"In 45 minutes, the topic" Silver Age "is almost impossible to tell, because it takes five years for a student-philologist to start a very approximately to deal with it," said Publisher and literary critic Dmitry Bykov.
With this statement, it is impossible to disagree, because at the turn of the late XIX - the beginning of the 20th century, so many undeniable talents and literary flows appeared, which is really difficult to tell about all. This is a representative of aqmeism, and a supporter of Cubal feast, and also should not be noted, and other well-known personalities. But from this list it is necessary to allocate the symbolist of Innocent Annensky, who stood at the origins of the formation of directions in Russian poetry.
Childhood and youth
Innocent Annensky was born on August 20 (September 1) of 1855 in Omsk, which is rich in attractions and cultural values \u200b\u200b(no wonder Omsk is called the "theatrical city"). The future poet has grown in the average and exemplary family. Innocent's parents were not close to the creativity: his mother Natalia Petrovna led a household, and Father Fedor Nikolaevich occupied a high state post.
The main breadwill in the house received the position of chairman of the provincial government, so parents and son moved to the city of universities and scientists - Tomsk.
But in this place, which at one time was imparted, Innokenty stayed for a long time: already in 1860, because of the work of the father, Annensky again gathered the suitcases and left the harsh Siberia, "the road lay to St. Petersburg. It is known that Fyodor Nikolayevich soon became interested in Afera, so he broke, remaining with nothing.
As a child, Annensky was weak health, but the boy did not stay at home training and went to a secondary private school, and later became a student of the 2nd Petersburg Progimazy. Since 1869, Innokenty was on the Bench of Private Gymnasium V. I. Bensha, in parallel preparing for admission to the university. In 1875, Annensky stayed at his older brother Nikolai Fedorovich, who was a journalist, an economist and publicist populist.
Nikolai Fedorovich, formed and intelligent man influenced Innokentia and helped him in preparing for exams. Thus, Annensky easily became a student of the historical and philological faculty of St. Petersburg University, which graduated in 1879. It is noteworthy that in all subjects the poet had solid "fives", whereas in philosophy and theology stood marks on the ball below.
Further, they did not have time to dry ink on Annensky's diploma, he began to lecture the ancient languages \u200b\u200band Russian literature in Gurevich's gymnasium and he heard the strongest teacher. In addition, Innokentiy Fedorovich held posts by director of the Galarian College, the eighth of St. Petersburg gymnasium and gymnasium in the royal village, where once he studied.
Literature
Innocent Fedorovich began writing from early age. But then the poet did not know what symbolism, therefore referred to mystics. By the way, symbolism is the largest course in literature and art, characterized by mystery, mysteriousness, use of hints and metaphorical expressions. But, according to critics, the creativity of the genius of literature does not fit into the framework of the "symbolism", but represents the "preimolution".
Writer Innokenty Annensky In addition to this Innocent, Fedorovich tried to follow the "religious genre" of the Spanish painter of the "Golden Century" Bartoloma Estebana Murillo. True, the writer was trying to convey the expression of virgin purity, meekness and prayerful lunizing with the help of words, not brushes and paints.
It is noteworthy that Innokentiy Fedorovich did not seek to show his early creative consumers in eminent writers and owners of magazines. The fact is that Nikolai Fedorovich advised the younger brother to begin to be printed in adulthood, established on the life path and realized his vocation.
Therefore, the book "Quiet Songs" was published in only 1904, when Innokenty Annensky was heard a brilliant teacher and a respected person. The symbolist began to engage in drama, from under his feather there were plays: "Melanippa-philosopher" (1901), "King Ixion" (1902), "Laudamia" (1906) and "Famira-Kifharad" (1913-posthumous) in which The poet tried to imitate favorite ancient Greek writers, and, the geniuses of ancient mythology.
In his manuscripts, Annensky adhered to impressionism: he described things not as he knew, for all the phenomena and items were inherent in the vision of the poet at the moment. The main motives in the works of Innocent Fedorovich are melancholy, melancholy, sadness and loneliness, so so often he describes cold, twilight and sunsets without excessive pretentiousness and exaltation. This trend is traced in the poems "Snow", "Bow and Strings", "Two Love", "Mistore Sonnet" and other remarkable works.
Among other things, Innocent Fedorovich replenished the creative biography by transferring the manuscripts of his foreign colleagues. Thanks to him, Russian-speaking readers became acquainted with the famous tragedies of Euripid, as well as with poems, Hans Muller, Christian Heine and other literary geniuses.
Annensky made a huge contribution to the world of trickled lines. For example, his poem "bells" can be correlated with the first product in a futuristic style. The second poetic collection of Innocent Fedorovich "Cypress casket" brought a poet recognition and fame, however, posthumously. There entered the poems "among the worlds", "Oreanda", "Silver Noon", "Ice Prison", "October Myth" and other works.
Personal life
Contemporaries Innocent Fedorovich said that he was a loyal and kind person. But sometimes overwhelmingly played a dick joke. For example, he lost the position of director in the gymnasium in the royal village.
There is little information about the personal life of the poet information, because even in his works, the writer was rarely shared by spiritual experiences and what remains under the veil of the mystery. It is known that the fate of the anniversary of Annene's Suesday with an eccentric 36-year-old widow (dina) Valentinovna, which came from a trivial class. Lovers perpetuated their relationship with the Uza marriage, and Son Valentin was born soon.
Death
Innokentiy Fedorovich died unexpectedly. Of course, he had weak health, but in that fatal day, November 30 (December 13) of 1909, nothing foreshadowed trouble. Annena died of a heart attack at the age of 54, right at the steps of the Tsarsko Selo Station (St. Petersburg).
