So, let's turn to the analysis of the poem. The topic is suggested by the title of the poem (“I am the sophistication of Russian slow speech…”): the state of mind of the lyrical hero who perceives himself globally and uniquely. This hero is a poet. The first line helps to understand the degree of admiration for the lyrical hero. He is a poet, and therefore his nature is subtle, vulnerable, enthusiastic, impressionable. The poet characterizes himself as "exquisite verse", and then in the fourth stanza calls himself "forever young, like a dream." Metaphor, epithet, comparison are heterogeneous figurative means that belong to different semantic groups, but here they are appropriate, as they expand our understanding of the poet. The composition of the whole work is not closed, open. Four stanzas, each of which expands the reader's perception of the poet, gives him new characteristics. A significant role in the embodiment of the composition in the poem is played by the repetition of the pronoun “I” and the epithets that characterize the hero through a detailed metaphor that constantly undergoes metamorphoses: “kink” - “thunder” - “stream” (“sudden”, “playing”, “ transparent"). These repetitions testify that the impressions overwhelm, “overwhelm” the lyrical hero. These epithets characterize the lyrical hero as a person who loves himself. This is necessary in order to show how the understanding and perception of art and oneself as a poet is transmitted in unity. In addition, from the point of view of the reader and listener, the lyrical hero is an outstanding person, a proud person who feels himself superior to others, because he is given to see all art and everything connected with it from above. And he not only sees around him (for example, “multi-foam splash”), but sees under him (for example, “precious stones of the original earth”). With the words “before me there are other poets – forerunners” he shows 42 that he is higher than others, that art is indebted to him, since he “for the first time discovered in this speech deviations, repetitive, angry, tender ringing”. The sound is already embedded in the very rhythm of the poem: stanzas 1 and 3 are written in four-meter anapaest, and the three-syllable meter in itself implies a certain “slowness”, which the poet declares as “Russian speech”, the “refinement” of which he is; The 2nd and 4th stanzas are written in a fast rhythm - this is a two-foot anapaest with an additional emphasis on the pronoun - the anaphora "I". Rhythm emphasizes the heterogeneity of the manifestations of the lyrical hero and his ability to cover all spheres of life. But the most interesting, in our opinion, are the color-sound synesthesias present in the poem (cases of intersensory transfers). The verse is inseparable from the lyrical self, it is its connection with the world, its place in nature; maybe his excuse. The self of the poet showed itself in this case only by making the verse exquisitely beautiful. The poet's verse may not be clear to you, since the poet does not have to cope with the degree of your aesthetic development. But the verse must be "transparent" since it is fluid, "like a stream." It is “nobody’s” because it serves no one and nothing, because primordially, by the very airiness of its nature, verse is free, and also because it is a thought that does not belong to anyone and is created by everyone, but it it is not hiding from anyone: “it is for everyone”, who wants to read it, sing it, teach it, scold it or make fun of it - it doesn’t matter. The new verse is strong in its “love both for oneself and for others”, and narcissism appears here, as it were, to replace the poets’ classical pride in their merits. But the verse is also in love with others, that is, it wants to merge with everything that is of the same nature with it, that is fluid, light and resonant. He will understand everything and is even ready to take everything away from others. “Eternally young, like a dream”, in all its overflows, splashes and rehashes it retains only its insubordination and “refinement”. This latter means that the verse not only does not impose anything on us, but also does not give us anything, because its beauty, like a treasure, must be discovered, found. Thus, an analysis of the lexical, phonetic and rhythmic levels, as well as the composition of this poem, leads us to the conclusion that all the means used in them contribute to the disclosure by Balmont of the theme and idea that are associated with his understanding of the poet's place in world as a lone creator, striving to incarnate into the living, into nature, to get closer to its world, to be in tune with it - thereby helping people become part of the natural world, always bright and sonorous. The color-sound synesthesia used in the poem confirms this idea. Victoria Firsova, supervisor N M.Basalaeva FROM THE LIVES OF POETS TO THE FATE OF THEIR HEROINES (ON THE EXAMPLE OF T.G.SHEVCHENKO'S "TOPOL" AND V.A.ZHUKOVSKY'S "ALINA AND ALSIM" BALLADS) Abstracts for research work on literature maybe people are now trying to divide, separate, separate the Slavic peoples: Russians, Ukrainians, Belarusians, but our history and culture are inextricably linked. And these connections were revealed to me in an interesting analogy: when reading the ballads of the Russian poet V.A. Zhukovsky and the Ukrainian poet T.G. Shevchenko. 44 V.A. Zhukovsky is the founder of romanticism in Russian literature. An important feature of romanticism was the appeal to folk traditions and legends, to fantasy, which is so characteristic of folklore. In European literatures of the second half of the 18th – early 19th centuries, the ballad, a genre that goes back to the folk poetic tradition, becomes very widespread. This is usually a poetic story about terrible, irresistible events in a person's life, about his struggle with fate, otherworldly forces or the evil will of the ruler, which ends tragically. Both Zhukovsky and Shevchenko mastered this genre in their work. Comparing the fates of the heroines of two little-known ballads, I will try to find out how the life positions of the poets influenced the creation of these images. V.A.Zhukovsky helped T.G.Shevchenko to free himself from serfdom. Painted by the famous painter Bryullov, the portrait of Zhukovsky, at the request of the poet, was played in the lottery; For the 2,500 rubles he received, Shevchenko was redeemed from serfdom. In Zhukovsky's letters to the influential general Yu.F. Baranova has a number of his drawings (Zhukovsky was a gifted draftsman) depicting him, a venerable poet and courtier, dancing with joy along with the liberated Shevchenko. I began to read poems by a previously unknown author, learned the facts of his life and was struck by the tragic fate of the Ukrainian poet, reflected in them, moral stamina, his unchanging faith in himself and his long-suffering people, and most importantly - inescapable, indelible sensible, endured from the very heart - a proud, free spirit. Shevchenko's early work, the results of which were summed up by the appearance of the Kobzar, developed in line with romanticism. In ballads and poems, reality is closely intertwined with the fantasy of folk legends and traditions; The plots are based on unhappy, tragically doomed love. Over time, the theme of love and women's lot acquires greater historical certainty in Shevchenko's work. Zhukovsky also did not spoil life. He is the natural son of the landowner A.I. Bunin and his serf, the Turkish woman Salha. The name and nobility were given to him by A. G. Zhukovsky from Bunin. In childhood, any participation seemed to Vasily Andreevich a favor, in his youth, during the years of study at the Moscow University noble boarding school, he mastered the philosophy of moral self-improvement and philanthropic ideals with a touch of mysticism. In 1803, his best friend Andrei Turgenev dies, and soon a new misfortune befalls: the mother of Masha Protasova forever denies Zhukovsky the right to even see her daughter. But he began to transform his thirst for happiness with his beloved girl into deeds for her family. When reading Shevchenko's ballad "Topol" in the translation of A. Bezymensky, I joined the fate of a suffering, lonely, but not submitted to her mother girl, ready to die, but not to marry, though rich, but not beloved, and was shocked by her decisiveness. “I won’t go for this, I won’t go, mom! It’s better to put your own daughter in the pit…” she says to her mother, rising to an open protest that has become a hymn of love and fidelity. The heroine Shevchenko is ready for active action: she not only contradicts her mother, but also goes to the “old fortune teller” so that “Do not set foot in her own hut”, because “the rich man with matchmakers is waiting there”, and her “longing is strangling”. The use of a ring composition creates the effect of doom, hopelessness, but the content that is contained in the ballad carries a life-affirming pathos: Shevchenko's heroine is a match for his male characters, and even for the author himself - she did not bow her head before the circumstances, she defeated them (even if by magic, metamorphosis - but she won!). Unlike her, another heroine - V. A. Zhukovsky - from the ballad "Alina and Alsim": being in a similar situation (being separated from her mother's beloved will, believing her lies), Alina obeys the decision made for her, and marries without love. She is not happy with “diamonds, dresses, necklaces” that her “mother gives”, she spends “her days humbly”, and her soul is “sad… full”. Alina suffers, but she betrayed her love, betrayed her, which is why she cannot share happiness with her beloved when he returns to her. Alina and Alsima urges them to come to terms with the circumstances. This ballad is a translation of a poem by the French poet F.