyna, O. J. (2012) “Karamzin’s“ Heroic Fairy Tale ””, “Bogatyrskaia skazka” N.M. Karamzina. - Prepodavatel XXI vek. - N 2, Part. 2. Pp. 373-378. (rus)
5. Benkovskaia, A.D. (2004) “Folklore receptions in N.M. Karamzin's poem “Ilia Muromets”, Folklornyie retsepii v poeme N.M. Karamzina "Ilia Muromets". - Odessa: Maiak, pp. 62-68.
6. Pozdniakova, ye.G. (2003) “Folklorism of N.M. Karamzin’s prose ”, Folklorizm prozy N.M. Karamzina, Cheliabinsk.
7. Bakhtin, M.M. (1979) “Problems of Dostoevskii" s poetics ", Problemy poetiki Dostoevskogo, Moscow: Sovetskaya Rossiia. - 320 p.
8. Tomashevskii B.V. Teorija literatury. Poetika. Moscow: Aspekt Press, 1999 .-- 334 p. (rus)
9. Shchedrіn, I.L. (2011) “Problem of the genre memory in interdisciplinary scientific discourse”, Problema pamiatі zhanru v mіzhdistsyplіnarnomu naukovomu dyskursі, Vіsnik Zaporіzhkoho natsіonalnoho unіversitetu: Zbіrnyk naukovykh statei. Fіlolohіchnі nauky, No. 1. pp. 58–67.
10. Grekov, B.D. (1953) “Kyiv Rus”, Kievskaia Rus. - Moscow: Gospolitizdat. - 568 p.
11. Karamzin, N.M. "Ilia Muromets", Ilia Muromets.
12. Gilferding, A.F. (1873) “Onega bylinas reordered by Alexander F. Hilferding in summer 1871”, Onezhskia byliny, zapisannyia Aleksandrom Fedorovichem Gilferdingom letom 1871 goda, Saint Petersburg: Tipografiia Imperatorskoi akademii nauk, 1873. - 732 p. (rus)
13. Ilia Muromets and his daughter (1958), Ilia Muromets i doch ego, Leningrad: Izdatelstvo AN SSSR, pp. 207-217.
14. Commentarii (1958), Kommentarii // Ilia Muromets, Moscow-Leningrad. : Izdatelstvo AN SSSR, pp. 447-518.
15. Levshin, A.V. (1780) “Russian Tales”, Russkіia skazki, Moscow: Universitetskaia tipografiia N. Novikova. - 520 p.
16. Gasparov, M.L. (2000) “Essay on the History of Russian Verse”, Ocherk istorii russkogo stikha, Moscow: Fortuna Limited. - 351 p.
Keywords: Nikolai Karamzin, n karamzin, criticism, creativity karamzin, works, read criticism, online, review, review, poetry, Critical articles, prose, Russian literature, 19th century, analysis, ilya muromets, bylina
Literary criticism
"BOGATYRSKAYA TALE" N. M. KARAMZIN
I O. E. Podoinitsyna
Annotation. In the article, the author examines Karamzin's "heroic tale" "Ilya Muromets", considering it a unique manifestation both in the creative biography of Karamzin and in the history of the Russian poem of the 18th century, since its author conflicts with the traditions of not only ancient mythology, Greek and Roman heroic epics , but also with the Russian epic tradition.
Key words: Karamzin, "heroic Cossack", "Ilya Muromets", Russian poem of the 18th century, Russian folklore tradition.
Summary. The article analyzes Karamzin "s" a powerful fairy tale "" Ilya Muromets ". In the author ^" s opinion, this poetry is a unique piece of art both in Karamzin "s creative biography and in the XVIIIth century Russian poetry, as the writer conflicts with the traditions not only of antique mythology, the Greek and Roman heroic epos, but also with Russian epic tradition.
Keywords: N. M. Karamzin, "a powerful fairy tale", "Ilya Muromets", Russian epic tradition, the XVIIIth century Russian poem.
Karamzin acted as a poet in many genres. But only once did he set about creating a poem or, as the author himself called it, "a heroic tale." This is "Ilya Muromets", the first part of which was published in "Aglaya" in 1795. For unknown reasons, the work remained unfinished, and at the first publication Karamzin himself did not have a definite idea of \u200b\u200bhis future fate. The text ended with the label "Continuation from now on", but right there, in a note to the title, he expressed doubt that it would appear: "Continuation remains until another time; there is no end yet, maybe there won't be. "
As has been noted more than once in the literature, Karamzin's attitude to folklore underwent in the late 18th - early 19th centuries. noticeable evolution. In a letter to Dmitri-
on September 6, 1792, he called the publication of a collection of folk songs a "strange" idea and frankly laughed at it. Five years later, a different, highly appreciated folk poetry appeared in the Hamburg magazine "Le Spectateur du Nord". Here attention is drawn to the variety of characters, plots of epics, which he called "ancient knightly novels", which in the mouth of Karamzin was undoubtedly a positive characteristic. The conviction of the similarity of these genres was clearly manifested in "Ilya Muromets", where the hero is called "hero", then "knight", then "knight". This is also confirmed by the "heroic prescriptions" that echo the aspirations of the itinerant knights:
To be the protector of the innocence of the poor, orphaned and unfortunate widows And punish with your sword
Evil tyrants and wizards
Intimidating hearts of people
Later, in the "Speech delivered at the solemn meeting of the Imperial Russian Academy" in 1818, Karamzin saw in Russian folklore "objects for a genius not alien to Russians and in the darkest times of ignorance", "in folk songs", he wrote, "we see the obvious presence of this genius; we see the liveliness of thoughts characteristic of him; we feel, so to speak, his breath. "
The testimony of F. Bulgarin, who reported that in 1819 Karamzin told him about his intention to “collect and publish the best Russian songs, if possible, arranging them in chronological order, and add historical and aesthetic remarks,” also dates back to the same time. Only in the context of this evolution and as its fundamentally important milestone should the creation of "Ilya Muromets" be understood and appreciated.
