To the copper rider Bruces full analysis. Development of practical work on literature "The problem of personality and state in the poem A.S. Pushkin" Copper Horseman "" "
The "Copper Horseman" poem discloses the topic of relationships simple man and power. The reception of the symbolic oppression of Peter I (the great converter of Russia, the founder of St. Petersburg) and the copper rider - the monument to Peter I (the personification of autocracy, meaningless and cruel strength). Thus, the poet emphasizes the idea that the undivided power of one, even an outstanding person can not be fair. The great acts of Peter took place for the benefit of the state, but were often cruel in relation to the people, to a separate personality: he stood on the shore of the desert waves, the Duma of the Great Narounds, and Vdal looked.
Before it, the wide river was carried; The poor man sought alone on it. According to mossy, the burglar shores are covered here and there. The shelter of the wretched Chukhukhonian; And the forest, the unknown rays in the fog of the hidden sun. Circle noisy.
Pushkin, recognizing the greatness of Peter, defends the right of every person for personal happiness.
The collision of the "little man" - the poor official of Eugene - with the unlimited government of the state ends with the defeat of Eugene: and suddenly, the striking run to run away. It seemed to him that the Terrible Tsar. Instantly angry vozbori. The face quietly appealed ... And it runs empty on the square and hears himself - as if the thunder rumble - a heavy-ringing jump on a shocked pavement, and, if the moon was pale. Smeta hand in the embroidery. His copper rider on a ring-racing horse is underway; And in all night, there is a poor madman.
Where the feet turned, behind him everywhere the rider copper with a heavy hopping horse. The author sympathizes the hero, but understands that the riot of loners against the "powerful Lord of Fate" is mad and hopeless.
- Art features of the poem.
The "Copper Horseman" is one of the most advanced poetic works of Pushkin. The poem is written by a four-stranded yamb. The uniqueness of this work is that the author overcomed genre canons of the historical poem.
Peter does not appear in the poem as a historic character (he "idol" - sculpture), about the time of his reigning, nothing is said. The poet is not drawn to the origins of this era, but to its results - to modernity: on the porch with a piping paw, like alive. There were watchdog lions, and straight in the dark embroidery over the fenceful rock, the idol was sitting on a bronze horse. The conflict reflected in the poem is supported stylistically.
Entry, episodes associated with the "Kumir on the Bronze Kone" are designed in the tradition of OD - the state genre itself: he thought; We will break to threaten the Swede. Here there will be a city laid by the apparent neighbor. Nature Here we are destined to cut the window to Europe. Need solid to become a sea. Here on the new waves all the flags will visit us to us, and stamp on the square. Where we are talking about Eugene, prosebrity dominates: "marry?
To me? Why not? It is hard, of course; But what, I am young and healthy. Work day and night ready; Something like myself, the arrangement of humble and simple and in it I will calm the packet. It will pass, perhaps, the year-another - I'll get a place, Parasha Recently from the family of our and the upbringing of the guys ... And we will live, and so before the coffin, we will do it with your hand, and grandchildren will be buried ... "
- The main conflict of the poems.
The main conflict of the poems is a conflict between the state and the person. It is embodied, first of all, in the figurative system: by opposition to Peter and Eugene. The image of Peter is central in the poem. Pushkin gives his interpretation of the personality and state activity of Peter in the Copper Horseman.
The author depicts two face of the emperor: in the accession of Peter - man and statesman: he stood on the shore of the desert waves, the Duma of the Great full, and looked away. They are headed by the idea of \u200b\u200bthe Fatherland, and not an arbitrary. He understands historical pattern and appears as a decisive, active, wise ruler. In the main part of Petr - a monument to the first Russian emperor, symbolizing autocratic power, ready to suppress any protest: he is terrible in the neighboring Mol! What a thought on the chel!
What power is hidden in it! The conflict of history and personality is revealed through the image of the fate of an ordinary person. Although Eugene researchers do not include in the gallery of "small people", however, some typical features of such heroes are found in this image. The opposition of man and power, personality and state is an eternal problem, the unambiguous decision of which Pushkin considers it impossible. In the poem, the empire is represented not only by Peter, its creator, the embodiment of its Titanic will, but also by St. Petersburg.