-O. Paradis de Montcrief "The true love of Alice and Alexei." The choice of the poet is not accidental. It was this story that could attract his attention: after all, here, just as in the life of Zhukovsky, the lovers were not destined to join their destinies. Shevchenko's early ballad is based on the widespread in Ukrainian folklore motif of the reincarnation of a girl who died from unhappy love into a viburnum, willow, poplar. In Ukrainian, the word "poplar" is feminine and sounds very gentle - "poplars". T. G. Shevchenko, of course, gave the traditional motive a social sound: after all, his heroine dies not just from unhappy love, but because they decided to pass her off forcibly as a rich unloved man. The elegiac, passive romanticism of Zhukovsky is a necessary stage in Russian literature for introducing the reader to feeling. Creativity T. G. Shevchenko in its orientation is close to another kind of romanticism - active, revolutionary. And although the life paths and creative positions of the two poets, Ukrainian and Russian, are so different, the point of intersection of their destinies on one of the old spring days is significant. This is a sign of the combination of two elements: stormy, impulsive, explosive - Shevchenko and immensely deep, mysteriously enchanting - Zhukovsky. One fed the other with her energy of feelings and compassion, and that spilled over into a creative impulse: Shevchenko dedicated the poem “Katerina”, where, just like in the ballad “Topol”, the image of a proud girl who does not bow her head under the blows of fate is presented, “V. A. Zhukovsky in memory of April 22, 1838”, capturing in his work the date when he was redeemed from the landowner Engelhardt with the participation of the Russian poet. Thus, we can conclude that the positions of the poets Zhukovsky and Shevchenko influenced - initially - on their choice of creative direction: passive (for Zhukovsky) and active (for Shevchenko) romanticism, and then on the fate of the heroines their ballads, which reflected humility before life circumstances and disobedience, the desire to fight in defending their choice - up to death. Alena Kazaeva, leaders: Yu V Arnst, NM Basalaeva LANGUAGE TRANSFORMATIONS IN THE TRANSLATION OF J. LONDON «LOVE OF LIFE» Abstracts for research work on literature A literary work is closely related to the language system in which it is created. When translating, we are talking about the transfer of a literary work not only from one language system, but also from one mental sphere to another, where all relations and connections, all poetic origins are not the same as in the first. To translate means to create a work anew, in another language. The act of translation is a creative act, albeit a secondary, subordinate one. What emerges as a result is a new creation. According to the linguist A.V. Fedorov, who proposed in his writings a coherent and clear system of knowledge on the science (or art) of translation, only a translation can be considered complete, in which: - the semantic capacity of a literary text is preserved; - the national coloring of the original has been preserved, while the familiarity of linguistic means; - the language of the translation is correlated with the time of the creation of the original. The need to observe the cultural features of the target language complicates the already difficult life of a practicing translator, forcing him to look for a way out of the current situation, when he is torn between the need to most fully reflect the texture of the original and the desire to create a worthy example of belles-lettres in his native language. . And lexical and grammatical transformations are capable of helping him in this, without which the work of any translator of fiction is unthinkable, namely: 1) complete replacement of a lexical unit expressing the specifics of the original (especially if it is impossible to use original metaphors); 2) partial replacement (with a synonym that functions organically in the target language); 3) generalization (or generalization); 4) concretization; 49 5) slide. So, when comparing the original (respectively, the interlinear) of J. London's story "Love of Life" and the Daruzes' translation, the following observations were made. 1. The translator excluded the adjective “rough” and used the word “placer”, probably in a special (geological) interpretation: in the Modern Explanatory Dictionary of the Russian Language, this meaning is given under number 5 - “Accumulation of stone blocks of various sizes and shapes, formed during weathering of rocks. This is a partial replacement of a lexical unit with a synonym. 2. The description of the luggage is reduced to the keywords “bales, “belts”, which does not give a complete figurative idea of this burden, since the original indicates another way of fastening the bag with straps - through the forehead. Consequently, here the translator resorted to generalization, i.e. generalization. 3. Inappropriately, in our opinion, the epithet “sluggish” was used in the translation in addition to the original, because the adjective “sluggish”, from which this adverb is derived, means “slow due to fatigue, weakness, laziness”, and our hero will overcome many more obstacles, which means he will defeat his fatigue. 4. The syntactic construction with a subordinate degree to express the physical state of the characters has been preserved, in addition, the translator used the comparison “like ice”, replacing the epithet “ice” from the original with it. This is an example of a partial replacement of a lexical item. When describing the parts of the legs, the concretization was used: “the toes are numb”. 5. The comparison from the original has been retained, but the phrase “stretched ... his hand” was replaced by the following: 50 “waved ... his hand”, which, in our opinion, does not correspond to the physical condition of the hero indicated in fragment 3 of this analysis, which means that it distorts the fact character's actions. Thus, the technique of complete replacement of a lexical unit was used. 6. The comparison from the original is saved, only a different union is used - “as if”. 7. The translator appropriately used the complete replacement of the lexical unit “staggering” with another one – “hobbled”, because the first word in its meaning is more comparable with inanimate nouns, and the second word means “To go lame, crouching on the leg waddle or with difficulty” and is colloquial. This is how adaptation to the target language is carried out. At the same time, there is a discrepancy between the facts in this fragment: in London, the hero turns to Bill when he has already “got out of the water”, while in the translation the request sounds when Bill is still walking “on milky white water”. 8. Strengthened comparison by comparative turnover. The word “longing” is introduced, which characterizes the state of the hero - thus, concretization is used. 9. "Weave" - RAZG. “Walk slowly, tiredly, moving your legs with difficulty.” This word replaced the author's "limping" - a complete replacement of the lexical unit was applied. 10. When translating, a phraseological unit was used, i.e. a partial replacement of a lexical unit was applied. 11. The fact of reflecting the psychological state of the hero is distorted by the use of a complete replacement of the lexical unit “slightly” by “strongly”, since he is a courageous person and knows how to restrain his emotions, as evidenced by the adverb “slightly” in this fragment. 12. Inappropriate concretization, since the verb “lick”, “lick” with the lexical meaning “Show 51
“I am the sophistication of Russian slow speech ...” Konstantin Balmont
I am the sophistication of Russian slow speech,
Before me are other poets - forerunners,
I first discovered in this speech deviations,
Perepevnye, angry, gentle ringing.I am a sudden break
I am the playing thunder
I am a clear stream
I am for everyone and no one.The splash is multi-foam, torn-fused,
Semi-precious stones of the original land,
Forest green May roll calls -
I will understand everything, I will take everything, taking it away from others.Forever young as a dream
Strong in love
Both in yourself and in others,
I am an exquisite verse.
Analysis of Balmont's poem "I am the sophistication of Russian slow speech ..."
The beginning of the 20th century was marked by a very strange trend in Russian literature, which can be conditionally called posturing. Many famous and aspiring poets considered themselves geniuses, openly declaring this in their works. Konstantin Balmont did not escape this fate, who in 1903 published the poem "I am the sophistication of Russian slow speech."
By this point, Balmont, who considered himself a symbolist, followed suit and began experimenting with style and style. As a result, he convinced himself that he had achieved some success in this field, isolating a certain special style, distinguished by melodiousness and melody. In a similar vein, several poems were created, and very soon Konstantin Balmont came to the conclusion that he had discovered a new path in the world of literature. It is for this reason that the author openly states: "Before me, other poets - forerunners." He believes that he has invented something that no one had ever thought of before, boasting that he gave the world "repeated, gentle, angry chimes."
Balmont compares himself with thunder and a ringing stream, while emphasizing that there is no merit in such a discovery. The poet realizes that behind his creative experiments are the age-old traditions of Russian literature which prompted him to such discoveries. Therefore, he confesses: "I am for everyone and no one." In this phrase, the author emphasizes that his experiments are in the public domain, and they can be used by anyone who wishes. But at the same time, Balmont notes that he will still rise above the crowd, which does not bother with literary searches and accepts only the finished result.
However, the poet himself does not deny that his fellow writers, who lived in past centuries, worked hard so that now he could afford to create poems in a special, melodious manner. In fact, Balmont admits to plagiarism, declaring: "I will understand everything, I will take everything, taking it away from others." However, in this case, it is not about borrowing someone's ideas, but about the ability to analyze the information that, according to the poet, lies on the surface. In addition, Balmont admits that without the inspiration that he draws from the beauty of the surrounding nature, admiring how “the semi-precious stones of the original land” shine around him, he would never create an exquisite verse “forever young, like soy”, filled with melody and magic.