- Once, when Innokenty Annensky was in a bad mood and was burdened by the Things, his spouse came to him and said: "Kenchek! What are you sitting sad? Rotik cutting, I will give you an orange! " Also Dina loved to arrange lunches with her friends, although Annensky escaped people and adhered to the politicians of Outsider. What did the poet think about his marriage is unknown.
- Annensky began to be printed in a 48-year-old, not seeking recognition and glory: the poet hid his true face, publishing under the nickname nickname.
- During the years of Annensky, his sister found the first sweeps of a little creator. But instead of praise, the boy got a darling laughter, because the girls were overpowing a row from the poem: "God shoves with heaven to her sweet fig." It gave rise to a lot of jokes, so Innokentiy Fedorovich hid his drafts in a secluded place, fearing to provide them to the public.
- The poetic collection "Cypress casket" was called so no accident: Innokentia stood a casket from a cypress tree, where the poet stored notebooks and drafts.
Quotes
"... I love when there are children in the house
And when they cry at night. "
"Love is not peace, it should have a moral result, first of all for loving."
"But ... there are such minutes,
When scary and empty in the chest ...
I am hard - and mute and bent ...
I want to be alone ... Go! "
"Oh, give eternity to me - and eternity I will give
For indifference to the insults and years. "
"There is love, similar to smoke:
If it is closely for her - she is dope,
Give her will - and it will not be ...
To be smoke - but forever young. "
Bibliography
Tragedy:
- 1901 - "Melanippa-philosopher"
- 1902 - "King Ixion"
- 1906 - "Lodamia"
- 1906 - "Famir-Kifhad"
Collections of poems:
- 1904 - "Silent Songs"
- 1910 - "Cypress casket"
4. Innocent Annensky
Annensky still read
Today we will talk about Innokentia Fedorovich Annensky, the poet the symbolist, who, along with the block, remains, perhaps, the most readable today and today, in demand by today's reader by the author. Everyone recognizes the historical merits of the poems of Brysov or Balmont, but they have not much readers today, but Annensky still read.
Comparison with block
It is convenient to compare with the Annensky block on the principle of contrast. We told you that for the block of the most important idea is the idea of \u200b\u200bthe way, and, accordingly, his trilogy of the three-volume and his books are composed of a chronological principle. Annena was completely different, and we will talk about it today, it is very important for his understanding. The block was extremely popular with his life. As you know, his photos were sold in bookstores as postcards.
Annensky nobody knew. You can even check yourself now: imagine the appearance of Annensky - I'm not sure that you can easily make it. However, I repeat once again, the popularity of Annensky is not comparable to the popularity of the block, but may come to it and, moreover, Annensky affected it very much, maybe even more than the block, for the subsequent generation of poets. This is one of its important roles. That is what he did in poetry turned out to be very important for the subsequent generation.
Akhmatova about Annensky
Anna Akhmatova, the tireless promotion of the creativity of Annensky, wrote about him as follows: "Meanwhile, as Balmont and Bryusov, they themselves completed them as started (although the provincial graphomans confused for a long time), Annena's case came to life with terrible force in the next generation. And if he did not die so early, he might see his shower, stepping on the pages of B. Pasternak's books, his semi-presiduous "grandfather Lida Lidil ..." from Khlebnikov, his rashnik ("balls") from Mayakovsky, etc. I do not want to say this that everyone imitated him. But he walked at the same time on so many ways! He carried so much new that all innovators turned out to be akin to him ... Boris Leonidovich Pasternak<…> It categorically argued that Annensky played a big role in his work ... With Osipom (Ahmatova, Mandelstam, of course), I spoke about Annensky several times. And he spoke of Annensky with a constant pyette. Whether Annensky Marina Tsvetaeva knew, I do not know. Love and worship in front of the teacher and in verses and in prose Gumilev. "
Akhmatova calls the names of the main postsyimvolic poets, like poets of aqmeist or loved ones to Aqmeism: Mandelstam, His, Gumilyov, and Futurists: Khlebnikov, Pasternak and Mayakovsky.
She, jealously relate to the Tsvetaeva, respectively, says that Tsvetaeva, maybe, Annensky did not read, but we still try to see that, in fact, Tsvetaeva Annena read and very carefully.
Accordingly, we will try to understand what the originality of the poetry Annensky was. That it was that in his poetic manner predicted the manner of poets of symbolists.
Biography
First, very briefly let's talk about his biography. He is older than many of the senior symbolists. He was born in 1855, in Siberia. Childhood spent in the people's family.
His brother, Nikolai Fedorovich Annensky, was a very famous populist. Accordingly, on the one hand, Annensky took an interest in these topics from him, and, say, one of the most famous poems of Annensky "Old Estonian" can, including, perceive and as a social poem. On the other hand, he, as often happens with the younger brothers, was repelled from the fact that he imposed his older brother, and his social poems are important, but they are single.
Initially, the main spheres of his activities were two: he was a famous teacher and reached quite large heights on this field, in particular, in 1895 - 1906 he was the director of the gymnasium in the royal village, the very gymnasium, where Gumilyov studied, and Akhmatov, when She speaks Annensky as a teacher Gumileva, he also has in mind, of course, and poetry, but she is also the most literal teaching.
Gumileva has a wonderful poem of the memory of Annensky, where he recalls how he comes to the office to Annensky. In this area he sees the bust of Euripid. And this is also not by chance, since Annensky was one of the most famous translators of ancient authors, and his main feat was the translation of all Euripid. Until now, we read Euripid, mainly in the translations of Innokentia Fedorovich Annensky.
He began writing poems rather early, but, at the same time, they were not printed. He released his first book of independent poems shortly before his death. It was called a characteristic way - "quiet songs." She was released in 1904 and was signed by a pseudonym, several pretentious pseudonym. He signed it Nick. T-th. - Nikolai Tymoshenko, suppose.