An unforgettable stanza about St. Petersburg is best allowed to understand that he loves Pushkin in Peter Creation. All the magic of this northern Petersburg beauty in the reconciliation of the two opposites began: I love the winter of your brutal air and frost. Sanok running along the Neva is wide. Girls brighter bright roses, and shine, and noise, and talking balls, and at an hour of a pirushki idle hiss of foam glasses and punch flame blue. I love the warlike liveliness of harsh mams. The infantry rates and horses are monotonous beautiful, in their slender Zyblel building the lobs of the birth of the victory. The glow of the caps of these copper.
Through the rustled in battle. I love the military capital. Your stronghold smoke and thunder. When the full queen gives his son to the royal house. Or the victory over the enemy Russia tries again, or hacking his blue ice, the Neva carries it to the seas, and the days of the days, snakes. Almost all the epithets of the guy, balancing each other. The cast iron of the lattice is dispersed with a light pattern, the grudges of the deserted streets "Clear", "light" needle of the fortress.
- Heroes of the poem.
In the "copper rider" not two heroes (Peter and Eugene - the state and personality), and three are the elements of the swollen neva, their common enemy, whose image is devoted to most of the poem. Russian life and Russian statehood - continuous and painful overcoming chaos by the beginning of the mind and will. This is the meaning of the empire for Pushkin. And Eugene, the unfortunate victim of the struggle of the two started Russian life is not a person, but only a man in a man who is dying under the hoof the horse of the empire or in the waves of the revolution. Evgeny is deprived of individuality: at that time, Eugene young came from guests home ...
We will call our hero by this name. It sounds nice; With him for a long time my feather is also friendly. You do not need to be nicknamed. Although after the time it could, perhaps, and shone and under the pen of Karamzin in their relatives sounded; But now it is forgotten by light and cruel. Our hero lives in Kolomna; Somewhere serves, it is signed notable and does not felt either about honoring relatives. Neither about forgotten old. Peter I becomes the "significant person" for him, which appears in the life of any "little man" to destroy his happiness.
The greatness, the state scale of the image of Peter and the insignificance, the limited circle of personal worries Eugene is emphasized by composite. The monologue of Peter in the accession (and he thought: "We will blurt out the floor-to-block ...") Evgeny Evgeny ("What did he think about" thinking about? "Whether he was poor ...")
Literary critic M. V. Alpatov argues that all the critics that wrote about the "copper rider" see the image of two opposing starts, which each of them gave his interpretation. However, at the heart of the "copper rider", M. V. Alpatov believes, is a significantly more complex multistage image system. It includes the following actors: Peter with its "satellites" Alexander, a copper rider and St. Petersburg. The element that some critics tried to identify the people in vain.
People. Evgeny. The poet who, not speaking openly, is invariably present as one of the actors. Poem in the assessment of critics and literary critics. "The will of the hero and the uprising of the primitive element in nature - a flood, raging at the foot of the copper rider; The will of the hero and the same uprising of the primitive element in the heart of the human - the challenge abandoned in the face of the hero is one of the countless, doomed to the destruction of this will, which is the meaning of the poem "(DN. Merezhkovsky).
"Pushkin managed to see in St. Petersburg flood and in the unfortunate fate of the poor official a significant event and disclose a circle of representations far out beyond the incidents described. In this regard, it is natural that the Pushkin's poem reflected the experiences of the poet, related to both the events of the December uprising, as well as with a number of broader problems of Russian and world history and, in particular, the romantic theme of the individual in its attitude to society, nature and fate "( M. V. Alpatov). "Pushkin does not reveal more threats to Eugene.