Sections: Russian language
Class: 8
- Educational: repeat and summarize what has been learned on the topic “Syntax of a simple sentence” on the work of K.D. Balmont, preparation for the GIA
- Educational: to cultivate an understanding of the value of every moment in a person's life
- Developing: developing text analysis skills, expanding horizons in the field of cultural studies
Equipment: portraits of different years of Balmont
Musical arrangement: music by Debussy, Stravinsky.
Artistic design: works by Claude Monet.
During the classes
I. Teacher's word
Hello guys! Today we have a lesson in Russian literature "I am the sophistication of Russian slow speech ...". The Russian language and literature will be closely intertwined with each other, they will be equal, they will help each other, complement, enrich.
We will repeat and generalize the knowledge gained in the Russian language on the topic “Simple Sentence Syntax”, and by repeating this knowledge we will take steps towards the upcoming GIA, which is waiting for you in grade 9. What topics did we cover? (Student answers.)
I came to the lesson with the poet of the Silver Age Constanti Mr. Dmitrievich Balmont.
- What representatives of the Silver Age do you know?
- When did we have a silver age?
The Silver Age is 20th century, the era of the revival of spirituality and culture, creative freedom, a constellation of bright individuals, the birth of brilliant discoveries. Akhmatova, Tsvetaeva, Blok, Pasternak, Mandelstam are contemporaries of Pasternak. And he himself was the idol of reading Russia in those years. As Valery Bryusov noted, “for a decade, Balmont reigned indivisibly over the Russian position.”
Slide 1: Let him introduce himself to you with his poems: verse-e “I am the sophistication of Russian slow speech ...” (teacher reading)
I am the sophistication of Russian slow speech,
Before me are other poets - forerunners,
I first discovered in this speech deviations,
Perepevnye, angry, gentle ringing.I am a sudden break
I am the playing thunder
I am a clear stream
I am for everyone and no one.The splash is multi-foam, torn-fused,
Semi-precious stones of the original land,
Forest green May roll calls -
I will understand everything, I will take everything, taking it away from others.Forever young as a dream
Strong in love
Both in yourself and in others,
I am an exquisite verse.
Slide 2: And now I bring to your attention a few statements about him by his contemporaries, and complete tasks for them (cards with suggestions and tasks are distributed). (The teacher reads.)
Cards with suggested tasks are distributed. Run them.
| 1. “Who is Balmont in Russian poetry? The first lyric poet? Forerunner? Ancestor? This cannot be answered. It cannot be compared. He is all exception. You can only love him." ( M. Voloshin) | Specify the types of one-part sentences. |
| 2. "Balmont took possession of everyone's thoughts and made everyone fall in love with his sonorous verse." ( V. Bryusov) | Highlight s / s synth. connections. |
| 3. "The idea of transience, the desire to capture the passing moments, the variability of moods, increased attention to the poetics of verse (passion for sound writing, musicality) - these are the distinguishing features of K. Balmont's early books." ( M. Stakhov) | Make a sentence diagram, explain. punctuation marks. |
| 4. "He had one precious virtue - the spontaneity and original freshness of the lyrical feeling." ( Vl. Orlov) | Explain the punctuation mark - dash. |
| 5. "Having studied sixteen languages, he probably spoke a special seventeenth, Balmontov." ( M. Tsvetaeva) | Syntactic parsing of a sentence. |
| 6. "The creative method and poetic manner of Balmont are characterized by the word - impressionism." ( Ap. Grigoriev) | What part of the sentence is the word "impressionism"? |
- Underline key words. Let us pay attention to the words "forerunner," impressionism ".
What do you understand from these statements?
- What was the poet K. Balmont, in the opinion of his contemporaries?
Slides with paintings by Claude Monet. Teacher comment:
Impressionism - Impressionist artists work in small strokes, applying pure, unmixed colors side by side, without smooth transitions and shades, so that many objects were just outlined, and the outlines of light and shadows, crushing and crumbling, passed one into another. (Pablo Picasso, Van Gogh, Claude Monet, Renoir). The ideologist of the new direction was Claude Monet. He was the only one who always remained true to his ideas. By the way, thanks to him, or rather his picture, the very term "impressionism" appeared, which comes from the French "impression" - impression.
Drawing, which was the basis of all foundations for centuries, starting from the Renaissance, was banished. Painting is color. Spots of colors piled on top of each other. From now on, even the shadow has color. Only black paint had no place on their canvases. The world has become a set of colors on a palette. Color and light are the main characters of their paintings. They wrote only what they saw. They didn't just do sketches. They started and finished the painting in one session, keeping the first impression fresh and immediacy. The details weren't important. The place of the dark canvases of the masters of academic painting was taken by their canvases sparkling with all conceivable colors and shades.
The Impressionists left their workshops for the streets of Montmartre to paint life. Modern life. They were looking for their heroes not in ancient history and myths, the gods of Greece and Rome (at least at that time) did not interest them. They searched for and met their heroes on the Parisian boulevards, in the cafes, just next door among the inhabitants of the attics of Montmartre. They wrote not an eternity, a moment.
The new rhythm of life, accelerating every year, has become the rhythm of their art. They did not run away from modernity like the Symbolists. They loved her, longed to open her to art. Industrial "monsters" that offended the eye of an aesthete, they learned to portray as beautiful. Or rather, not themselves. The play of light in the air around them. The play of colors on their surfaces. How many now can sincerely say that Monet's train stations are not beautiful? Having broken the traditional system of landmarks of the beautiful world, having taught both the audience and artists to look at the world and art in a new way, the Impressionists opened the way for contemporary art.
Claude Monet wanted to capture on canvas the living breath of nature: the rustle of leaves, the run of clouds, the subtly changing play of sunbeams on green grass.
Balmont also works - “Nature is a mosaic of flowers”, and his poems capture the moment.
Write by analogy 2–3 sentences characterizing Balmont using key words, compressing the text
II. Let's move on to Part 2 of our lesson.
Problematic situation.
"I came into this world to see the Sun."
In the center of the board, I placed the Sun, and this is not accidental. What do you think: how are the Sun and Balmont related to each other? What associations come to your mind related to the word "sun"? Let's place them in the rays of the sun: fire - warmth - joy - light - life - good mood - spring - beauty - youth, etc. How is this connected with the work of Balmont? (Children's answers.)
Slide with article : Carefully read the excerpt from Lev Ozerov's article "The Song of the Sun" and tell me if your statements were true? What associations have been added? (Conscience and freedom.)
Excerpt from Lev Ozerov's article "Song of the Sun"
(1) "Let's be like the sun!" - the poet says and names the book of his poems like that ...
(2) The call to people - "Let's be like the sun" - is an exorbitant desire.
(3) But the exorbitance of desires - this is the poet K. Balmont ...
(4) “I came to this world to see the sun,” the poet repeats the prophetic words of the Greek philosopher Anaxagoras.
(5) The call “we will be like the sun” is justified by the fact that it is - in the words of the poet - young.
(6) And the poet refers to youth.
(7) In everything, it was important for Balmont to feel the obvious or hidden presence of the sun.
(8) I do not believe in a black beginning,
May the foremother of our life be the night,
Only the sun answered the heart
And always runs away from the shadow.
(9) The theme of the Sun in his victory over darkness went through all of Balmont's work ...
(10) Together with Balmont was Bely: "For the sun, for the sun, loving freedom, let's rush off into the blue expanse!"
(11) In the book "Let's be like the sun!" the poet rightly places the Sun, the source of light and conscience, in the center of the world, in the literal and allegorical sense of the word ...
Article discussion:
Find a sentence that expresses the main idea of the text. Are these words suitable as an epigraph?
- Prove that this is a text. Text type.
- Means of communication of sentences in the text. (parallel).
- Complete tasks for the text (from the exam) (Total 8-10 tasks).
(Cards with tasks).
The dots are the tiptoe marks of bygone words.
Slide : Tests with subsequent mutual verification to the music of Debussy "Prelude"
1) Indicate in which of sentences 2–4 the introductory word occurs
2) In sentences 1–3, indicate an inconsistent definition
3) Among sentences 9–11, indicate a sentence with a separate application (an application that has a causal value)
4) Find a sentence with a separate circumstance, expressed by a participial turnover.
5) Indicate the grammatical basis in 2 sentences
6) Replace the phrase exorbitance of desires(3 sentences), built on the basis of management, by a synonymous phrase with a connection, agreement
7) Among sentences 4–7, find a one-part sentence and indicate the type.