This pseudonym seemed funny and pretentious reviewers, among which were Block and Brucers. It is characteristic that they wrote about Annensky (they did not know who the author of this book) as a talented novice poet, clapped him on the shoulder, meanwhile, Annensky was older than both.
It is necessary to immediately say, it will be important in the future, that, on the one hand, this pseudonym seems to be self-assemble - no one - on the other hand, Annensky, of course, remembered that no one calls himself, so he calls Odyssey In the cave in the cyclope polyfem. Accordingly, it was the humiliation of the Pazhod pride. On the one hand, I am no one, you do not know me and hardly find out, on the other hand, Odyssey, as we know, one of the main Greek heroes.
I already said that Annensky was the director of the gymnasium until 1906. Why did he stop them to be? Because he sympathetically reacted to those students who took part in the 1905 revolution (the populic roots of him may again be affected). Then he will have all sorts of trouble, and the director of the gymnasium it ceases.
And on the white light, on the white literary light, St. Petersburg, he is pulled out, partly, with the participation of Gumileva in 1909, when Apollo magazine was created, opposing symbolist publications, herself opposing symbolist publications, and one of the important people in it, defining policies This magazine became Nikolai Stepanovich Gumilev. Gumilev Annena attracted to participate in Apollo. Annena printed a big article there, printed several of his poems. It seemed that the new period of his work begins. He was recognized, he argued, half alarmed with the main theorists of symbolism, with such, for example, like Vyacheslav Ivanov.
But, suddenly, Annensky died, a symbolic death, you can say so, on the steps of the station, waiting for the train, which was driving in the royal village. For some time the body could not identify, he had no documents. Why did I say that this is a symbolic death? Because tragedy, the meaninglessness of life, the complexity of life, the incomprehensibility of life is, perhaps, the main theme of Annensky.
Formula of creativity
If you try, as we do this and let's do next, look for some short formula to determine the anensky poetry, I would suggest a formula - the poetry of painful clutches. As a few poets of their generation, he felt that all items surrounding us all phenomena are associated with some incomprehensible ominous link. All the time there is a clutch theme, a web image and other similar motives. Who organized this connection, who made human life so much - it is not clear. A person or subject, because the subjects in the verses of Annensky play the same role as people, it remains only to flounded in this web, in the chain of these ties.
The second book, the main book of Innocent Annene, who left posthumously, was called the "Cypress casket". She came out in 1910, almost a year after death. Prepared her son. She seems to be a model of the world of the Annensky.
The book of poems as a special category of poetry of modernism
It must be said that such a category as a book of poems for modernists was very important. Another Baratynsky, one of the main predecessors of symbolists, one of the first to be his book so that it was a complex unity, she was called Twilight.
Further, Bryusov and his colleagues were introduced into the consciousness of the Russian reader an idea of \u200b\u200bthe book as the main genre, super-lane of Russian poetry, is so important that the book of poems in this era becomes a more significant genre than a poem, not to mention the novel in verses. The reputation of poets, in many ways, was questioned or strengthened after the release of the next poetic book. The book symbolists looked at the model of the world.
"Cypress casket"
Annena difficultly arranged his book "Cypress casket". Her name is enigmatically and mysteriously. This is a name with a cleaned key. It makes sense to fully understand the one who knows (this is again the subject name) - in Larz from Kiparis, Annensky kept his manuscripts, his poems. Recall that the cypress in the ancient tradition is a tree of death, so the sinister shade here also turns out to be important. The book is arranged as follows. It consists of three sections:
- "Trilisters". The poems are grouped under the general names of three, like sheets in the tribal.
- "Folds". Poems are grouped two.
- "Placed sheets." Annensky united in this section a variety of poems.
Each motive, each word existed in some context of the poem and existed in some context of the "trilister" or "folding". In addition, among themselves were bound by the motive rolls and "trilisters". This section itself, in turn, was associated with the motive rolls with the section "Folds" or with the section "Placed Sheets". If you try these links to draw, we will see that the book is an infinite weave of a variety of motifs. This reflected myropony, the globility of Annensky.
The poems were divided into "trillers", "folds" or included in the section "Placed Sheets" not chronologically. Unlike the block, Annensky did not build his poems chronologically. It did not care about the idea of \u200b\u200bhis poetic path. It was important to show how their texts are intertwined thematically. This for subsequent poets has become very important.
So revolutionary as Annensky no one no longer constitutes his books, but the whimsical device of books is characteristic and for more younger generation. In addition, the role that the Annensky is played by objects, things, she, in many respects, predicted the search for more younger poets: Ambamests for which the thing and the subject were very important. Or Pasternak, whose world is overflowing with objects and things. This, in many respects, went from Annensky.
Psychologist and influence of French symbolists
Another important property of the poetics of Annensky was psychologism. It should be noted here that Annensky himself almost never called the symbolist. If he focused on the symbols, then the symbols are not Russian, but French. When we talk about senior symbols, we, of course, remember Western symbolists. When we talked about Bryusov, we remembered Vilan and Bodler. When we are talking about Annensky, you need to remember one of the most enigmatic and mysterious symbols - Mallarm. It is his poetic systems, it is his mysteriousness and his psychologism, manifested through items, turn out to be essential for Annensky, who translated it.
The poem "Black Spring" ("melting")
Let's try to proceed to analyzing a specific poem, to the analysis of a specific text. It will be the poem "Black Spring" ("Maja"). Dated March 29, 1906, Totma (this is a small town under Vologda), where Annensky was sent with the inspection after he had ceased to be the director of the gymnasium. This poem entered the Spring Trilister, that is, there were three poems the first of which was "black spring". To begin with, remember the text:
Black Spring (melting)
Under the hum of copper - the coffin was going on, and, terribly silent, wax looked out of the coffin nose.