"Ilya Muromets" is almost a unique phenomenon both in the creative biography of Karamzin, and in the history of the Russian poem of the 18th century. We know only one work of this kind that also remains unfinished - a poem about an epic hero. This is N. A. Lvov's poem "Dobrynya". It is dated, according to the author's note on the manuscript, in 1796, that is, it was written after "Ilya Muromets", was published much later, after the death of the author, in 1804 in the journal "Friend of Education", and nowadays it is included in the second volume of the two-volume Poets of the 18th Century with a meaningful commentary by ND Kochetkova.
According to it, before the text of the first publication was placed from
the author's preface, which, in particular, said: “The poem was written by Lvov in the rhythm of folk poetry, the poetic dimensions of which the author put above the generally accepted iambs and chorea<...> About ten years before this he<Львов>, in a certain circle of his friends, arguing in general about the superiority of tonic poem over syllabic, he argued that Russian poetry could have more harmony, variety and expressive movements in the tonic free genus of verses than in the enslavement of only chores and iambics; and that you can even write a whole Russian epic in a completely Russian style. " According to Lvov's plan, the author of the preface notes, the poem “should describe the marriage of Grand Duke Vladimir I and, with it, the fun of Russian knights, and mainly the knight Do-Brynya Nikitich. The introduction ends with drinking, as if approaching Kiev, he finds a triumph there. In the second song the epic itself was to begin. But it is not known whether the late author continued this poem ... ”(p. 195). Although the poems of Karamzin and Lvov were created, obviously, independently of each other, there is an undoubted commonality of creative guidelines and similarities in the direction of their implementation.
"Ilya Muromets" was ignored by researchers. We managed to find only one work specially dedicated to this work, which appeared in Ukraine several years ago. This is an article by A. D. Benkovskaya "Folklore receptions in Karamzin's poem" Ilya Muromets ". The author with good reason asserts that before us is “actually the first“ folklore poem ”in Russian literature. Her influence affected the heroic tales and poems from Radishchev to Push-
kin "[ibid., p. 62]. The article contains a number of other observations and conclusions that deserve support.
The poem opens with a creative declaration, which, according to Yu. M. Lotman's fair assessment, “represents a demonstrative rejection of epic (in the spirit of classicism) and odic poetry”. While fully agreeing with this characteristic, one cannot fail to note that it by no means exhausts the originality of the approach to the material and interpretation of the traditional theme that can be seen in Karamzin's work.
Of course, it is significant and significant not only that Karamzin initially rejects any possibility of following the traditions of the Iliad and Aeneid, but also taking subjects from ancient mythology (“We are not Greeks or Romans; / we do not believe their legends” ), but also the fact that these plots themselves he expounds in a deliberately lowered, mocking tone and opposes them with an orientation towards his national roots, themes and "syllable" raised on the traditions of his people and his folklore: We need other tales; we have heard other tales from our late mothers. I intend to tell you now one of them in the style of antiquity, my dear readers.
[ibid, p. 149]. These words, of course, could not fail to recall in the memory of contemporaries the opening lines of the first book of the "ancient story" of IF Bogdanovich "Darling", recently read by them: Not Achilles' anger and not the siege of Troy, Where in the noise of eternal quarrels they ended
days are heroes But I sing to Darling. But the similarity of the designs of the two poets
deceptively. Bogdanovich refuses the epic scale of the Iliad, from the glorification of heroic deeds for the sake of turning to light, frivolous and even erotic themes. For Karamzin, the main thing is to appeal to his own, national roots, heroes and stories.
This, however, is by no means limited to the opening creative declaration that opens the work. Further, Karamzin declares his intention to abandon not only the topics that did not satisfy him and rejected by him, but also the approach to their disclosure and the tone of their coverage. He intends to write not only about the wrong thing, but also about the wrong ... He rejects not only antique, but also modern, domestic samples. He speaks with undisguised irony not only about Homer and Virgil, not only about the creators of mythical plots, in whose plausibility one cannot believe, but also ridicules “our knights”, “our poetry-rhyme-detectives”, who, reveling in their splendor, climb to the top of Pindovu , they surround themselves and fly down, not with crowns and not with laurels, but with donkey ears (ah!), for a disgrace to the scoffers!