8) In sentence 7, indicate the type of predicate
Teacher's conclusion: Indeed, Balmont is also called the poet of the sun. The main image in the poet's work is the image of the Sun. He does not tire of singing hymns to Him:
Life giver
light creator,
Sun, I sing you!
Let at least unhappy
Do but passionate
hot and domineering
my soul.
The sun is the source of life. The fiery principle is the very essence of life. With the sun, Balmont connects the fulfillment of his dream, it is it that connects a person with the Universe, where eternal Goodness and Beauty reign. ( I. Brodsky)
I do not know wisdom suitable for others.
Only transience I put in a verse.
In each transience I see worlds (inversion)
Full of changeable rainbow play.
Do not curse, wise ones. What do you care about me?
I'm just a cloud full of fire.
I'm just a cloud. See, I'm floating.
And I call the dreamers... I don't call you.
- What would you say is the key word? (Fleeting.)
- What syntactic constructions are found? What does the poet see as the purpose of his poetry? (All sentences are simple. Some are incomplete. They convey a sense of transience, a moment. There are even sentences that are divided into separate words, segments.) Find them.
Parceling. The logical stress on each word gives them special power. Highlights these words.
- What other artistic and expressive means do you see?
- Lexical repetition.
- The epithet of the changeable rainbow game is to explain: transience is painted in all the colors of the rainbow. An expressive technique of syntax is emotionality.
- Rhetorical question. He does not need an answer to this question, yes: he himself knows where and why he should sail.
- Anaphora: 2 p. - enhanced logical selection, expressiveness of speech.
- Comparison: compares himself to a cloud, why?
- Is there a Sun in this poem: a cloud full of fire - as you understand: a cloud is soft, gentle, an oxymoron changes its shape; fire - emotional, hot, bright, fire inside.
- Are there any contrasts here?
All questions have answers.
Wise - who know everything.
Rational mind.
Much is incomprehensible to him, a dreamer and he wants to discover new things.
Lesson summary:
Homework
- Learn the poem: “I am the sophistication of Russian slow speech ...”, answer in writing the questions “How do you imagine Balmont? What did he write about? How did you write? (using different syntactic constructions).
- How does syntax work to reveal the meaning in the poem "I do not know wisdom suitable for others ..." (in writing)
Konstantin Dmitrievich Balmont
I am the sophistication of Russian slow speech,
Before me are other poets - forerunners,
I first discovered in this speech deviations,
Perepevnye, angry, gentle ringing.
I am a sudden break
I am the playing thunder
I am a clear stream
I am for everyone and no one.
The splash is multi-foam, torn-fused,
Semi-precious stones of the original land,
Forest green May roll calls -
I will understand everything, I will take everything, taking it away from others.
Forever young as a dream
Strong in love
Both in yourself and in others,
I am an exquisite verse.
Konstantin Balmont
The beginning of the 20th century was marked by a very strange trend in Russian literature, which can be conditionally called posturing. Many famous and aspiring poets considered themselves geniuses, openly declaring this in their works. Konstantin Balmont did not escape this fate, who in 1903 published the poem "I am the sophistication of Russian slow speech."
By this point, Balmont, who considered himself a symbolist, followed the example of Igor Severyanin and Velimir Khlebnikov, starting experiments with style and style. As a result, he convinced himself that he had achieved some success in this field, isolating a certain special style, distinguished by melodiousness and melody. In a similar vein, several poems were created, and very soon Konstantin Balmont came to the conclusion that he had discovered a new path in the world of literature. It is for this reason that the author openly states: "Before me, other poets - forerunners." He believes that he has invented something that no one had ever thought of before, boasting that he gave the world "repeated, gentle, angry chimes."
Balmont compares himself with thunder and a ringing stream, while emphasizing that there is no merit in such a discovery. The poet realizes that behind his creative experiments are the age-old traditions of Russian literature which prompted him to such discoveries. Therefore, he admits: "I am for everyone and no one." In this phrase, the author emphasizes that his experiments are in the public domain, and they can be used by anyone who wishes. But at the same time, Balmont notes that he will still rise above the crowd, which does not bother with literary searches and accepts only the finished result.
However, the poet himself does not deny that his fellow writers, who lived in past centuries, worked hard so that now he could afford to create poems in a special, melodious manner. In fact, Balmont admits to plagiarism, declaring: "I will understand everything, I will take everything, taking it away from others." However, in this case, it is not about borrowing someone's ideas, but about the ability to analyze the information that, according to the poet, lies on the surface. In addition, Balmont admits that without the inspiration that he draws from the beauty of the surrounding nature, admiring how the “gem-colored stones of the original land” shine around him, he would never have created an exquisite verse “forever young, like a dream”, filled with melody and magic.
I am the sophistication of Russian slow speech,
Before me are other poets - forerunners,
I first discovered in this speech deviations,
Perepevnye, angry, gentle ringing.
I am a sudden break
I am the playing thunder
I am a clear stream
I am for everyone and no one.
Multi-foam splash, torn-fused,
Semi-precious stones of the original land,
Forest green May roll calls -
I will understand everything, I will take everything, taking it away from others.
Forever young as a dream
Strong in love
Both in yourself and in others,
I am an exquisite verse.
June 15 - 150 years since the birth of the Russian symbolist poet Konstantin Dmitrievich Balmont (1867 - 1942), a talented lyricist who occupied not the last place in Russian poetry of the early twentieth century. Unfortunately, his extraordinary poems are little known to the modern reader. But, according to Bryusov, Balmont “for a whole decade reigned indivisibly over Russian poetry” (meaning 1985-1904). In 1918, a kind of election of the "King of Poets" was arranged in Moscow, and Balmont, by unanimous decision, was in 3rd place (after Igor Severyanin and Vladimir Mayakovsky). His soul always gravitated towards eternal beauty and harmony, he loved touching the riches of nature. Remember - “Light-fluffy, white snowflake, how pure, how bold!”, “Cowberries are ripening, the days have become colder, and the bird’s cry in the heart has made me sadder”, “A woman is with us when we are born”, “I will it is painful to wait for you, I will wait for you for a year ”... The poems of Konstantin Balmont can be liked or left indifferent, but no one can deny their extraordinary musicality. “When you listen to Balmont, you always listen to spring. No one entangles souls in such a bright fog as Balmont. No one blows this fog with such a fresh wind as Balmont. No one is still equal to him in his melodious power. The world without Balmont would be incomplete for us"- so wrote Alexander Blok, who considered K. Balmont a wonderful poet. The life and creative path of the poet was complex and contradictory.
Konstantin Dmitrievich Balmont was born on June 15 (3), 1867 in the village of Gumnishche, Shuisky district, Vladimir province, in the family of a poor landowner and the daughter of a general. He considered himself a descendant (on the mother's side) of the Tatar prince, whose name was translated as "White Swan of the Golden Horde". He grew up in a poor noble family. Balmont's mother, Vera Nikolaevna Balmont (nee Lebedeva), was an imperious, strong, highly educated woman, knew foreign languages well, read a lot, was not alien to some free-thinking (they received "unreliable" guests in the house). She appeared in the local press, arranged literary evenings, amateur performances. It was she who taught her son to understand beauty. " Of all people, my mother, a highly educated, intelligent and rare woman, had the most profound influence on me in my poetic life. She introduced me to the world of music, literature, history, linguistics. She was the first to teach me to comprehend the beauty of the female soul, and this beauty, I believe, is saturated with all my literary work..
Father, Dmitry Konstantinovich, was the chairman of the zemstvo council in the city of Shuya, did a lot to spread literacy among the peasants (a school was built at his expense in the village of Gumnishchi). He had a different influence on the poet: “A completely different strong influence, and perhaps even more cherished, was exerted on me by my father, an unusually quiet, kind, silent person who did not value anything in the world except liberty, the countryside, nature and hunting. Without becoming a hunter myself - with him, even in my very early childhood, I deeply penetrated into the beauty of forests, fields, swamps and forest rivers, which are so many in my native places.- wrote the poet.