Dyhanya, what, he wanted there, in an empty breast? .. The last snow was dark white, and the litter loose way,
And only frowned, mutna, pulled out, yes stupidly black spring looked into the student's eye -
With slaughtered roofs, from the brown holes, with greenfronts. And there, for dead fields, with swollen wings of birds ...
About people! Life litter trail according to fishing paths, but there is nothing sadness, as a meeting of two deaths.
Analysis of the poem "Black Spring" ("melting")
The topic of this poem can be formulated perfectly, quote from the most Annene, which Lidia Yakovlevna Ginzburg (another wonderful philologist) remembered when he wrote about Annensky.
Annene, however, says it is not about himself, but about Konstantin Balmont, and he says like this: "I am among the nature, mystically close and someone hurts and aimlessly adhesive with its existence." So Annene defines the poetic world of Balmont, but it refers more to his own world.
In the poem that we just read and began to disassemble, just described I Among nature, it hurts with her adhesive. The death of man at Annensky rhymes from the death of winter. Death Individual is projected into an objective environment, it "spreads", "dissolves" in the death of winter, in the death of nature.
The stripping similarity of the poem with the formula of Annensky, which he used to the work of Balmont, clearly indicates that the semantic complex of motives, which in this poem diligently costs. Let me remind you that in quotation - "I am among the nature, mystically close and someone hurt and aimlessly lurked with his existence" is someone very important for the quotation. However, in the poem, Annensky consciously about it comes, about God does not say a word.
At the same time, his poem begins promisingly, from the rows: "Under the hum of copper - the coffin // the transfer came ..." - it comes, of course, about the church ring. In Totme, indeed, there were a lot of churches. It would seem that this should be followed by a conversation about the place of God in this meeting of man and nature, a deceased person and dying winter. Moreover, March 29 (a poem is dated this afternoon) - this is the day coming to the great post, and the reader of Annensky must remember. On March 29, the Jewish Easter came, but it was not very important, Annensky could not know about it.
Poem "Verbal Week"
A year after the Black Spring, April 14, 1907, Annensky will write a poem, which will be called the "Verbal Week". Already from the name it is clear that it will be associated with the theme of the Great Post. In this poem, it will be in terms of mentioning one of the most brightest events of the Great Post - as Christ asleep Lazarus. We remember that this motive was repeatedly used in the literature.
We remember that in "Crime and Punishment", one of the main scenes is reading Sonia Raskolnikov Fragment of the Resurrection of Lazarus. And here Annensky also wrote about this poem. Let's see what kind of poem and how it describes this event:
Verbal week
In the Yellow Dusk of the Dead April, saying goodbye to the star of the desert, flooded a subsidence on the latter, on the destruction of snowstore;
I walked in the smokes of the incense, in the strangles of the funeral, from icons with deep eyes and from the climb, forgotten in the black pit.
It became a highly white month for the damage, and for all whose life is irremitted, the hot tears on the willow on the ruddy cheeks of Cheruvima sailed.
Comparison of the poems "Verbal Week" and "Black Spring"
We see that the key motives of this poem echoes so distinctly and so clearly that these poems could be called, as Mandelstam later spoke, "twin poems." And in that poem, and in this, the death of winter is depicted. And in that, in this, it is presented, as usual at Annensky, the subject motive. In this poem: "On the latter, on the deceased snowstorm." Again, this death is accompanied by the funeral church bells: "In the slaughter of the funeral stons." In the previous poem: "Under the hum of copper - coffin." This death is admitted with the death of a person, only now it is not anonymous and someone unknown, as in that poem, but a "forgotten in the black pit" Lazar (in the previous poem there is also a motive of the pit: "From the brown holes"). And the life of this Lazarus is irremitted.
That is, reading the poem "Verbal Week", we can assume why from the poem "Black Spring" removed, eliminated religious motives. If Lazarar is not resurrected, then the clutch of someone with nature is truly aimless. Consequently, and on a date of two deaths, albeit during the great post, this someone, God - extra.
"Not the Resurrection, and the elastic corpse of Lazarus sees Annensky in the Spring Faces" - this is a quote, so I wrote about the poem "Verbal Week" Maximilian Voloshin mentioned by us. However, and by the resurrection of Annensky in his verses is not too benevolently. Recall that already in the "Balmont-Lirik", the article "Balmont Lirik", says with bitterness: "I am in the nightmare of returns" - that is, permanent returns I, permanent return Ya.
And in one of the most famous poems, "it was on Wallen-Koski," a doll is told about the "Resurrection", which for entertainment, for fun tourists, methodically caught from the waterfall and again later they are thrown into it: "Saving it is invariably for new and New Muk. "
The cycle of endless dying in the "Vessennik Spring"
It is time to pay attention to the non-taxable, but very significant difference between the death of winter and the death of a person depicted in the "Vessennik Spring". In the first poem, which we now disassemble - "Black Spring", the death of a person and the death of winter, and then, in the poem "Ghosts", the death of Spring is already described in the poem:
The green ghost of the lilac bush clung to the window ... Get out, shadows, leave, shadows, with me one ... She is immovable, she is dumb, with traces of tears, with two brushes of the lilac of May in the twisted braces ...
These May braids show that spring is dying, and then summer will die, and then autumn, and then winter again. The tragic ring, the cycle of endless dying - as describes the Annena change of the time of the year.