The place where the poet is going to tell us his "story" is also significant: the place where his grandfather rests from his military past, where his feathered helmet and damask sword hang, with which he smashed the enemies of the fatherland. But the mythical exploits of the grandfather are mentioned in passing, but the author's actual plans are different. When he begins an extensive monologue with the address: “You, who in the sunflower / is visible and audible everywhere,” it may not even occur to him that this is how a sublime and inspired monologue begins. Lies:
Lie, untruth, ghost of truth! Now be my goddess and the flowers of the Russian meadow, take away the hero of antiquity, the greatest of knights, the miracle worker Ilya Muromets! I want to talk about him, about his immortal deeds. Lying! with you do not learn to pass me off fictions as true
[ibid, p. 151]. Already from this, the first mention of the hero of the poem, it becomes clear that the author comes into conflict with the traditions not only of ancient mythology, Greek and Roman heroic epics, but also with the Russian epic tradition, because it is impossible to imagine an epic that would notify the reader or listener that its content is "a lie, untruth", fables passed off as true.
But something else is even more important. By the time Ilya Muromets became the hero of Karamzin's poem, he was known for many works, in particular for the recently appeared "The Tale of the Glorious and Brave Hero Ilya Muromets and Nightingale the Robber", which contained a retelling of one of the most popular epics of the Kiev cycle. However, with all the variety of individual subjects, a single and indestructible characteristic was associated with the name of Ilya Muromets. In different situations, he displays the same qualities, and each new story reinforces the idea that organically merged with his name.
A beloved folk hero, a courageous warrior, selflessly devoted to his homeland, always ready to defend it, performing feats exclusively in the interests of the people. He has no other thoughts than to protect
his native land from enemy invaders, he defeats foreign heroes who come to Russia with hostile intentions, protects peaceful labor and the welfare of the common man from rapists and robbers. The quintessence of his convictions and all his activities is put into words:
I'm going to serve for the Christian faith And for the Russian land, And for the capital of Kiev-city, For widows, for orphans, for poor people
He is assigned a decisive role in battles, he leads other heroes, wisely directs their forces in the right direction. His courage is calm and reasonable, devoid of enthusiasm and bragging. He is endowed with high moral qualities, he is disinterested and incorruptible. Humanism is inherent in him: merciless to the enemy posing a danger to the fatherland, he is ready to spare the enemy who has surrendered, rendered harmless. In numerous conflicts with Prince Vladimir, with boyars, representatives of the nobility, the moral superiority of the hero, his nobility, and loyalty to patriotic duty are invariably emphasized. He is always on the side of truth and justice.
Such was the unchanging, prevailing appearance of this hero by the time when Karamzin turned to him and turned with the intention to endow this name with a person who has nothing to do with the famous hero. Ilya Muromets appears on a beautiful and cheerful summer morning. There are no insidious enemies that threaten the Russian land at all. On the contrary,
feathered babies, hemp with a robin, began to praise the day, carelessness and tranquility in gentle songs.
And the hero himself, although he is equipped with a helmet, a spear and a sword, looks more like a hero-lover than a stern hero. He is like red May: scarlet roses with lilies bloom on his face. He is like tender myrtle.
[ibid, p. 152]. Very significant is the introduction into the text of the name of S. Gesner, known for his idylls, depicting in a gallant manner the conventional world of shepherds and shepherdesses, moderate and embellished feelings. Although "the knight Gesner did not read," but his qualities and feelings perfectly correspond to those inherent in both the characters of the Swiss poet and the readers raised on his poems: "tender heart", "sensitive soul", "admired the beauty of the day", etc. .P.
And now a meeting takes place, the likes of which cannot be found in any epic about Ilya Muromets. His gaze appears "an unparalleled beauty, collection of all pleasantries, the rarity of lovely female charms." If Gesner was needed to describe the “sensitive soul” of the hero, then the beauty of a lovely sleeping stranger brings to mind the paintings of Titian and Correggio. The description of her appearance includes downright erotic notes: like snow clothes, white, linen, the thinnest, from the breath of her chest full of quivering quiet trembling
[ibid, p. 154].
Then the beauty noticed that linen clothes were not a dungeon for her beauties; that the kind young knight could guess just where under her that was hidden ...
[ibid, p. 159].
It turns out that "a hard, heroic heart" is "unsteady against female arrows, / softer than white-haired wax / against gentle, lovely charms" He "thought and guessed / that she was a girl." He examines her and every minute "finds something new / in the lovely charms of the beauty." But now he touches her with a golden ring with the talisman Veleslavin, thereby destroying the spell of Chernomor the hater, and the beauty awakens.
During their subsequent communication, Ilya Muromets does not in any way resemble an invincible hero: “in the oil of his eyes” “heart sensitivity” shines, he stands in front of her “with an air of sweet modesty”, and talks “in a quiet and trembling voice,” “with a gentle, expressive gaze Says even more than words. “In his eyes is thoughtfulness,” a “languid sigh” flies out of his heart. His faithful horse "neighs and jumps around Ilya" in vain, the hero of the poem is "insensitive" to the "caresses, to joy" of his faithful friend, a reliable horse. The knight in love sits down with the heroine on the fragrant grass. Their deep silence continues for two minutes; in the third, the miracle takes place.
[ibid, p. 161]. But what kind of miracle it is, we will never know: with these words the part of the poem written by Karamzin ends. Although neither the poet's further creative plans, nor the reasons why he refused to implement them, are known, what we know allows us to draw some conclusions.