We do not know what exactly wants to say to your "so much!". Does this mean that "small", "insignificant" will be able to revenge for their enslavement, humiliation "hero"? Or what is lackless, haired Russia raises "UPO" hand on his rulers, hard forcing their fatal will? There is no answer ... It is important that small and insignificant, the one who recently realized humbly, that God could add to the mind, "whose dreams did not go further by a modest wishes:" I will drop a place ", I suddenly felt like an equal copper rider, found Himself strength and courage to threaten the "Half of the half-one" "(V.Ya. Bryusov). "We understand the confused soul, which is not an arbitrariness, and a reasonable will personally have been personally in this copper rider, who, in a non-optimous embroidery, with a spread hand, as if admires the city ...
And we feel that, among chaos and darkness of this destruction, the creative "Let it be!", And the simplest hand proudly commands to calm the furious elements ... And we recognize the celebration of the common heart, without giving up our sympathy for The suffering of this private ...
Objectives:read and analyze the poem "Copper Horseman"; draw conclusions about solving the problem of personality and state in the poemTime:1 hour.
Equipment: Quest Card, Presentation, Poems Text "Copper Horseman"
Theoretical material:
…Yes, this poem is the apotheosis of Peter the Great, the most ambitious ...
VG Belinsky. Works by Alexander Pushkin.
…I am still sure that it is not eternal "idol with a copper head ...
V.Ya. Bruisov. Bronze Horseman. The idea of \u200b\u200bthe story, 1909
…Pushkin sought to harmony and wanted to see her in everything, and above all in the relationship of the person and the state.
N.A.Sosnina. "Copper rider" Pushkin, 1997.
Pushkin in the "Copper Horseman" ... sought to portray the tragic collision to the modern Russia ...
M. Piana. "Copper Horseman" Pushkin, 2000.
In literature it is customary to allocate three "groups" of the interpreters of the "copper rider".
1. In the first group of interpreters included representatives of the so-called "state" concept, the founder of which Vissarion Grigorievich Belinsky is considered. Among his followers, Dmitry Merezhkovsky, and Grigory Alexandrovich Gukovsky, Leonid Petrovich Grossman, Boris Mikhailovich Engelhardt, and others) were unexpectedly among his followers. They make a "semantic bet" on the image of Peter I, believing that Pushkin substantiated the tragic law of state power (by the personification of which Peter I) to dispose of the life of a private person.
In the 11th article "Works by Alexander Pushkin" V.G. Belinsky turned to the interpretation of the "copper rider" A.S. Pushkin. He was the first interpreter of the St. Petersburg story. Thanks to its aesthetic alone, the critic immediately determined the ambiguity of the meaning: the "copper rider" seems to many in some strange work, because the theme of it seems to be expressed not quite. " The fact is that Belinsky estimated the text prepared by Zhukovsky. In particular, the words of Evgenia, addressed to the copper rider were seized from the work. So the conclusion was born: "Poem - Apotherapose Petra Great", the poet portrayed the "triumph total over private." Pushkin justifies Peter - "Bronze Giant", which "could not protect the fate of individuality, providing the fate of the people and the state."
2. Among the supporters of the "state concept" was Dmitry Merezhkovsky, poet, writer, philosopher of the beginning of the 20th century.
It should be noted that his assessment of the conflict of the hero is a copper rider and a "little man" Eugene is very sharp. He notices: "What is the giant to the death of unknown? Is countless, equal to that are born, extra, so that their great chosen chosen chosen choices for their goals? "
According to Merezhkovsky, Eugene - "trembling creature", "worm of the earth", he, as the "small world of this" is not equal to the Great - Peter, who embodied the superhuman, heroic beginning. True, Meriazhkovsky notes that "in simple love, Eugene may open the abyss, no less than that of which the will of the hero was born," he believes that Pushkin felt the heroic and superhuman start of Peter and fears that after Pushkin, all subsequent literature would be "democratic and A Galilee uprising on the giant, who "over the abyss of Russia rushed to sills."
3. The development of the "state" line in the interpretation of the "copper rider" was undertaken by Monid Petrovich Grossman in 1939. Literary critic supports the thought of Belinsky. He idealizes and exaltles Peter, while he discredits Eugene, accuses him in selfishness, insignificance and irrepressible audacity. "He (Eugene) is poor, deprived of the gods, he lacks the" mind and money. " Evgeny is not a carrier of innovative ideas, like Peter, not a builder, not a fighter ... a weak rebel, the cumulative madness, opposes in the "copper rider" the state architect, full of "Great Dum".