Straight Path of Dieman
As for the life and posthumous path of a person, he, in any case, in the Black Spring, is not described as cyclical, but as a linear one. Apparently, for Annensky, it was very important, because in the first four stations of his poem and up to the final sequence, the final fifth stanza, a variety of means reproduced with a direct, not cyclical, and the direct path of the dead with the steps of the church to the cemetery.
The topic of linear movement has begun already in the second line of "Black Spring", started with the word "transfer": "Under the gults of copper - the trades was going on." The transfer theme is syntactically supported in the poem Anzhembeman: "Under the hum of copper - coffin" is one line, and the "transfer" is the beginning of the next line. And then, from the stanza to stubborn, Annensky is also moving using mysteries.
Why is the nose in the appearance of the dead man? - This is a mystery of the last line of the first stanza. Because with him, naturally, the terrible theme of breathing, which is not enough for a dead man - so correspond to the first two rows of the second stanza. Transition is a question in the finals of one stanza, the answer at the beginning of another stanza.
Why in the third line, the second stanza is mentioned about the snow, which was dark white? Then, - responds the second line of the third stanza - that this is preparing the image of a person's pulp with the flow of winter, embodied just in the line about the last dark white snow. Dark white snow around and the drainage of a person is rhymes, aligned in this way.
And finally, at the junction of the third and fourth store, the receiving transfer is simply exposed. Where did Black Spring look from the Dead Eye Student? - The reader asks itself in two final strings of the third stanza. From everywhere! - answers the whole fourth stanza, or rather:
With slaughtered roofs, from brown holes, from greenhouses. And there, for dead fields, with swollen wings of birds ...
This transfer reception, or it is possible to call it by the reception of "pickup", allows the reader to almost visually monitor the direct and steady movement of the person and the human body to the cemetery according to predetermined, laid more than once, the path. From here and arises "according to fishing paths." It's not once a person moves along it, and every person moves along this path, and even the wheels struck the pins in it. In one of the points of this path, once a dying person and meets with infinitely dying and resurrecting for new and new flour time of the year.
"Rembled Keyboard" Annensky: F.I. Tyutchev
Attentive reading of this poem allows us not only to talk about the basic principles of Annensky's poetics, about how Annene sees the world around, but also shortly run by the Mandelstam, the "mentor keyboard" Annensky, that is, to talk about those major Russian writers and poets, who were substantial for Annena.
The first of the names that we remember this name Fyodor Ivanovich Tyutchev. Annena uses a steady topos in his poem, another antique topos: Spring - the dawn time, winter is the time of death, but it seems that any gymnasiste at that time, any schoolboy former in our time can not remember the famous poem of Tyutchev 1836:
Winter is not afraid of the winter, it's time - the spring is knocking on the window and drives off the courtyard.
And everything went out, everything nudifice won - and the larks in the sky were raised the sober.
Winter still bites and grumbling in spring. She laughs in her eyes and only noise ...
The witch was whitewashed by the witch and, snow, capturing, let down, running out, in a beautiful child ...
Spring and grief are not enough: washed in the snow and only the rumus began to the enemy.
We see how Annensky changes some poles to others. If Tyutchev has a blush, then the Annensky has greened faces from which spring looks into the deceased.
If Tyutchev has larks in the sky, at Annensky - birds with swelling wings, or ravens, whether rhokhi in dead fields. At the same time, an association with the cemetery and poultry-core birds, which in it feeds.
The main difference between the two poems is: Tyutchev - winter is bad, but she still runs away, the Annensky is dying.
Another Tyutchevsky text, which is remembered when reading the "black spring" Annensky, is a poem poem, the first stanza of which depicts lowering the dead man in the grave:
And the coffin is lowered into the grave, and all the pincitors around ... interpret, breathe through the power, spirate breasts a blowing spirit ...
We see the word "dyed", which is very important for the poem of Annensky. It will again arise in the final storm of the poem of Tyutchev, will arise completely in another sense than the Annensky. The Annensky life of a person and the life of nature is associated, and the death of a person and the death of nature is combined.
Tyutchev in the final of his poem quite traditionally opposes the momentary rapid existence of a person by the eternal existence of nature:
And the sky is so non-pure, so infinitely above the ground ... and the birds are solved by blue in the air abyss blue ...
Pay attention - again the birds, but not like Annensky, below, in the fields, and in the sky.
"Rembled keyboard" Annensky: N.V. Gogol.
Another great Russian writer of the 19th century, which you probably have already remembered when I read the poem "Black Spring", this is Nikolai Vasilyevich Gogol, whose story "Nose" was dismantled in detail in the article opening the "reflections book" Annensky.
In the inscription of his article, Annensky calls the exact date when Major Kovaleva's nose ran away from his face, this is March 25, that is, four days before March 29, which is dated an Annensky poem. Maybe the proximity of these two dates provokes the poet to revive, animate the nose of the dead in his poem. At first, this nose looks from the coffin, then he wants breathing into the empty breast of the deceased.
Perhaps such an extravagant way, Annena reminded the reader about the famous legend, which accompanied Gogol, that Gogol was buried alive, in a lethargic dream. The nose here is mentioned not by chance else, maybe because the Metonimia of the appearance of Gogol is just a nose. Why did Gogol's motives need to Annensky in the poem "Black Spring"? Annena himself answers this question when he writes about Gogol. He says that for Gogol is characterized by "cruel and us no longer accessible humor of creation." He speaks of Gogol's "cruel humor of creation", implying, of course, "portrait", "nose", "Dead Souls".
It is characteristic of both Annensky himself. Of course, we will never call the poem "Black Spring" with a funny poem. We do not laugh when I read it. But the grotesque Annensky: "And, terribly sophisticated, the wax looked from the coffin of the nose" - it is balancing on the verge of tragic and comic, balancing on the verge of terrible and comic, and that is why he may have needed Gogol.