In the family, he was the third son, there were seven sons in total, and not a single daughter. The early childhood of the future poet passed in the village. "My first steps, you were steps along garden paths among countless flowering herbs, bushes and trees., - Balmont later wrote, expressing himself in his usual pretentious style. - My first steps were surrounded by the first spring songs of birds, the first runs of the warm wind across the white kingdom of blossoming apple and cherry trees, the first magical lightning of comprehending that the dawns are like the unknown Sea and the high Sun owns everything.. Balmont recalled his childhood a lot, childhood impressions - describing all this with tenderness. This "childishness" was preserved in him all his life - friends considered it sincere, enemies - feigned. Both those and others had grounds for such a judgment. But still, no matter what abysses the poet subsequently rushes into, the fact that by nature his soul was responsive, kind and pure is the true truth.
The future poet learned to read on his own at the age of five, spying on his mother, who taught her elder brother to read and write. The touched father presented Konstantin on this occasion with the first book, "something about savage oceanians." Mother introduced her son to samples of the best poetry. “The first strongest memories of the literary order came to me from folk songs. Russian folk tales, poems by Pushkin, Lermontov, Baratynsky, Koltsov, Nikitin, Nekrasov, - a little later - Zhukovsky. The first story I read in the sixth year of my life was some kind of semi-fairy story from the life of the Oceanians, but I only remember that the book was thin and blue-bound and there were very yellow pictures in it, one picture depicted coral islands covered with palm trees. - and I remembered it so well that when in 1912 I first saw the coral islands in the Pacific Ocean, approaching Tonga, Samoa and Fiji, I shuddered and in some transcendent light felt like a five-year-old child in the Gumnishchi estate". However,- “... My best teachers in poetry were the estate, the garden, streams, marsh lakes, the rustle of leaves, butterflies, birds and dawns” he recalled in the 1910s.
When the time came to send older children to school, the family moved to Shuya. However, moving to the city did not mean separation from nature. The Shuisky house of the Balmonts, surrounded by a vast garden, stood on the picturesque bank of the Teza River; in addition, my father, a passionate hunter, often visited Gumnishche. Kostya accompanied him more often than others. In 1876, Balmont entered the preparatory class of the gymnasium. At first he studied well, then his studies got boring, and external performance decreased, but the fruitful time of drunken reading came: Mine Reed and Gogol, Dickens and Pushkin, Hugo and Lermontov - one book impression replaced another, many books - French and German - the boy read in the original . Impressed by what he read, he himself began to write poetry: On a bright sunny day they arose, two poems at once, one about winter, the other about summer". The mother did not like the first attempts at writing, and this stopped him for some time, but serious writing began at the age of 16.
At the age of 17, while still a schoolboy, Balmont became a member of a revolutionary circle. The appeal to the revolution was, like so much in his life, from the contrary: “ Because I was happy, and I wanted everyone to be just as good. It seemed to me that if it’s good only for me and a few, it’s ugly". After some time, the police became interested in the activities of the circle, some of its members were arrested, some - including Balmont - were expelled from the gymnasium. The mother began to seek for her son the opportunity to finish his studies elsewhere, in the end, permission was received: Balmont was admitted to the gymnasium in Vladimir. He had to live in an apartment with a Greek teacher, who zealously performed the duties of a "supervisor". When, in December 1885, Balmont published his first poems in the journal Picturesque Review, the "supervisor" was very dissatisfied and forbade the ward from such experiments until the end of the gymnasium. It is not surprising that Balmont left the most difficult impressions from the gymnasium.
« Finishing high school in Vladimir-provincial, I first met the writer, - Balmont recalled, - and this writer was none other than the most honest, kindest, most delicate interlocutor that I had ever met in my life, the most famous narrator of those years, Vladimir Galaktionovich Korolenko". The writer arrived in Vladimir, and Balmont's acquaintances gave him a notebook of poems of the beginning poet. Korolenko took them seriously and, after reading the poems, wrote a detailed letter to the gymnasium student: He wrote to me that I had a lot of beautiful details, successfully snatched from the natural world, that I needed to concentrate my attention, and not chase after every passing moth, that there was no need to hasten my feeling with thought, but I had to trust the unconscious area of \u200b\u200bthe soul, which imperceptibly accumulates their observations and comparisons, and then all of a sudden it all blooms, as a flower blooms after a long invisible pore of accumulation of its forces».
In 1886, Balmont entered the law faculty of Moscow University. Legal sciences attracted him little - he still preferred self-education, studied languages and, like many freedom-loving young people, was fond of liberation ideas. Soon, a new charter was introduced at the university, which limited the rights of students, student unrest began, and the instigators were expelled. Among the instigators was Konstantin Balmont. He had to spend three days in Butyrka prison. Then he lived for a year in his native Shuya, read a lot, became interested in Shelley's poetry. In 1888, Balmont resumed his studies at Moscow University, but again not for long. He complained of a "nervous breakdown". But the main reason was love.
In September 1888, while in Shuya, Balmont met the "Botticelli beauty", Larisa Mikhailovna Garelina, and his studies faded into the background. Balmont's mother sharply opposed when her son started talking about marriage. However, the young man was adamant in his decision and was ready to break with his own family. " I was not yet twenty-two years old when, having left the university, in 1889 I married a beautiful girl he recalled, and we left in early spring, or rather, at the end of winter, to the Caucasus, to the Kabardian region, and from there along the Georgian Military Highway to the blessed Tiflis and Transcaucasia". The marriage was unsuccessful. Having quarreled with his parents, Balmont hoped to live by literary work, but his first collection of poetry, published in 1890, was not successful and almost did not diverge. His wife did not sympathize with either his literary aspirations or his revolutionary sentiments. In addition, she was terribly jealous, and also addicted to wine. Quarrels began. The first child died, the second - son Nikolai - subsequently suffered from a nervous breakdown.
In 1890, family troubles nearly cost the poet his life. Thoughts of death began to visit him, and on March 13, 1890, he jumped out of the window. Injuries, although severe, had no irreparable consequences, except for the lameness that remained with the poet forever. Like many people who miraculously escaped death, Balmont considered that this salvation was not accidental, and that a high destiny awaited him in life. He was even more strengthened in the decision to take up literature and was filled with unshakable faith in himself. Having recovered, he went to Moscow to make literary acquaintances. The beginning of his literary activity was not easy. " My first steps in the poetic world, you were ridiculed steps on broken glass, on dark sharp-edged flints, on a dusty road, as if leading to nothing.».
He was in demand, first of all, as a translator. It was accepted by several editorial boards, but Professor Nikolai Ilyich Storozhenko gave him special support. " He truly saved me from hunger and, like a father to his son, threw a faithful bridge, procuring for me from K.T. Soldatenkov's order to translate Gorn-Schweitzer's History of Scandinavian Literature, and, somewhat later, Gaspari's two-volume History of Italian Literature. The third friend of my first steps in literature was our magnificent Muscovite, the famous lawyer, Prince Alexander Ivanovich Urusov. He published my translation of Poe's Mysterious Tales and loudly praised my first poems, which compiled the books Under the Northern Sky and In the Vast"". Balmont translated a lot. He owns one of the translations of "The Tale of Igor's Campaign", translations of K. Marlo, O. Wilde and others, Bulgarian, Lithuanian, Armenian, Spanish, Georgian poetry. But his translations were truly successful when he found a kindred spirit in the translated poet. Shelley was his spirit. No less native - Edgar Allan Poe:
There lived and blossomed the one that was always called Annabelle Lee...
For four or five years no magazine wanted to print it. " My first collection of poems he says, which I myself published in Yaroslavl (albeit a weak one), did not, of course, have any success. My first translated work (a book by the Norwegian writer Heinrich Jaeger about Heinrich Ibsen) was burned by the censors. Close people with their negative attitude significantly increased the severity of the first failures.". But very soon the name of Balmont, first as a translator of Shelley, and from the middle of the 1890s - as one of the most prominent representatives of Russian "decadence", becomes very famous. Especially after the publication of the book of poems Under the Northern Sky (1894) and the collection Burning Buildings (1900).