4. Among the governors of the 20th century, Gregory Alexandrovich Gukovsky is considered a commitment to the "state concept". He wrote: "The topic of the" copper rider "is, as it is known, the conflict of personal and state-owned principle, symbolized the Falconetov of the monument." The conflict of poems is the conflict of "single human being, a person's private goals with common collective masses." Gukovsky believes that Eugene in this conflict defeated. "The person is subordinate to the general, and it is natural and necessary. Private goals and individual happiness of Eugene in a collision with the objectives of state should be sacrificed ... and this law of benefits, "concludes literary critic.
1. Representatives of the second "group" - Valery Yakovlevich Bryusov, Georgy Panteleimonovich Macogonenko, A.V. Macedonov, Yu.B. Borev, I.M.Temin, and others. Stand on the side of the "poor" Eugene. This concept is referred to as "Humanistic".
The beginning of this concept laid the interpretation of the "copper rider" by the poet researcher Valery Bryusov in 1909. Bryusov emphasizes Pushkin's humanism, whose manifesto was the "copper rider". Exploring Pushkin's attitude to Peter I, in various works, Bryusov proves the dual character of the perception of the Pushkin Tsar converter. Two people of Peter in the poem - the opening of Bruce. On the one hand, Peter is a brilliant transducer, "The Employee on the throne", "Powerful Lord of Fate", on the other - the "self-telesteer", despot, "desolan humanity".
Bruce shows the evolution of Eugene's image. Eugene - "Small and insignificant" official - suddenly felt herself with an equal copper rider, found the strength and courage to threaten the "Half Half". The wonderful transformation of Eugene is defined by his riot. A strong personality has grown in the mute. Bunuya, Eugene acts as a rival of the "Terrible Tsar", which should speak about the same language. Like about Peter.
In conclusion, Bryusov concludes that Evgeny is defeated, but "not eternal and idol with copper crying", for "Freedom arises in the depths of the human spirit, and" fenced rock "will have to empty."
2. The humanistic concept of the "copper rider" proposed by Bryusov received recognition of many researchers. In 1937, Article A. Macedonov "Humanism Pushkin" was published, which contains the interpretation of the "copper rider". The researcher notes that "the real low-level person, no matter how small it is," cannot, not to rebel to protect his human dignity, do not oppose it Copper rider. In addition to the laws of fate, there is another human law, which is as needed as "fate." Sympathy of Pushkin on the side of "humanity".
3. Many researchers defend the humanistic position of Pushkin. So, Grigory Panthevimonovich McOnenko believes that Pushkin considered in the 1930th century the state concretely historically, "in the 18th - 19th centuries, the Russian state is an empire, royal autocracy, political board, openly anti-people and antichelovic." Against such a state and "matches the protest in the heart of a simple person, who has been sacrificed." According to Makonenko, Pushkin "ingeniously showed how this rebellion transforms a person, raising him to a high, but marked the seal of the death of the goal."
A similar point of view also supports Literary Archives Krasukhin.: "The sympathies of Pushkin fully on the side of the hero, spiritually sublime, ascended to a non-heekeeper spiritual height over the most powerful lord of fate."
Third Group:
Since the 60s of the 20th century, another concept is born - the interpretation of the "copper rider" is the concept of "tragic non-use of the conflict". If you believe it to supporters, Pushkin, as it should be self-equipped, provided the very story to make a choice between two "isometric" truths - Peter or Eugene, that is, states or private individuals.
Such a point of view adhere to literary criticism of S.M. Bondi, E.M. Milein, M.N. EIPStein.
What is the great meaning of Pushkin's "copper rider"? What was the work written for? What does she care and amazing us and until today? Why Pushkin so sought to publish it, but refused to change at least one word?