An introductory creative declaration designed to inform us about the paths the author intends to take in real life.
zation of the topic chosen by him, solves this problem only partially. Indeed, when choosing a theme, the poet relies not on antique samples, but on a theme from Russian folklore. But Karamzin's innovation manifested itself primarily in a radical revision of this topic itself, in a departure from its traditional interpretation, in the creation of an image completely different from that prescribed by the established Russian folk tradition. Although Karamzin repeatedly mentions the combat equipment of the "knight": shield, spear, sword, etc., such definitions as "thin, straight", "like tender myrtle" weakly correspond to the generally accepted idea of \u200b\u200bIlya Muromets and, we believe, it was difficult to find an epic where he would be called "youth."
Although Karamzin reported that he intends to "talk" about the "immortal exploits" of the "greatest of the knights", the plot of the poem, which we managed to get acquainted with, raises doubts that the action will develop in the indicated direction, and the declaration contained here to make the Lie your goddess, as it were, in advance justifies breaking the promise made.
"Ilya Muromets", which became the first "folk poem" in Russian literature and had a noticeable influence on the formation and further evolution of this genre, was perceived by contemporaries as a notable achievement both in mastering national themes and in discovering new possibilities of Russian verse. As AD Benkovskaya reasonably notes, “the use of syllabo-tonic vocabulary to convey the rhythm of both folk and ancient Greek epos has become a tradition. But the author's assertions that this type of speech organization was originally folk (all
songs “composed in such a size”) do not correspond to reality (genuine folk forms of rhythmization will appear in the works of the Decembrists, in A.S. Pushkin: verse, tonic, tactician, etc.). The four-foot trochee, considered by the author as "a completely Russian measure", does not correspond to the folk metric, but the rapprochement with the folk rhythm is still facilitated by dactylic and rhymeless clauses. "
The response that the "heroic tale" received almost two decades after its creation from A. Kh. Vostokov is indicative: "This wonderful play, like all the works of the same author, justly attracted general attention as much as by the tempting syllable, as much as news the size to which many imitators soon appeared. "
LIST OF SOURCES AND REFERENCES
1. Karamzin N.M. Pole.sobr. op. - L .: Sov. writer, 1966.
2. Letters from N. M. Karamzin to I. I. Dmitriev. - SPb., 1866.
3. Karamzin NM Selected articles and letters. - M .: Contemporary, 1982.
4. Bulgarin F. V. Works. T. 3. - SPb., 1830.
5. Benkovskaya AD Folklore receptions in NM Karamzin's poem "Ilya of Muromets" // Problems of the modern lggeratu-rasknavstva. Collection of Science Practices. -Vip. 13. - Odessa: Mayak, 2004.
6. Bogdanovich IF Poems and poems. - L .: Sov. writer, 1957.
7. Onega epics, recorded by AF Gilferding in the summer of 1871. - Ed. 4. -T. 3M.; L., 1951.
8. Vostokov AF Experience of Russian versification // St. Petersburg Bulletin. - 1812. - Part 2. - No. 6. P
Ilya Muromets
Heroic fairy tale (This is the beginning of the trinket that occupied my solitary hours this summer. Continuation remains until another time, there is no end yet - maybe there will be no. verses.)
Le monde est vieux, dit-on: je le crois; cependant Il le faut amuser encore comme un enfant.
La FontainePart one
I don't want with the poet of Greece
the sonorous voice of Kalliopin
sing the enmity of Agamemnon
with the brave great-grandson of Jupiter;
or, following Virgil,
sail from the ravaged Troy
with the cunning son Aphrodite
to the golden shores of Italy.
I do not wish in mythology
draw marvelous, strange fictions.
We are not Greeks or Romans;
we do not believe their stories;
we do not believe that the god Saturn
could a kind parent
turn into a miserable freak;
so that Ledy are chickens
and laid eggs in the spring;
to Polluxes with Elena
were born from white swans.
We need other tales;
we have heard other tales
from their late mothers.
I intend the syllable of antiquity
tell one of them now
to you, dear readers,
if you are free during hours
find pleasure
in Russian fables, in Russian stories,
in a mixture of reality and fables,
in these toys of peaceful idleness,
in these dreams of the imagination.
Oh! not all of us are bitter truth
torment your languid hearts!
oh! not all of us are tearful rivers
pouring about significant disasters!
Let's forget for a minute
in the sorcery of red fiction!
I do not want to go to Parnassus;
no! Parnassus mountain is high,
and the road to it is not smooth.
I saw how our knights,
our poetry-rhyme modelers,
reveling in odor,
climb to the top of Pindova,
surround and fly down,
not with crowns or laurels,
but with donkey ears (ah!),
for disgrace to the scoffers!
No, dear readers!
i ask you not to go there with you.
Near my humble hut
on the bank of the transparent river
ancient grove, oak
it will cover us from the rays of the day.
There is my grandfather in his old age
i always rested on a hot afternoon
on the lap of a sweet grandmother;
there hangs his feathered helmet;
there hangs his damask sword,
with whom he is enemies of the fatherland
punished them for their pride
(Turkish and Swedish blood
and is now still visible on it).
There I will sit on the riverbank
and under the shadow of spreading trees
i will tell you a story.
There you can quietly
if you find it boring,
yawning twice, close your eyes.