In his later work, he swore his love for "One", "The Only", "White Bride". But who she is - it seems that he himself did not fully understand: there were too many women in his life. Most of the poet's biographers tend to think that this is his second wife, Ekaterina Alekseevna Andreeva-Balmont (1867 - 1952), whom he himself called "his Beatrice", and who at the end of her life wrote detailed memoirs about him. She wrote about the poet: He lived in the moment and was content with it, not embarrassed by the motley change of moments, if only to express them more fully and more beautifully. He then sang Evil, then Good, then he leaned towards paganism, then he bowed before Christianity". She came from a wealthy merchant family and was considered an enviable bride, she was educated (she studied at the Higher Women's Courses), she was in no hurry to get married, although she was pretty: tall (taller than Balmont), thin, with beautiful black eyes. The poet was married, and Ekaterina Alekseevna's parents were pious. The lovers were forbidden to see each other, but they circumvented the prohibitions. At the time of meeting Andreeva, Balmont's divorce was a foregone conclusion, but far from being decided. However, Ekaterina Alekseevna, unlike her parents, did not care much about this issue. In the end, without waiting for the official decision of the Synod, she, overstubborn parents, moved to the poet. " With me my "black-eyed doe”, - Balmont joyfully informs his mother on June 21, 1896.
The divorce proceedings ended on July 29 of the same year, and its decision was disappointing: the wife was allowed to enter into a second marriage, and the husband was forbidden forever. But this obstacle was overcome: having found some document where the groom was listed as unmarried, the lovers got married on September 27, 1896, and the next day they went abroad, to France. Abroad, the young lived in Paris, Biarritz, traveled to Cologne. Balmont studied languages and literature. In the spring and summer of 1897, a trip to London took place, where Balmont lectured on Russian literature. And in the fall, leaving his wife in Paris, the poet went to Russia to prepare for publication his next collection, Silence, which was published in January 1898.
 |
| Konstantin Balmont and Mira Lokhvitskaya |
The most prominent place in Balmont's work was occupied by his "poetic friendship" with the poetess Mirra Lokhvitskaya. It was she who was impatiently waiting for the return of Balmont from abroad. Mirra Alexandrovna Lokhvitskaya was two years younger than Balmont, she began to publish later, but then, in the mid-90s, she was better known. Nature rewarded her with bright southern beauty, the exotic name "Mirra" (converted from the usual "Maria") went very well with her appearance. The memoirists who recalled Lokhvitskaya are mostly unanimous in their enthusiasm. " And everything about her was charming: the sound of her voice, the liveliness of her speech, the sparkle in her eyes, that sweet, easy playfulness.”, - wrote Bunin, strict to his fellow writers. Among the literary novels of the turn of the century, the novel by Balmont and Lokhvitskaya is one of the most sensational and the most unknown. Their poetic dialogue lasted for almost ten years. Correspondence has not been preserved - neither from one side nor the other. Only numerous poems remained. Balmont was bolder in dedications, he has poems with a direct dedication to Lokhvitskaya. Here is one of them:
I knew that once I saw you,
I will love you forever.
From feminine women, choosing a goddess,
I wait - I love - endlessly.
And if love is deceitful, as everywhere else,
Love and we will enjoy.
And if we meet again,
We will say goodbye to strangers again.
And in the hour of crime, smiles and sleep,
I will be - you will be - away.
In a country that was created for us forever,
Where there is neither love nor vice.
It was as if dark forces were approaching him. First, the poet suffered a difficult test in the family. Leaving for Moscow, he left Ekaterina Alekseevna pregnant, and returned just in time for her birth. But the birth was unsuccessful. The child was born dead, the mother went into puerperal fever. Doctors declared that there was no hope. Relatives came from Moscow to say goodbye, but the patient did not die. For several months she was between life and death. Relatives took care of all material care for the treatment. Balmont was out of work, and out of grief he took to drink, and soon "fell ill" himself - a very strange disease.
« The name of Balmont, the "talented poet", has always been associated with the idea of a dissolute person, a drunkard, almost a debauchee, - later wrote E.A. Andreeva. - Only close people knew him like me, and loved him not only as a poet, but also as a person. And they all agreed with me that Balmont was a wonderful person. Why such a contradiction in opinions? I think this came from the fact that two people lived in Balmont. One is real, noble, sublime, with a childish and tender soul, trusting and truthful, and the other, when he drinks wine, is his complete opposite: rude, capable of all the most ugly ... It is clear that this was an illness. But no one could explain it to me". Nina Petrovskaya, who met Balmont in the early 1900s, diagnosed his mysterious “illness”: “ Balmont suffers from the most common split personality. It is like two spirits, two personalities, two people in him: a poet with a smile and the soul of a child, like Verlaine, and a growling ugly monster The prerequisites for this duality existed in him before, but only now they have developed in full. Balmont was aware of this for himself, but did not seek to improve or be healed:
A return to life, or a first conscious glance.
Why is it "or"? - I ask them in response. -
Is there no place for both in an enchanted soul?
In the autumn of 1898, Balmont and his wife returned to Russia. " Russia was exactly in love with Balmont, - testifies Teffi. - Everyone, from secular salons to a remote town somewhere in the Mogilev province, knew Balmont. It was read, recited and sung from the stage. Cavaliers whispered his words to their ladies, schoolgirls copied into notebooks: “Open my happiness, Close your eyes ...” The liberal speaker inserted into his speech: “Today I will give my heart to the beam ...” the telegraph operator said to a young lady in a Mordovian costume: “I will be impudent - I want to»».
Having received a ban on living in the capital cities, Balmont began to travel abroad more often. First, he went there with Ekaterina Alekseevna and her little daughter Nina, “Ninika,” as she was called in the family born in December 1900. It is quite difficult to keep track of all his movements. Warsaw, Paris, Oxford, trips to Spain. In Paris, he became close to the young poet Maximilian Voloshin, in whom he found a true friend for many years. In Paris, Balmont lectured. After one of them, a young girl approached him, Elena Konstantinovna Tsvetkovskaya, a student of the Sorbonne Faculty of Mathematics and a passionate admirer of his poetry. Balmont did not feel passion for her, but soon Elena became necessary to him, only with her he could talk about everything, she alone was ready to rush into all his abysses. Naturally, Ekaterina Alekseevna was not pleased with her constant presence. Gradually, the spheres of influence were divided, Balmont either lived with his family or left with Elena. So, in 1905 they went together to Mexico, where they spent three months.
 |
| Konstantin Balmont and Elena Tsvetkovskaya Second half of the 1930s |
In July 1905 Balmont returned to Russia. He spent the summer with his family on the shores of the Gulf of Finland, in Estonia, where he wrote the book Fairy Tales, a slightly over-sweetened but charming children's poem for four-year-old Ninika. Returning to Moscow in the fall, he plunged headlong into the revolutionary element - he participated in rallies, made incendiary speeches. His family life was completely confused. In December 1907, E.K. Tsvetkovskaya had a daughter, who was named Mirra - in memory of Lokhvitskaya, to whose poems he continued to respond even after her death. The appearance of the child finally tied Balmont to Elena Konstantinovna. He did not want to leave Ekaterina Alekseevna either, and, it seems, he would gladly arrange a kind of harem for his wives, but Ekaterina Alekseevna was categorically against it. In 1909, Balmont made a new suicide attempt: he again jumped out of the window, and again survived.
He still read and translated a lot, traveled a lot, and in 1912 he almost made a round-the-world trip: rounding Africa along the western coast, he reached Oceania, and from there returned to Europe through India and the Suez Canal. The journey enriched Balmont with impressions, but did not fundamentally affect his style. In 1913, in connection with an amnesty timed to coincide with the 300th anniversary of the reigning dynasty, Balmont returned to Russia. He was greeted enthusiastically, although this enthusiasm was largely a tribute to the past - in the seven years of the absence of the "golden-haired poet", new idols appeared. In those years, it was common for writers to tour Russia. Balmont also made several such tours. On one of his trips he visited Georgia, on the other - the cities of the North of Russia, the Volga region, Siberia. Comparing overseas exoticism with the realities of his native country, Balmont made a choice in favor of Russia. Impressions from what he saw during these Russian tours were the resource of the last, emigrant period of the poet's work. In 1917, the collection "Sonnets of the Sun, Honey and Moon" was published. The new Balmont already appears in it - there is still a lot of pretentiousness in it, but still more spiritual balance, which harmoniously merges into a perfect form.
Balmont's attitude to the revolution was typical of the creative intelligentsia: delight before February and disappointment after October. The first years after the revolution, Balmont lived in Moscow. " And now the golden-haired poet found out that there is a smoky stove, that there is work in the same room with his wife and daughter, that there is a pood of frozen potatoes, dragged on oneself from the Kursk railway station. But still, without losing vitality, strength and fun, he runs along the right side of the Arbat, catching the eyes of the girls"(Zaitsev B.K.). During these years, he became very close and became friends with Marina Tsvetaeva. Not creatively related to each other, they found a purely human contact. " I am always so happy to be with her when life squeezes especially mercilessly, - Balmont wrote, recalling these years. - We joke, we laugh, we read poems to each other. And although we are not at all in love with each other, it is unlikely that many lovers are so tender and attentive to each other when they meet.».