E.A. Mailein so answers all these issues: "As in small tragedies, none of the forces opposed in the poem to each other does not wink ultimately. True on the side of Eugene to the same extent as on the side of Peter and his great case. " "All his poem is a great mystery of life, this is the great about life the question of which, reading the" copper rider ", was conceived and reflecting and after Pushkin, many generations of readers.
Fourth group:
1. Among interpretations, they cannot but attract and interpret the "copper rider" by writers and philosophers of the 20th century. For example, the philosopher of Russian abroad Georgy Petrovich Fedotov, considering the complex interaction in the work of A.S. Pushkin themes of the Empire, embodied in the statue of the Copper Horseman, and the topic of freedom, the interaction of the state and personality, pays special attention to the topic of the elements. He writes that "In the" copper rider ", there are not two acting persons (Peter and Eugene) ... because of them, it is clearly the image of the third, faceless power: it is the element of the swollen neva, their common enemy, the image of which is devoted to most of the poem." These words from the article "Singer of Empire and Freedom", 1937.
At the same time, in 1937, the article of the writer Andrei Platonova "Pushkin - Our Comrade" was published, unlike Fedotov, Platonov, with deep sympathy, reacted to the poor Eugene, whom he perceived as a person as "the Great Ethical Image - no less Peter "
2. There are points of view on the St. Petersburg story "Copper Horseman" often sharp, opposite to all known interpretations.
So, Terz-Sinyavsky, the author of the book "Walking with Pushkin" expresses such an opinion: "But, compassioned Evgenia, Pushkin was merciless. Pushkin was generally cruel to a person when it was a matter of the interests of poetry ... "In the guise of Eugene, according to Terz-Sinyavsky," Nellegal and disappointing portrait "was created.
An interesting interpretation of the "copper rider" was given Daniel Alexandrovich the branches in the essay "Two Lika", published in 1968 in the magazine "New World". In the work of Pushkin, the writer saw the new facets of her mysterious meaning, namely the duality of the entire imaging system of the "copper rider", the cooler of the senses, the two-way of thought. "Two Peter: Peter Live and Peter-Copper Horseman, a camp on a bronze horse. Two Eugene: an ordinary poor official, ending fate, and Eugene, insane, rebeling, raised his hand to the king, not even at the king - the Power ... Two Petersburg: Petersburg of beautiful palaces, embankments, white nights and poor Out of the Sea. Two Neva.
The procedure for performing work:
Carefully read the instructions for work.
Pick the necessary didactic material.
Read the artistic text.
Perform tasks practical work
Make a conclusion about practical work in writing.
The task:
1. What is Paphos entry in the poem? Confirm your thoughts with text.
2. What composite parts can be divided into it? 3. What does Pushkin sees the merit of Peter in the construction of St. Petersburg (verses 1--43)? As in the first part of the entry, the past and the present?
5. Find in the entry of the old elements and high-style words. What role do they perform in the text?
6. As in the third part of the entry ("Write, hail Petrov ...") is laid the main conflict of the poems? Why in wish the city stand unshakable author mentions "Finnish waves"? What characterization of the element he gives? Why in the last rows of joining a contrasting mood lay?
7. Individual task. Reflect key images of accession that are built on contrast? What does this give to understand the conflict of the poem?
8. What is the point in the fact that the poem "Copper Horseman" opens by Anthrole Petersburg? Prove that the city of Peter is not only a place of action of the poem, but also her the main character.
At the end of the lesson, it is necessary to pass practical work on checking!
Put yourself an assessment for work _________
Evaluation of the teacher _________________
Literature:
Literature: Tutorial for the stud. environments prof. studies. Vehicles / Under the Red G.A. Obernichina. - M.: Publishing Center "Academy", 2008. - 656 p.
Chapter 1. "Copper Horseman" Pushkin in aesthetic-critical identity of symbolists.9
Chapter 2. Interpretation of the topic of Peter in Roman D.S. Merezhkovsky "Antichrist.