"Rembled Keyboard" Annensky: L.N. Tolstoy and N.A. Nekrasov
There are two other names that we must be mentioned in connection with this poem. One of them is the name of the author, maybe the most terrible story about the death of man, in any case, written in the XIX century, Lion Nikolayevich Tolstoy.
In his story "Death of Ivan Ilyich" the dead, the main character is described like this: "The dead was lying, as always the dead,<…> And exhibited, as always the dead, your yellow wax forehead<…> And sticking out the nose, as it were, appeared on the upper lip. " Note that Annensky wrote about the Tolstoy as Gogol "from which romance burned out."
Another name that needs to be mentioned is the name of Nikolai Nekrasov, in the thirteenth master of the poem of which (the shittomatically well-known poem "Frost, a red nose") arise motives, echoing with the key motives of our poem. These are two funeral blows, and the pale face Daria, and the mention of black days, which awaiting it.
When we talk about Tolstoy and Nekrasov, we must remember that, perhaps, this is not about borrowing, but about the community of motives, which arises from the generality of situations. And Nekrasov, and Tolstoy, and Annensky describe death and funeral.
Call with postsyimvolistami: B.L. Parsnip
Now about roll call with postsymevolists. What we talked about at the beginning of the lecture. I hope that someone has already remembered the first poem that we are talking about, because this is the program famous poem Boris Pasternak "February. Get ink and cry! ", In which there is a lot of converts with the poem Annensky: field, path, birds. Finally, the name of the poem Annensky, "Black Spring", is found in the poem of Pasternak: "While the rigging to slush in the spring is burning in black," almost direct cititation.
It is important that Pasternak is half alarm with Annensky. On the one hand, he continues him, on the other hand, he whites with him, because that Topos, which Annensky destroys: Spring - time of ecstatic joy, spring - time of birth, Pasternak again restores him as rights.
But at the same time, he takes into account the tragic turn of the topic, which is proposed in the "Black Spring". Show it on the example of only one motive. Tyutcheva: "Flashlights in the sky", the larks took off. At Annensky: "And there, on the dead fields, with bulk wings of birds ...", that is, the birds below. What is Pasternak? Pasternak Grachics at the same time takes up, and at the same time, reflected in the puddles, turn out to be below:
Where, like charred pears, from the trees thousands of rods will be afraid into the puddles and wrap dry sadness to the bottom of the eyes.
This is an important motive, an important character, because birds and denote joy or tragedy. At the Annensky, they are downstairs, Tyutchev - at the top, in Pasternak - split.
Similarly, Pasternaka, as he often happens, tears who cries his lyrical hero: "Writing about February," - the reader does not understand, these are the tears of joy or is the tears of grief. He deliberately chooses the image of tears, which works and in the other way.
Roll-win with postsyimvolistami: M.I. Tsvetaeva
Another poem, apparently, accidentally echoing with Pasternakovsky "February", where the rhyme of the "Spring - Winter" and "Tears - Wheel" is found as a Pasternak, and, as it seems, ascending to the Black Spring and "Verbal Week »Annene, this poem" rink melted "Marina Ivanovna Tsvetaeva.
I started a lecture with quotation from Akhmatova, who jealously writes that Tsvetaeva may not read Annensky. Now we will be convinced that, most likely, she read it. Here is the text of this poem with the epigraph:
The rink melted ... not enough for the winter wheels of the wheels. Spring's soul is not necessary and sorry for winter to tears. In winter, sadness was one ... Suddenly the new image would rise ... whose? Human soul is the same iceland and also melts from rays. Let in the yellow nutics of the hillock! Let bold a snowflake petal! - The soul of a capricious strange roads as a dream who mounted skating rink ...
We see that Tsvetaeva writes on the same topic as Annensky: dies, winter leaves, it is a pity, and spring does not need, "Spring's soul does not need and sorry for the winter to tears," she writes.
However, Tsvetaeva, she solves their tasks, about which we will still be talked about in our lectures, Early Tsvetaeva presents the topic of Annensky in children's, infantile, almost "suroccuping" vein. It is difficult for us to cry, we don't need to cry when we read this poem, because tragedy is removed by the fact that it looks a child.
Therefore, the poem begins with an epigraph from a private letter. Therefore, in the finals of the poem appears, almost impossible from the Big Poet: "Let the Yellow Nutics of the Holystroke!". And further even stronger, as if sentimental, taken from the children's book of the time: "Let the snowfish petal!". And we already stop afraid how we were afraid in the poem Annensky when we read it.
Note that the abundance of objects in this poem, itself that Tsvetaeva solves this topic, relying on the subject motives, using so thickly substantive motives: yellow buttercups, hillock, snowflake, petal, and finally the central image of the rink in This poem, also a substantive motive, as it seems, suggests that Marina Ivanovna Tsvetaeva, and other Russian symbolists read Annensky very, very carefully.
Akhmatova A., Knikka: Anno Domini; Poem without a hero. - ed.: Olma Media Group.
Wallen-Koski (Walinkoski, Finsk. Vallinkoski) - Waterfall on the Vuoksa River in Finland.
Franz. ENJAMBEMENT, from Enjamber - step over, jump.
Biography
The fate of Innocent Fedorovich Annensky-poet is unique in its kind: in the fortunewall age, he published the first (and the only one) a poetic collection under the pseudonym nickname. T-th. At first, the poet was going to entitle it "from the Polyfem cave" and take the pseudonym the womb that translated from Greek means "no one" (so Odyssey called the cyclop polyfe). Later, the collection was called the "quiet songs". A block that did not know who the author, such anonymity seemed dubious. "I want the face of the poet, which he seemed to bury himself, - and not under a naive pseudonym, and under a more grave mask, forced him to get lost among hundreds of books ... Is there any kind of painful obscure in this humble losingity?" He wrote.