You who are in the sunflower
visible and audible everywhere;
you who, like the god Proteus,
you take every image on yourself,
you can sing with every voice,
you surprise, amuse us, -
you broadcast everything except ... the truth;
you announce with gazepers
intimate politics;
composing with poets
noble praises are beautiful;
you magnify Pantomoros
a glorious, unparalleled author;
with the alchemist you open to us
the secret of the philosophical stone;
explaining with a taxonomist
connection of the soul with the body
and human freedom
with indispensable laws;
you who are with Lyudmila
in a gentle and trembling voice
said to me: I love you!
oh goddess of white light -
Lie, untruth, ghost of truth!
be my goddess now
and the flowers of the Russian meadow
take away the hero of antiquity,
the greatest of the knights,
miracle worker Ilya Muromets!
I want to talk about him,
about his immortal deeds.
Lying! I don’t study with you
to pass off fables as true.
The red sun appeared
on the azure of the clear sky
and rays of bright gold
lit up a quiet grove,
green hill and blooming valley.
The whole creation smiled;
water streamed with glitter;
herbs refreshed at night,
and fragrant flowers
dissolved the morning air
sweet spirit, aromas.
All the bushes revived
and feathered babies,
hemp with a robin,
in tender songs began to praise
day, carelessness and calmness.
Never in the Russian region
summer morning never happened
more fun and more beautiful.
Who enjoys this morning?
Who is on a stately nightingale horse,
holding a black shield in one hand,
and in the other a damask spear,
rides through the meadow like a formidable king?
On the head is his feathered helmet
with a gold, light plate;
on his thigh is a heavy sword;
armor illuminated by the sun,
sprinkle sparks and burn with fire.
Who is this knight, the young hero?
It is like May red:
scarlet roses with lily
bloom on his face.
He is like tender myrtle:
thin, straight and dignified.
His gaze is faster than an eagle's
and the moon is clearer.
Who is this knight? - Ilya Muromets.
He drove through a wild dark forest,
and his eyes are
the field is smooth, extensive,
where nature is scattered
the gifts of the earth are abundant.
Vityaz Gesner did not read;
but having a tender heart,
admired the beauty of the day;
quietly rode through the meadow
and in my sensitive soul
a clean morning sacrifice
brought to the king of heaven.
"You, who decorate everything,
russian god and god of the universe!
You who endow us
with all the blessings of your bounty!
always be my assistant!
I vow to follow forever
heroic prescriptions
and the statutes of virtue,
to be the protector of innocence,
poor, orphaned and unfortunate widows
and punish with your sword
evil tyrants and wizards,
frightening hearts of people! "
So our hero reflected in himself
and looking everywhere,
behind the bushes in front of you,
over the streams of a fast river,
sees a light blue tent,
sees a heroic rate
with a gold round dome.
He approaches the bushes
and knocks with a spear on an iron shield;
but the answer of the hero
no to the knock of his weapon.
The white horse walks in the meadow
bareback, unrestrained,
nibbles fragrant grass
and traces of silver horseshoes
leaves flowers on the dew.
The knight does not go to the knight
bow, read.
Our Muromets is surprised;
looks at the sky and thinks:
"The sun is higher than the azure mountains,
and the Russian hero in the tent
is it still at rest? "
He lets out on a green meadow
your reliable horse
and enters with a bold step
in a bet with a gold dome.
Why is nature wonderful
didn’t give me a wonderful gift
gentle brush to seduce the eyes
and paint with living colors
with Titian and Correggio?
Oh! then I would introduce you
what the knight of Muromets saw
in a rate with a gold dome.
You would see with him -
unparalleled beauty
meeting all the courtesies,
the rarity of cute female charms;
you would see with him
how is she a pleasant, quiet sleep
enjoyed in a blue tent,
scattering on colored grass;
like her thick hair
light blond, wavy,
overshadowed the whiteness of the face, neck,
chest alabaster and,
curling, developing,
fell on their knees to her;
like her lily hand,
where all the veins are cornflower blue
were tenderly marked,
i rested my head;
like snow-white clothes,
linen, the finest
full of breath
trembled with quiet trepidation.
But you cannot express in a fairy tale
and you can't write with a pen,
than the eyes of our hero
rejoiced on her brow,
on her lips are crimson,
on her lofty eyebrows
and all over the face of the beauty.
Plate with a gold notch,
helmet with a feather of the overseas firebird,
sword with a topaz hilt,
a spear with a damask point,
blued steel shield
and a saddle with a shiny talus
lay on the grass around her.
Heart is hard, heroic
firm in battles and battles
with the enemies of virtue -
firmly in adversity, dangers;
but not firmly against female arrows,
softer than white-haired wax
against gentle, lovely charms.
Vityaz knew many beauties
in the boundless Russian region,
but I've never seen one like this.
His gaze does not turn away
from her ruddy face.
He is afraid to wake her up;
he is annoyed that the heart is in him
beats with frequent, violent trembling;
he breathes in his chest
tries to stop
so that more beauty
unimpeded to view.
But he wants again
so that the beauty suddenly wakes up
he wants her eyes -
right, bright, dear -
see under the eyebrows black,
he wants to listen to her
a quiet, pleasant voice;
he wants to know her
curious story,
and where, and where is she,
and why, red girl
(the knight thought and guessed,
that she was a girl)
travels around the world to be a hero,
exposed to dangers
hard life, knightly life,
not sparing spring delights,
not afraid of heat, cold.
“The hands of a weak, perishable woman
can sew with silver and gold
in a red and deceased mansion, -
not to wield a sword or a spear;
can a friend, dear heart,
reap with love to a tender heart, -
not to smite giants in the fields.