Peter and Alexey and Pushkin Tradition.64
Chapter 3 "Copper Horseman" A.S. Pushkin in the context of the novel Andrei White
Petersburg ": to the problem of literary receptions.137
Introduction of the dissertation 2002, the Author's abstract on philology, Pisulshchuk, Lyudmila Zenonna
The theme of this dissertation is "Pushkin tradition (the poem" Copper Horseman ") in the work of Russian symbols: V. Brysov, D. Merezhkovsky, A. White. Its relevance is due to the fact that with a relatively deep degrees of study of the problem "Pushkin and Block" - in the monographs Z.G. Minz, P. Gromova and V.Musatova, - the problem of Pushkin tradition in the aggregate of the proposed names - V. Bryusov, D. Merezhkovsky , Andrei White - turned out to be insufficiently studied. Meanwhile, the symbolists themselves put the problem of genesis and apprenticeship in Pushkin. The same Bruce stated: "My poetry was born from Pushkin."
We emphasize that the exclusion of Alexander Bloka from this series of names is due to the fact that the refraction in the work of the block of Pushkin tradition (the "copper rider") in its historiosophical and reminiscent aspect is deeply and multifaceted in the monograph K.A. Medvedeva "The problem of a new person in the work of A. Bloka and V. Mayakovsky: tradition and innovation" (Medvedev, 1989. P. 20-128).
In the dissertation essay, we appeal mainly to Bryusov-criticism, leaving beyond the research of his artistic creativity, to a sufficiently studied in the specified aspect in the works of N.K. Piksanova, D. Maximov, E. Polotsk, K.A. Medvedeva, N.A. Bogomolova, O.A. Kling, etc.
But, unfortunately, the literary-critical Pushkinian and at present cannot be considered sufficiently studied. In our opinion, even the well-known article of Brysov "Copper Horseman", Articles of Merezhkovsky about Pushkin require a new, more in-depth reading and analysis. Without a detailed study of the Pushkin heritage of symbols, a deep understanding of the originality of their creativity as a holistic aesthetic-philosophical system cannot be achieved.
It should be noted that in general, the study of the phenomenon of tradition in the literature "Silver Century" is one of the most relevant problems of modern literary criticism.
In a number of studies of Pushkinists - M.P. Alekseeva, D.D. Good, S.M. Bondi, Yu.N. Tynyanova, B.V. Tomashevsky, G.A. Gukovsky, V. Zhirmunsky, N.V. Izmailova, Yu.V. Manna, G.P. Macogonenko, N.K. Piksanova, Ji.B. Pupyansky, Ma. Tsavilovsky, I.L. Fainberg, N.Ya. Eidelman, B.ji. Komarovich, Yu.M. Lotman, Z.G. Mintz, E.A. MINIMINA, V.M. Markovich, B.C. Nepomnya, S.A. Cibalism - the problem of typology and the specifics of the refraction of Pushkin tradition. Work on the work of symbolists - K.M. Azadovsky, A.S. Ginzburg, V.E. Watsuro, P. Gromova, L.K. Dolgopolova, D.E. Maksimova, L.A.Kolobayev, A.D. Afford and R.D. Timechnik, N.A. Bogomolova, K.A. Medvedev, S.A. Nerznina, V.V. Musatova, E. Polotsk, N.N. Skatova, V.D. Skustnikova, Yu.B. Boreva, O.A. Kling, I. Parenno - contain the most valuable observations precisely about the symbolist perception of the tradition of Pushkin. Along with this, the phenomenon of Pushkin tradition was covered in the writings of representatives of Russian religious philosophy and clergy - V.V. Rosanova, S.L. Frank, S. Bulgakova, I.A. Ilya and others.
The need for a new understanding of Pushkin tradition was aware of the symbols primarily in terms of their future literary development, as well as in the context of studying the creativity of their literary predecessors - F.I. Tyutchev, N.V. Gogol, F.M.Dostoevsky, I.S. Romegenev, following Pushkin tradition.