I. F. Annensky was born in Omsk, soon the family moved to St. Petersburg. In the autobiography, the future poet reported that he had grown out "in the medium where the elements of bureaucratic and landlords were connected." "Since childhood, he loved to engage in history and literature and felt antipathy to the whole elementary and banal-clear." Annensky began to write poems pretty early. Since in the 1870s, the concept of "symbolism" was not yet known to him, he called himself mystic and "delirious the religious genre" of the Spanish artist XVI I c. B. E. Murillo, who "tried to" decorate the words "." Following the advice of his older brother, a well-known economist and publicist N. F. Annensky, who considered that up to thirty years old should not be published, the young poet was not intended his poetic experiments to print. In university years, the study of ancient languages \u200b\u200band antiquity for a while pushed poems; According to the poet, he did not write anything other than the dissertations. After the university, "pedagogically-administrative" activities began, which, in the opinion of his counterparts, distracted Annensky from "strictly scientific classes", and, in the opinion of his sympathetic poetry, prevented his work. In the print, Annensky made his debut as a critic. In 1880 - 1890, he published a number of articles, mainly about the Russian literature of the XIX century. In 1906, the first was published, and in the 1909th second of the "books of reflections" - a meeting of critics, differing in Wildepitivism, impressionistic perception and associative-shaped moods. The author himself emphasized that he was not a critic at all, but only the "reader". Annensky poet considered his forerunners of French symbols, "Parnassians and Cursed", which a lot and willingly translated. Their merit, "except for enriching the language," he saw in "increasing our aesthetic sensitivity and increasing the scale of our artistic sensations." Translations of French poets made up a significant section of his first collection of poems. From the Russian poets-symbolists, Annensky closer than just K. D. Balmont, who called "awe's quiet songs" from the author. He highly appreciated the "new flexibility and musicality" of the poetic language of Balmont. Annensky led enough "secluded" literary life: he did not defend the rights of the "new" art for existence in the period "Storm and Natiska", did not participate in subsequent intramyimvolic battles. The first publications on the pages of the symbolistic press are 1906 (Pass Magazine), Annensky's entry into the symbolist environment actually took place in the last year of his life. The poet and critic reads lectures at the "Poetic Academy", part of the members of the "Society of Jealous of the Art Word" at the New Petersburg journal Apollo, prints its program article on modern lyrics on his pages. The sustainable death of the poet at the Tsarskoselsky station caused a wide resonance in symbolistic circles. In the medium close to Apollo, young poets of acmeistic orientation, reproed symbols for "viewed by" Annensky, a posthumous cult of the poet began to develop. The second collection of verses went out four months after his death. The preparation of the "Cypress Lartz" (in a cypress box was kept by Annensky's manuscripts) His son was completed - V.I. Annensky-Krivich, the biographer of the poet, his editor and commentator. There is reason to believe that the curvice is not always punctually followed by the author's will of the Father. With the "Cypress Lars" came to Annensky, finally, late glory. "I look at the book now," the poet's son's block wrote. - Through all the fatigue and devastation of this spring - it penetrates deep in the heart. The incredible proximity of the experiences explaining me much about yourself. " Buses, who applied before "freshness" of epithets, comparisons, revolutions, and even simply selectable words in the collection of "quiet songs", now as undoubted dignity noted the impossibility of "guess" from the Annensky "on the two first verses of the two following and at the beginning of the poem His end. " In 1923, Krivich published the remaining texts of the poet in the collection "Posthumous poems in. Annensky. " The lyrical hero of Annensky is a man who is solving the "Caught Rebus of Being". The poet subjures the "content of our I", "which would like to become a whole world, dissolve, break in it, I, tortured by the consciousness of his hopeless loneliness, inevitable end and aimless existence; I am in a nightmare of returns, under the load of heredity, I am among the nature, where, a little and invisibly reproaching him, I live as much as I, I am among the nature, mystically close and someone hurt and aimlessly linked with his existence. " Matching the Lyrican Annensky with verses of the symbolists of the "junior" generation, S. K. Makovsky saw the roots of the deeply tragic world of the poet "In disbelief into the transcendental meaning of the universe", denied, ultimately, "categorically and definitely" "the meaning of personal being". The unique identity of the verses of Annensky gives "Easy irony", which, according to Brysov, became the "second person" of the poet, and "inseparable from his spiritual appearance." The manner of the author's "quiet songs" and "Cypress Lartz" "sharply impressionistic", Vyach. Ivanov called it a "associative symbolism". Poetry, according to Annensky, does not depict, and hints at what is not available to expression, "we are softer the poet for what he said, but for giving us to feel the unspeakable."
Innokentiy Fedorovich Annensky was born in Omsk on August 20, 1855. Annena's father was a government official in Siberia. But after the fulfillment of him five years, the family came to St. Petersburg, who left him before his birth. Annena since childhood was a painful child. Because of his state of health, he studied in a private school. And after moving to Petersburg in the 2nd gymnasium, later in the private gymnasium of Berens.
Before the start of entrance exams at the university in 1875, temporarily moved to the residence for the elder brother. Brother helped him prepare for entrance exams. And later on the life of the writer, the brother will have no influence. And during the study at the university, he did not write poems. What helped better explore antiquity and ancient languages. As the poet himself admitted in the autobiography, during the training he wrote only the thesis.
For the first time in the press, I. F. Annensky appeared as the critic of Russian literature of the XIX century, and wrote in this direction from 1880 to 1890. Also in his articles the poet called for the study of artistic literature of school-age children. Annena published the first literary and critical book in 1906, the second came out several years later than 1909. In these books, almost all articles published earlier are collected.