If any of the evil wizards
will take a young girl prisoner,
oh! why the villain is insensitive
will not do with her in a rage? " -
This is how Ilya talks to himself
and looks at the beautiful.
Time flies like a fast arrow;
hour passes by minutes
and noon follows in the morning -
The sun is leaning towards the west
and with ethereal coolness
evening descends from the clear sky
on the meadows and the field is clear -
the stranger is sleeping deeply.
The night on a cloud descends
and thick veils of darkness
clothe a quiet land;
you can hear streams murmuring,
a distant echo is heard,
and the nightingale sings in the bushes -
the stranger is sleeping deeply.
The knight waits in vain
to make her breasts high
with a gentle sigh, she hesitated;
so that she has a white hand
although once quietly started
and opened her eyes clear!
The stranger is still asleep.
He sits down in a blue tent and,
looking at the beautiful,
sees in the very darkness of the night
her heavenly beauty, sees -
in his touched soul
and in your imagination;
feels her breath
and does not think to calm down
at an hour deep midnight.
The night passes, the day comes;
day passes, night comes -
the stranger still sleeps.
Our knight sits rooted to the spot;
forgets food, necessary sleep.
Every hour, every minute
he finds something new
in the lovely charms of a beauty;
and - not a whole week in a year!
Here, dear readers,
will have to explain to us,
destroy objections
strict, pale-faced critics:
“Like Ilya, although Muromets,
although the knight of ancient Rus,
could sit for a whole week,
without getting up, in one place;
could not poppy dewdrops
do not take in your mouth, do not feel naps? "
You have heard like a holy monk,
enjoying the wondrous singing
paradise motley hemp,
could be without food and without sleep
not a week, but a century.
Is the beauty of the beauty
have no enchantment
paradise variegated hemp?
Oh my dear friends!
if you knew that women
can do with us, the poor! ..
Oh! ask old gray-haired men;
Oh! ask me myself ...
and, blushing, I confess to you
what a magical view of a damsel, -
i don't want to name her now! -
was my heavenly food,
olympic Ambrosia;
that I was glad to have been awake for a century,
if only he could see cruel! ..
But I'm afraid to talk about her
and I return to the hero.
“What a miracle! - the knight thinks. -
I have heard about the hero's dream;
sometimes it goes on
three days and an hour, but no more;
and the beauty is kind ... "
Then he sees a black fly
on her lips crimson;
forgets reasoning
and a heroic hand
drives away an evil insect;
waving his index finger
(where the big golden ring shone
with the mascot Veleslavin) -
waves, softly touches
to the scarlet roses white-faced -
and my dear beauty
dissolves clear eyes!
Who will describe her sweet gaze,
who is the smile of awakening,
that unspeakable courtesy
with which, standing up, she greets
a knight she didn't know?
"I would sleep for a long time, continuous sleep,
young knight! (she says)
if you didn't wake me up.
Soy mine was a charm
evil, cunning wizard,
Chernomor the hater.
I see a ring on your hand
the ring of a good sorceress,
Veleslava the Beneficent:
he by his secret power,
touching my face,
destroyed the spell
Chernomor the hater ”.
The knight shone with a feathered helmet:
black velvet hair
crumbled over his shoulders.
As the dawn turns red in the sky
spilling into a sea of \u200b\u200bpink
before the sunrise of the red sun,
so blush on his cheeks
poured into a crimson flame.
Like dew shines on the field
silvery by the luminary of the day,
so heart sensitivity
in the oil his eyes shone.
Standing with an air of sweet humility
before a kind stranger,
in a quiet and trembling voice
he answers the beauty:
"Gift of the sorceress, dear
dear and dear to my heart;
i owe him happiness
see the clear light of your eyes. "
With a gentle, expressive look
he said much more.
Then the beauty noticed
that the clothes are linen
not a dungeon for her beauties;
what a gracious youthful knight
could easily guess,
where is that hidden under it ...
So gray fog, worrying
over the green valley,
does not completely hide the mounds,
in the midst of her blooming;
the eye of the attentive wanderer
through the hazy excitement
sees their tops are round.
The stranger lowered her eyes - blushed,
like poppies,
and took it with a white hand
for heroic armor.
The knight realized that the beauty
without witnesses desired
dress up as a young knight.
He left the headquarters carefully,
looked at the blue sky,
leaned against a flexible elm,
threw the feathered helmet on the ground
and rested his head on his hand.
What did he think
we will not say suddenly;
but in his eyes is thoughtfulness
exactly how it was portrayed
like a thick cloud in a stream;
a languid sigh flew out of my heart.
His horse, comrade, faithful friend,
seeing the knight, runs to him;
neighs and jumps around Ilya,
lifting a white mane,
curving tail curving.
But our hero is insensitive
to caress, to the joy of a friend,
your reliable horse;
he stands, is silent and thinks.
How long, how long does Muromets think?
No, not for long: open up
floors are light blue stakes,
and his eyes are
stranger in the form of a knight.
Feathered helmet flutters
above her sublime brow.
The heroine props up
a copy with a damask point;
a sword gleams at her thigh.
At that moment the sun is red
shone brighter than ever,
and its rays with love
spilled on the beauty.
With a gentle, gentle smile
the dear looks at the knight
and the movement of azure eyes
tells him: “We can sit down
on the fragrant grass,
under the shady bushes. "
The knight is coming soon
and sits down with the heroine
on the fragrant grass,
under the shady bushes.