Life, however, was very hard. Elena Konstantinovna began to develop consumption, the doctors said that she would not survive. Mirra, too, was sick and weak. So Balmont's departure abroad was not at all politically motivated. Politics did not interest him during this period. Already in exile, he recalled the incident when he was called to the Cheka. The lady investigator asked: What political party do you belong to?» – « Poet"Balmont replied. In 1920 Balmont left Russia. When he left, he hoped to return. But it soon became clear that this was impossible - he remained forever in France.
Shortly before Balmont's departure abroad, a significant event occurred in his first family: daughter Nina, barely eighteen years old, married the artist Lev Alexandrovich Bruni. Parents were unhappy with the early marriage - although it so happened that the young people had been waiting for the wedding for about two years: the first time Ninika spoke about marriage was when she was sixteen. Surprisingly, the young girl turned out to be spiritually and worldly wiser than her "advanced" parents. The marriage was extremely happy.
Since 1921, Balmont officially established himself in the status of a white emigrant, but "did not come to court" in emigrant circles. In exile, his last great romance began with Princess Dagmar Shakhovskaya, who bore him two more children: son George and daughter Svetlana. Balmont was in constant correspondence with her, reporting all the details of his life. From the letters it is clear that he perceived his strange family in the same way: three wives, each of whom is loved in their own way, children (“sisters” and “brother”), another family member - “Nyusha”, Anna Nikolaevna Ivanova, niece E .BUT. Andreeva, a meek, quiet, selfless woman, with whom the poet was once briefly infatuated, and who for the rest of her life remained in the ambiguous role of "myrrh-bearing" with him and his family. Ekaterina Alekseevna called Balmont's friendship with the sick young poetess Tanya Osipova, who lived in Finland, the "last novel". For two years the poet exchanged letters, poems, flowers with Tanya, supporting the will of a twenty-year-old girl in the struggle for life. This love story was reflected in the poet's essay "Spring has come", published in the magazine "Chimes" in 1929.
In exile, Balmont lived in poverty, bordering on poverty. At first, he could still correspond with his relatives in Russia, but over time, the correspondence ceased - it was dangerous for those who remained at home. Material stability - at least relative - finally collapsed with the unsuccessful marriage of Mirra's daughter. There was neither prosperity nor harmony in her family, but one after another there were children who could not be supported. Literary fees brought a pittance; the main and constant support came from other states that created in the 1920s. aid funds for Russian writers. Balmont was among those who used these monthly subsidies. From time to time, money came from patrons or fans. However, the funds were not enough.
Balmont found himself in the position of a deeply offended person, cut off from everything close and dear, moreover, without any means of subsistence. Real poverty and complete oblivion entered his life, in connection with which he began to show signs of mental illness. He was very homesick. It was in emigration, in need, illness, deprivation, inescapable longing for Russia, that the new Balmont appeared - a wonderful Russian poet, still not appreciated. In 1923, Balmont, along with M. Gorky and I. Bunin, was nominated by R. Rolland for the Nobel Prize in Literature.
Balmont was outraged by the indifference of Western European writers to what was happening in the USSR, and this feeling was superimposed on the general disappointment with the whole Western way of life. Europe had previously made him bitter with its rational pragmatism. Back in 1907, the poet remarked: “ Nobody here reads anything. Here everyone is interested in sports and cars. Cursed time, senseless generation! I feel about the same as the last Peruvian ruler among the arrogant Spanish aliens he wrote in 1927. The last years of his life, the poet stayed alternately either in a charity house for Russians, which was kept by M. Kuzmina-Karavaeva, or in a cheap furnished apartment. The last days of the poet in December 1942 were spent in German-occupied Paris. The Germans treated the sick poet indifferently. He hated them because they attacked his homeland. All his thoughts about Russia and the last lines are dedicated to her.
Konstantin Dmitrievich Balmont dreamed of dying at home and asked to be buried in Moscow at the Novodevichy Cemetery. But fate had its own way. The poet died on December 23, 1942 in Paris and was buried in the same place where he lived in recent years. Only a few people came to see him on his last journey. In a Parisian cemetery, there is a modest tombstone on which is carved: "Constantin Balmont, pote russe." From the memoirs of B.K. Zaitseva: " He sadly faded- recalled Zaitsev, - and died in 1942 near Paris in the town of Noisy-le-Grand, in poverty and abandonment, after a long stay in the clinic, from where he came out half-dead. But here's the line: this man, who seemed to paganly worship life, its joys and brilliance, confessing before his death, made a deep impression on the priest with sincerity and the power of repentance - he considered himself an incorrigible sinner who cannot be forgiven. All Christianity, all the Gospel just says that the Lord is especially merciful to sinners, who consider themselves the last, unworthy. I believe, I firmly hope that He will be just as merciful to the deceased Russian poet Konstantin Balmont».
Balmont entered the history of Russian literature as a poet, translator, essayist and literary historian. He wrote 35 poetry collections, about 20 books. He wrote: " Four elements own the fate of both Pushkin and Turgenev: Russia, Nature, Woman, Beauty. I understand the beauty of harmonic content, the beauty of artistic creativity". These words can be put as an epigraph to the entire work of the poet and his biography. Balmont wrote: The poet is open with his soul to the world, and our world is sunny, a holiday of labor and creativity always takes place in it, solar yarn is created every moment, and whoever is open to the world, peering attentively around him into countless lives, into countless combinations of lines and colors, always will have solar threads at his disposal and will be able to weave gold and silver carpets". Read Balmont's poems and you will be fascinated by the melodic ribbon of his poetry. The musical lines of his poetry resonate with the graceful melancholy of Chopin and the grandeur of Wagnerian chords - radiant jets burning over the abyss of chaos. The tender refinement of Botticelli and the lush gold of Titian are poured in his poetic colors. In his poems, K. Balmont tries to show us the charm of an unusually fabulous nature.
V. Khodasevich: “ He delighted and grieved, delighted and angry. But, as about the first love, it is difficult for me to talk about him calmly and “impartially. … His poetry has become a part of the reality in which we live, it enters the air we breathe. The world without Balmont would be incomplete for us. Balmont has become a part of not only my biography, but also yours, reader - even if you think that poetry does not play a big role in your life».
« If I had been given to define Balmont in one word, I would have said without hesitation: Poet"- wrote Marina Tsvetaeva in the essay "The Word about Balmont". And, explaining her thought, she continued: Don't smile, gentlemen. I would not say this about Yesenin, or about Mandelstam, or about Mayakovsky, or about Gumilyov, or even about Blok, because all those named had something else besides the poet in them. More or less, better or worse, but something else. In Balmont, except for the poet in him, there is nothing ... on Balmont - in his every gesture, step, word - brand - seal - poet's star". In her other essays, Tsvetaeva speaks of Balmont's "non-Russianness": In the Russian fairy tale, Balmont is not Ivan Tsarevich, but an overseas guest, scattering all the gifts of heat and seas in front of the royal daughter. I always have the feeling that Balmont speaks some foreign language, which - I don’t know, Balmont».
Bryusov has poems dedicated to K. Balmont:
Your poems are like a random beam
Above the eternal abyss of darkness.
And now - a painful secret
Flowers sparkled in the mist.
Submissive to the domineering radiance,
They burn and sway
And they go into the distance, with a light cloth
Weaving colors and lights.
But the wind trembles, flying,
Patterns will blow and tear.
And the same beam, trembling and melting
Falls helplessly into the abyss.
Consider the poet's verses:
I am Russian
I am Russian, I am blond, I am red.
Born and raised under the sun.
Not at night. Do not believe? Look
In a wave of golden hair.
I am Russian, I am red, I am blond.
I went from sea to sea.
Nizal I amber beads,
I forged links for censers.
I am red, I am blond, I am Russian.
I know both wisdom and delirium.
I'm walking along a narrow path,
I will come - like a wide dawn.
* * *
I dreamed of catching the departing shadows,
The fading shadows of the fading day,
I climbed the tower, and the steps trembled,
And the higher I went, the clearer they were drawn,
The clearer the outlines were drawn in the distance,
And some sounds were heard in the distance,
Around me resounded from Heaven and Earth.