The symbolists were close to the thought of Dostoevsky that Pushkin with his "world responsiveness" embodied the essence of the Russian soul, significantly expanded the boundaries of the artistic knowledge. The process of thinking of the Pushkin tradition at the turn of the XIX-XX centuries became an integral part of spiritual being, a leading artistic, research, even life principle of Russian literature. Symbolists make up the cult of Pushkin as a kind of forerunner of symbolists. In an effort to create a new synthetic culture, symbolists in the work of Pushkin saw a new way of world content, the richest source of eternal stories and images, quintesting of Russian and European culture.
Appeal to Pushkin was inspired by the philosophical-aesthetic and the myth-residual aspirations of symbols, who perceived the work of Pushkin as a kind of aesthetic standard. On the other hand, in the literature of symbolism there was a private version of the "Petersburg Myth" 1, the soil for which the "Petersburg myth" of writers of the XIX century served, from the origins of Pushkin's "copper rider". This poem in symbolist reading, as it were, contained a philosophical installation on the raysterity of the most important issues of Russian history, culture, national self-consciousness. That is why the symbolists in their "Petersburg texts" often appealed to this work.
The myth was understood as symbols as the most vivid expression of the essence of creative principles of peace and culture. The mythologization of culture, the revival of the mythological type of thinking leads to the appearance of "text-myths", where the myth plays the role of an decrypting code, and images and symbols - the essence of mythologies - "Rolled metonymic signs of holistic plots" 2.
The object of our study is the phenomenon of the tradition of Pushkin (in this case We are limited to his one - the final - the work - the poem "Copper Horseman"), refracted in the "Petersburg" prose of symbols, including their literary-critical essays, affecting the identity and creativity of Pushkin.
The subject of our study is limited by the "Petersburg" novels by D.Mergekovsky "Antichrist. Peter and Alexey "and A. Bail" Petersburg ", as well as literary-critical articles V. Brysov (and first of all, the article" Copper Horseman "), D. Mezhkovsky (including the article" Pushkin ", the treatise" L. Tolstoy and Dostoevsky "), Andrei White (first of all his work" Rhythm as a dialectic and "copper rider" "," symbolism as a world-upony ").
Note that the concept of "prose" of symbolists spread not only on works of art, but also on literary - critical articles, even - on historical research. Our use of the concept of "prose" in the dissertation
1 cm. Work: Mintz.g. On some "neomophological" texts in the work of Russian symbolists // Scientific, notes of Tartuski un-ta. Vol. 459. Tartu, 1979. P. 95; Toporov V.N. Myth. Ritual. Symbol. Image: Research in the field of mythopoetical. - M.: Progress-culture, 1995.c.368-400; Dolgopoli Ji.K. Myth about St. Petersburg and its transformation at the beginning of the century // Dolgopolov J1.K. At the turn of the century. About Russian literature end XIX. The beginning of the 20th century. - JL: Sov. Writer, 1977. P. 158-204; Titarenko S. D. Myth as a universal symbolistic culture and poetics of cyclic forms // silver Age: Philosophical and aesthetic and artistic quest. -Kemerovo, 1996. P. 6; Chepkasov A.V. Netomyphologism in the work of D.S. Melezhkovsky 1890-1910s // Abstract of the dissertation. -Tomsk, 1999; Ilya S.P. The evolution of the MiF about St. Petersburg in Romanov Merezhkovsky ("Peter and Alexey") and Andrei White (Petersburg) // D.S. Melezhkovsky. Thought and word. -M.: Heritage, 1999. P. 56-72; Prikhodko I.S. "Eternal satellites" of Merezhkovsky (to the problem of cultural mythologization). // D.S.Mergekovsky. Thought and word. C198. meets the symbolist word in the sense of artistic and literary-critical texts.
The choice of these prosaic works of symbolists is dictated by the fact that in them the Pushkin tradition of accommodated in the poem "Copper Horseman". And it is not at all by chance. First, the symbolists themselves allocated the "copper rider" as the most significant, current work for their modernity. "Copper Horseman" - we all are in the vibrations of his copper, "this is the written statement of the block. This means that in the "air of time" of the turn of the epoch all the problems and artistic decisions of Pushkin, embodied in this poem acquired an increased relevance for symbolists. Secondly, the principles of the historicism of Pushkin in the "copper rider" were so concentrated and philosophically significant that the symbolists most of all in their interpretations of the personality, the elements, the historical path of Russia, the topics of St. Petersburg, etc. inevitably "rested" in the problem of historicism - as With the understanding of the past and in the opinion of modernity. Therefore, the poem "Copper Horseman" and received such a wide resonance in artistic creativity and criticism of symbols. However, the problem of understanding and the holistic interpretation of the "copper rider" Pushkin in a symbolist prose remains, in our opinion, studied not fully.