Two minutes goes on
their deep silence;
in the third, a miracle occurs ...
To myself
Sorry, hope !, and forever!
Everything that flattered the heart has disappeared,
It seemed sweet to my soul;
Disappeared! Weak person!
What do you want to do? douche
A river of bitter, vain tears?
Moan in the dust and torment? ..
What's the use? Rock and heaven
You will not touch with your longing
And you will only be sorry for yourself!
No, you better prove it to fate
That you can be great in soul
Calm in spite of everything.
Why be afraid? you are with yourself!
Run to your heart:
It is your friend, your joy,
For all misfortunes the reward -
You are not alone in the world!
You are also a citizen of the world! ..
See the sun above you
Shines with glory, beauty;
How clear, pure is the heavenly vault;
How peaceful, quiet everything in nature!
Zephyr streams a mirror of waters,
And the birds in joyful freedom
They sing: "Be cheerful, smile!"
They sing to you in a concordant chorus.
And you stand with a sad look,
With a dark soul? .. Cheer up
And remember that you've been before
How wise he imitated in feelings,
I adored Socrates with my heart,
I loved death with Cato, in hope
Wear a crown of immortality.
Everyday joyful end
Let it be the beginning for you
Heroic firmness in the soul!
The sting of fierce calamities,
Forgotten in a dark hut
With all the light, false friends
Be able to calm eyes
To look at the deceiving world,
To despise misfortune with happiness!
I've been captivated by a dream for so many years
I wanted bliss, I admired! ..
In a minute everything was covered with darkness,
And I was left with only longing!
So a certain architect, creating
Huge, magnificent temple
To the wonder of future centuries,
Proud of spirit, thinking
About the glory of his work;
But suddenly the huge temple shakes
Falls ... fell ... and he is gone! ..
What is the poor architect? He swears
Do not build further, live carelessly ...
And I swear ... not to love!
Choosing a groom
Lisa lived in the city,
But she was innocent;
Lisa, an angel of beauty,
Angel in temper and soul.
The time has come for her to love ...
Everyone should love in the light,
And at seventeen you can't
A heart to live without another.
What to do? where to look?
And who do I like to say?
Is it possible to appear in the light,
Capture all, one captive?
And so she did.
People surrounded Lisa,
Lisa was told one thing:
"You were born to seduce us!"
“Be my wife! -
The rich says to her, -
Every day you are ready
Precious updates;
You will walk in gold;
Necklaces, earrings,
Multicolored brocade
I will give a sweet one. "
What is the beauty in return?
What did she say? yes or no?
Liza only smiled;
I went away, did not look back.
The proud master told her:
“Be my wife;
You will be a noble lady:
Know, I am a complete general! "
What is the beauty in return?
What did she say? yes or no?
She bowed to the general,
Only the rank was not captivated.
Lisa ... goes on;
Searches, does not find for a long time ...
"So she goes by a century! .."
You are mistaken - it will find!
Lisa's betrothed said:
"I'm not a general in rank
And I have no wealth,
But I know how to love you.
Liza! be mine forever! " -
Then the beautiful sighed,
I looked at the dear
And she said: "I am yours!"
To the poor poet
Stop, my friend, a sad poet,
To murmur on your meager lot
And know that poverty and peace
They can also be dear to the heart.
Fortune is your stepmother
For something very dislike
I rewarded with an empty bag
And let go into the world with a hook;
But truly my own mother,
Nature loves to reward
Unhappy stepsons of Fortune:
Gives them mind, heart heat,
The art of singing, a wonderful gift
Pour fire into golden strings
Captivate hearts with harmony.
You have this priceless gift;
You know how to clean verses
To glorify love and friendship;
Like a bird, free in white light,
You don't know the cage, no shackles -
What is more? be satisfied;
Sighing, murmuring is the passion of fools.
Look at the sun, the vault of heaven
Into a fresh meadow, lovely to the eyes;
Look at the fast river
Flying with silvery foam
On light yellow sand;
Look at the dense, green forest
And listen to the songs of the nightingale:
Poet! All your nature.
In her beloved bosom
You are a king on a magnificent throne.
Leave others to wear the crown:
Be proud, singer of tender feelings,
A wreath of delicate roses woven,
You received from the graces!
Nobody wants to flatter you:
What needs? who is calm at heart
Who is worthy of true praise,
Tom is not boring to live a century
No noise, no cunning flatterers;
You cannot give ranks
But you can feed with grains
A family of grateful birds;
They will sing your praise
Much better than poems,
Tyrants of hearing, false Orpheus,
Which muses lie in odes
In awkwardly magnificent words.
A friend of mine! materiality is poor:
Play in your soul with dreams
Otherwise life will be boring.
Not Croesus with bags, chests
It can be more fun to live here
But the one who in poverty knows how
Amuse yourself with wealth;
Who has the gift of imagining
A thousand rubles in my pocket,
Not having a penny in the house.
The poet is a cunning sorcerer:
His living thought, like a fairy,
Creates beauties from a flower;
Produces roses on a pine tree,
In nettles, tender myrtle finds
And builds sand castles.
Luculla in refined bliss
In vain is your dull taste
They want something new to delight.