The higher I climbed, the brighter they sparkled,
The brighter the heights of the dormant mountains sparkled,
And with a farewell radiance, as if caressed,
As if gently caressing a misty gaze.
And below me the night has already come,
The night has already come for the sleeping Earth,
For me, the daylight shone,
The fire luminary burned out in the distance.
I learned how to catch the shadows that are leaving
The fading shadows of a faded day,
And higher and higher I walked, and the steps trembled,
And the steps trembled under my feet.
* * *
Bright May is leaving. My sky is getting dark.
Five quick years will pass - I will be thirty years old.
The nightingales will fall silent, and it will blow cold,
And the light of bright spring days will go out forever.
And days full of wanderings will come in their turn,
Days full of longing, doubt and struggle
When the chest aches under the weight of suffering,
When I know the oppression of a powerful fate.
And what does life promise me? To what joy beckons?
Perhaps it will give love and happiness? Oh no!
She lies about everything, she cheats about everything,
And lead me through thorny troubles.
And going that way, perhaps I will fall,
I will lose all my friends, my soul relatives,
And - what's worse than all - maybe I'll stop
I believe in my honor and in the truth of my words.
Let it be. But I will go forward without hesitation -
And on a hot day, and on a night, and in a cold, and in a thunderstorm:
I want to relieve at least someone's suffering,
I want to wipe at least one tear!
* * *
A woman is with us when we are born,
The woman is with us in our last hour.
A woman is a banner when we fight
A woman is the joy of opened eyes.
Our first love and happiness,
In the best aspiration - the first hello.
In the battle for the right - the fire of complicity,
The woman is music. The woman is the light.
* * *
Oh woman, child, accustomed to play
And the look of tender eyes, and the caress of a kiss,
I should despise you with all my heart
And I love you, worrying and yearning!
I love and rush to you, I forgive and love,
I live by you alone in my passionate torments,
For your whim I will destroy my soul,
Everything, take everything for yourself - for the look of beautiful eyes,
For a false word that is more tender than the truth,
For the sweet anguish of enthusiastic torment!
You, a sea of strange dreams, and sounds, and lights!
You, friend and eternal enemy! Evil spirit and good genius!
I'll be waiting
I will wait for you painfully
I will wait for you for a year
You beckon sweetly exceptionally
You promise forever
You are all the silence of misfortune,
Random light in the darkness of the earth,
The obscurity of voluptuousness,
Not yet known to me.
With his ever-meek smile,
With a face always bowed down,
With your uneven gait
Winged, but not walking birds,
You awaken secretly sleeping feelings,
And I know that a tear will not eclipse
Your somewhere away looking,
Your unfaithful eyes.
I don't know if you want joy
Mouth to mouth, cling to me
But I do not know the highest sweetness,
How to be alone with you.
I don't know if you're an unexpected death
Or an unborn star
But I will wait for you, my dear,
I'll wait for you forever.
The most tender
Your laughter sounded, silvery,
More tender than silver ringing -
More tender than fragrant lily of the valley,
When he is in love with someone else.
More tender than recognition in the eyes,
Where the happiness of desire ignited, -
Softer than light strands
Sudden falling hair.
Softer than the glitter of a pond,
Where is the continuous singing of jets, -
Than a song that is familiar from childhood,
Than the first love kiss.
Tender than what is desired
With the fire of his magic, -
More tender than the Polish panna,
And, therefore, the most tender of all.
* * *
You can live with your eyes closed
Wanting nothing in the world
And forever say goodbye to heaven,
And understand that everything around is dead.
You can live silently growing cold,
Not counting the fading minutes
How the autumn forest lives, thinning,
How faded dreams live.
You can leave everything treasured,
You can fall out of love forever.
But you can not cool down to the past,
But you can't forget about the past!
* * *
We like poets
Similar to us
sacred objects,
In order to decorate the hour -
Magic hour of greatness,
When you are stronger
We appreciate without distinction
The sparkle of all the lights -
Flowers with any pattern,
Blossoms of all beginnings,
Only to our eyes
Their flame answered, -
Only with our storm
He merged into one
From the sky or furies, -
Don't we all care!
Voicelessness
There is a tired tenderness in Russian nature,
The silent pain of hidden sadness
Hopelessness of grief, voicelessness, boundlessness,
Cold heights, leaving gave.
Come at dawn to the slope of the slope, -
Coolness smokes over the chilly river,
The bulk of the frozen forest is blackening,
And the heart hurts so much, and the heart is not happy.
Motionless reed. The sedge does not tremble.
Deep silence. Silence of rest.
The meadows run far, far away.
In all fatigue - deaf, dumb.
Enter at sunset, as if into fresh waves,
In the cool wilderness of the village garden, -
The trees are so gloomy-strangely silent,
And the heart is so sad, and the heart is not happy.
As if the soul asked for what it wanted,
And they hurt her undeservedly.
And the heart forgave, but the heart froze,
And cries, and cries, and cries involuntarily.
* * *
Let's be like the sun! Let's forget about
Who leads us on the golden path,
We will only remember that forever to another,
To the new, to the strong, to the good, to the evil,
Brightly we strive in a dream of gold.
We will always pray to the unearthly,
In our earthly desire!
Let's be like the sun is always young
Gently caress the fiery flowers,
The air is clear and everything is golden.
Are you happy? Be twice as happy
Be the embodiment of a sudden dream!
Just do not hesitate in motionless peace,
To Eternity, where new flowers will flare up.
We will be like the Sun, it is young.
This is the promise of beauty!
Firebird
What people naively called love,
What they were looking for, staining the world more than once with blood,
I hold this wonderful Firebird in my hands,
I know how to catch her, but I won't tell others.
What others, what people to me! Let them walk on the edge
I know how to look beyond the edge and know my bottomlessness.
What is in the abysses and abysses, I know forever,
Bliss laughs at me where others are in danger.
My day is brighter than earthly day, my night is not a human night,
My thought trembles boundlessly, escaping into the beyond.
And only souls that look like me will understand me,
People with will, people with blood, spirits of passion and fire!
Snowflake
Light fluffy,
snowflake white,
What a pure
How brave!
Dear stormy
Easy to carry
Not in the sky azure,
Asking for the ground.
Azure miraculous
She left
Myself into the unknown
The country has fallen.
In the rays of shining
Slides, skillful,
Among the melting flakes
Preserved white.
Under the blowing wind
Trembling, uplifting,
On him, cherishing,
Light swings.
his swing
She is comforted
With his blizzards
Spinning wildly.
But here it ends
The road is long
touches the earth,
Crystal star.
lies fluffy,
Snowflake is bold.
What a pure
What a white!
Autumn
Cowberry ripens
The days got colder
And from the bird's cry
My heart became sadder.
Flocks of birds fly away
Away, beyond the blue sea.
All the trees are shining
In multi-colored attire.
The sun laughs less
There is no incense in flowers.
Autumn will wake up soon
And cry awake.
Pansies
Pansies,
Jasmine, daisies,
You are the letters on the scroll
Faded fairy tale.
You were breathing somewhere
Someone shone
No tears, no sadness
You lived, you were.
And through dreams
Airy and unsteady,
You send radiance
Give smiles.
You send me affection
In immortal abundance
Jasmine, daisies,
Pansies.
carnations
When carnations bloom in the forests
The last days of summer are ending.
July days close in carnations
That young blood that reddens in the rays.
And they won't flare up again, until the new year,
Such rubies, such freedom.
pattern window
On pale azure glass
Brightly painted patterns.
Flowers bowed to the ground
Rock runs to rock
And you can see how they doze in the darkness
Distant snowy mountains.
But what's behind the high window
Burning with an untold dream
And paint merges into patterns?
Doesn't Beauty breathe there
In the flickering of the world and laziness?
I rise, and the dream fades,
Height leads to sadness
Behind the bright window is emptiness, -
I was deceived by the steps.
Everything slumbers in the mute semi-darkness,
And only on dead glass
Soulless shadows play.
Here is the Sun, retiring to rest,
Falls behind a sleepy river.
And the last shine is poured through the air,
A golden fire burns behind the lindens.
And the spreading lindens, all in bloom,
Hidden a multi-colored dream.
Pour a captivating honey aroma,
Golden fire behind the tissues of the branches
Changes in its elegance.
It burns like a flame of new magnificent charms,
Lilac-yellow-pink fire.