If you think about the fate of the poet, then it will be unique in his own way. He began to write poems quite at a young age, wrote for himself not for printing. The elder brother of Innocent Fedorovich somehow said to him: "Take an essay in the seal, it is only after the fulfillment of you 30 years old" so the first and only lifetime, the collection was published under the pseudonym "Nick. T-O, "when the poet was almost 50 years old. Immediately, he was going to call the collection "from the Polyfem Cave" and publish it under the pseudonym squared, but later took the abbreviation of his name and surname. And the collection came out of print with the name "Quiet Songs".
The poet died supreme on November 30, 1909 at the Tsarsko Selo Station in St. Petersburg. Buried the poet at the Kazan cemetery of the royal village. The poet remained the Son, who after his death published in 1910. "Cypress casket", and in 1923 "posthumous poems."
Innokenty Fedorovich Annensky was older than all Russian modernist poets of the stroke of the XIX-XX centuries. He stood distant from their general direction and was recognized in much more mature age than the rest. He was born in 1855 in Omsk, was the son of a prominent official, received education in St. Petersburg. In the Team University, he graduated from the classic department and was left at the Department, but discovered that he was unable to focus on the dissertation writer - and became a teacher of ancient languages. Over time, he became the director of the Tsarskoye Lyceum, and later - by the inspector of the St. Petersburg academic district. All his teaching career was held at a higher level than a career of another poet teacher - Fyodor Sologuba.
Innocent Annensky. Photo 1900s.
Annena was an outstanding connoisseur in the field of ancient literature, collaborated in philological journals, dedicated himself to the transition of all Euripid into Russian. In 1894 he published Vakhanki And then everything else. It was no coincidence that the Euripide was chosen - the most "journalistic" and the least religious of the tragic poets. Annena's mind warehouse was extremely non-classical, and he did everything that could, for the modernization and vulgarization of the Greek poet. But all this would give him only a small place in Russian literature, if it were not for his own poems.
Innocent Annensky. Genius
In 1904, he published a book lyrics (half of which was engaged in translations from French poets and from Horace) called Quiet songs And under the bizarre pseudonym nickname. T-O (at the same time partial anagram of his name, and - "Nobody"). For him, this is also an allusion on the well-known episode of Odyssey, when Odyssey says the polypham that his name is nobody. For Annensky, such long and complex and complex allocations are characteristic. Quiet songs passed unnoticed, even the symbolists did not pay attention to them.
Annena verses continued to appear in magazines from time to time. He released two books of critical essays, wonderful as the subtlety and insight of critical observations and pretentious style parameters. By 1909, in some way to understand that Annensky is an unusually original and interesting poet. His "picked up" Petersburg symbolists and introduced into their poetic circles, where he immediately became a central figure. He was on the way to become the main influence in the literature, when suddenly died from a heart attack at the St. Petersburg station, returning home, to the Tsarskoye Village (November 1909). By this time he prepared for the press the second book of poems - Cypress casketWho was published next year and among Russian poets began to be considered a classic.
Annensky Innocent Fedorovich was born in Omsk in 1855 in the family of an important state official. In 1860, his father received a new appointment, and the whole family moved to St. Petersburg.
Education
At first, Annensky studied in a private school (due to weak health), then in the 2nd Petersburg gymnasium, then again in a private school. It was helped by his elder brother Nikolai Annene, an outstanding encyclopedist, economist, populist.
In 1875, he entered the Historical and Philology Faculty of St. Petersburg University, and in 1879 he graduated with honors and engaged in teaching. Annensky worked both in public and private schools. Usually he either taught Russian literature or history or ancient languages. Already then everyone was clear that this man is a big fan of classicism in its pure form.
Peak Teacher Career
Annena managed to work as a teacher of Russian, literature, history, ancient languages \u200b\u200bin St. Petersburg, and in Moscow, and in Kiev, but in 1896 he was appointed to the position of director of the gymnasium in the royal village. The disciples adored him, although they considered the big eccentric, but the bosses found it in 1906 unnecessarily soft and fired. Annensky was hardly worried about the dismissal, as he really loved his work.
Creative activity
After dismissal from the gymnasium, Annensky worked as a district inspector, but at the same time managed to make translations from ancient Greek and French (Translated Euripid, Bajler, Rosel, Rembo), released several collections of poems, wrote critical articles. The creativity of Annensky was highly appreciated by his contemporaries, he was considered hardly the best translator in St. Petersburg and the connoisseur of Russian literature. He was a recognized authority in matters of classicism and classical education.
Death
Annena died suddenly from heart attack in 1909. He was buried in the royal village (now it is the city of Pushkin). His son, also a well-known poet, made everything to the poems of the Father and his dramatic works to be published, the first brief biography of Annensky I. F and the biography of his brother Annensky N. F.
Other biography options
- Annena was a big fan of ancient Greek playwright. During his leadership of the gymnasium in the royal village, he did everything so that the disciples perfectly owned an ancient Greek language.
- Interestingly, the close friends of Annena for a long time did not know anything about his plays set down in the spirit of Euripid, and about his verses. Annensky hid his poetic and dramaturgical talent. According to the memories of contemporaries, he was a rather modest person. Meanwhile, Annensky considered the genius by many recognized classics of Russian literature. He was very loved by Anna Akhmatova, they admired Pasternak.
- The poem of Annensky "Bells" is considered the first futuristic Russian poem. The poem of Annensky "among worlds" (it is considered one of the best poems in domestic literature) was laid on music written by A. Vertinsky.
- In addition to ancient languages \u200b\u200band French, Annensky knew German and English. He translated a lot of Goethe, Muller, Heine. From the ancient Roman (Latin), the works of Horace were translated.
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