The satrap with Laisa yawns;
Throwing a handkerchief to her, falls asleep;
Their lot is to count the days, not to live;
Their souls decayed in luxury,
Numb like a stone -
For the feeling of earthly joys.
An excess of benefits and pleasure
There is a cold coffin of the imagination;
In your dreams, in your desires
We are only happy;
Hope is gold for us
The dearest ghost to the eyes
In which we kiss happiness
To praise dinner not full,
For whom the nymphs, Ganymede
Ambrose guests are delivered,
And not in the arms of Liset
Singers extol beauties;
Everything seems better in the distance.
Eating dry figs
But in my thoughts royally enjoying
Gifts of the sea and land,
Call to yourself in playful verses
Friends, kind and happy
For a sweet and sumptuous feast;
Pick up incomparable beauties
A cheerful feeling of lively;
Tell them with a gentle sound of lyre
Sing in a loud and sweet choir
Fly like Terpsichore
With a splash of joyful guests
And your sweet caress,
With a sweet, voluptuous gaze,
Dumb but intelligible conversation
To prepare hearts for that,
What ... you can't say in poetry.
Or, like Don Kishote,
Having a hunt for chivalry,
Dress up in shishak and shell,
Sit on a greyhound horse,
Look for dangerous adventures
Magic castles and battles
To help good princes
Free princesses from bonds.
Or, resurrecting Platonov
And with them refining your mind,
Give the law to the republics
And turn the earth into the sky.
Or ... but how to calculate everything,
What can a poet think
In your secluded hut?
The sage who knew people
Said the world stands by deception;
We are all, my friend, liars
Common people, wise men;
Impenetrable fog
The truth is covered for us.
Who can invent nicely
Poems, prose, good hour!
If only it would have been probable.
What is a poet? skillful liar:
Glory and crown to him!
To the wrong
Reason says: "Everything in the world is a dream!"
Alas! unhappy is the one to whom the heart says:
"Everything in the world is a dream!"
To whom cruel fate will prove it by experience.
Then the color of life will fade;
Then the light is intolerable;
Then our eyes are dull
Looking for nothing on a woeful land:
He is looking only for ... the grave! ..
I heard a terrible voice, the voice of my heart,
And with the beauty of the soul, with hope, he said goodbye;
Hope is dead: can I live like that?
When I lost your love, dear,
Can anything, can I love myself
Who in life has experienced all the sweetness of tender passion
And you liked ... he lived, and lived for a long time;
I must die: this is how fate determined.
Oh! if it were in our power
Forever ardently love
Live forever in a sweet heart,
Nobody would want to part with the local light;
Then a person would be an object of envy
For the inhabitants of heaven. - By reproaches to you
I do not want to be bored: reproaches are useless;
We can never be nice by force.
Love is obedient to everything, love ... one fate.
When the heart is removed from the heart,
It is in vain to call him: it will not return.
But a wanderer in woeful places,
In the dead desert, on the sands,
Pleasures of meadows, valleys imagines
Once he walked through the cop:
"There the nightingales sang, there the fragrant myrtle bloomed!"
This sufferer only torments himself with the thought,
But all the unfortunate people talk about happiness.
Their fate ... to remember, lucky ... to enjoy:
I will also remember heaven, feeding hell in my heart.
Oh! there was a time for me to dream and be mistaken:
I have lived for thirty years; from flower to flower
I flew with marshmallows. Cypride your wreath
She often served me;
Like a fast breeze, my hand played
With a veil on the chest of the most charming circus;
Armida Tassovs, Lance of our days
They beckoned me with a smile of love
And the heart of the youth was taught to be windy;
But I fell in love without loving.
When did I recognize you
When, with trembling hands
Hugging each other, forgetting everything,
With two burning hearts
Concluding a sacred union,
We tasted heaven on earth
And eternity in one moment together, -
Then, then for the first time I knew love;
Exhausted by her delight,
Lost thoughts, feelings and expected death,
The most charming, blissful! ..
But rock wanted to save me for grief;
Happiness should pay us more unhappily.
How mortal you were loved
How are you idolized? What a mortal she was
And so kind, so sweet?
Love for you was burning
And near my heart
Love, love in yours trembled so much!
With the heavenly sweetness of your breath
It poured into my chest. What a word is bliss:
What a gaze is a new gift. I forgot the whole world
Nature and friends: nature's perfection,
I loved my friends, myself, the creator in you alone
One hour of separation
It was an unbearable year of torment for my heart;
I said goodbye to you
I said goodbye to myself ...
And with a renewed feeling
I was in a hurry to embrace you;
In spiritual joy he shed tears like a river;
In bliss he trembled ... not mortal, he was a god! ..
And the dust at your feet seemed sacred to me!
I kissed the ground
On which you stepped;
As you drank nectar, the air you breathed ...
Alas! nobody died of happiness here,
When I didn't die! .. Leave the world cold,
Who is the enemy of sensitive souls;
Embracing move to another where we are free
Live with what is sweet to us;
Where love reigns without all prejudice
Without all the unfortunate delusions;
Where God will greet us with a smile ...
Oh! how many times
We dreamed about that delighted
And together they shed tears! ..
I was, I was loved by you!
Cruel! .. alas! could suspicion
Should I darken my soul? Terrible guilt
I would then have the slightest doubt;
Would mourn him. You be unfaithful!
Rather, the creator will forget us,
Rather, the monster will be at peace here,
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