Hence the purpose of the work is to identify the patterns of the symbolist perception of Pushkin's creativity and the receptive transformation of the Pushkin Historical and Philosophical and Artistic Tradition (the poem "Copper Horseman") in the articles of symbolists about Pushkin and the "Petersburg" Romans of Merezhkovsky and Andrei White. The goal assumes the solution of the following tasks:
1) to analyze the literary-critical "Pushkinian" of Brysov, Merezhkovsky, White, and others. In order to identify the role of Pushkin in the philosophical and aesthetic self-determination of symbolists.
2) to analyze Roman Merezhkovsky "Antichrist. Peter and Alexey, "reveaning the religious and philosophical plants and the aesthetic-poetic principles of the symbolist writer in comparison with Pushkin's poem" Copper Horseman ".
2 MINTS Z.G. On some "neomophological" texts in the work of Russian symbolists // Uch. Zap.
3) to identify a reminderscent reservoir from the "copper rider" in the novel by Andrei White Peterburg and the methods of the receptive refraction of Pushkin historicism in the poetics of the novel.
The methodological basis of the dissertation are literary studies dedicated to the problems of historical and cultural tradition, and in particular, Pushkinskaya (works L.K.Dolgopolov, Yu.M.lotman, L.A. Kolobayeva, L.V. Pompansky, S.A. Nebolsin , V.V. Misatova). An important methodological guideline in the analysis of a reminiscent layer of the "copper rider" for us was the above mentioned monograph K.A. Medvedeva (Vladivostok, 1989).
Pushkin tradition, in our understanding, appeared in itself, first of all, a unique connection, the interactiveness of the historical and spiritual experience of the people and - understanding by his artist as a representative of the culture of his time (also "turning the epoch": the end of the XVIII - early XIX century). In this regard, we see the main driving force of the development of Pushkin creativity in its realistic trend and the associated Pushkin historicism. And on the next "turning epoch" of the late XIX - early XX century, comprehended by the symbolists of the Pushkin tradition in its essence was extremely complicated as the circumstances of time (deepening the gap of the "people and the intelligentsia") and the contradiction of the aesthetic, social positions of symbolists, their eschatological aspirations, expectation and the forebrocerance of the universal catastrophe.
Note that Bryusov, Merezhkovsky, Andrei White turned to the topics and problems raised by Pushkin relevant for their time. But the most difficult for them was to comprehend that "increditative", which was the essence of the Pushkin tradition, as we understand it, that is, the comprehension of the unique connection of the experience of history, the spiritual life of the people with the experience of culture as a phenomenon of "enlightenment", the consciousness of the "enlightened mind", Worker of culture of the turn of the XVIII -XIX centuries.
Depending on the formulation of the problem, we treated historical and cultural, comparative historical and comparative-typological methods of research.
Tartu University. Vol. 459. - Tartu, 1979. P. 95.
The scientific novelty of the work is determined by the outlined issue and research methodology. The proposed topic of the topic reveals the "cross-cutting" historical and philosophical tradition from Pushkinsky "Golden" - to the modernist "silver" century. The dissertation systemfully analyzed the attitude of the symbolists to the Pushkin tradition declared in the "Copper Horseman". This allowed to highlight the refraction of the category of historicism of Pushkin, his ideas about the relationship between the personality and the state, the role of the individual in history; To identify the specifics of the implementation of Pushkin artistic experience in the aesthetic consciousness of symbolists and in the poetic "Silver Century".
The scientific and practical significance of the work is determined by topics. That it covers a wide reservoir not enough problems of literary and historical perception and typological proximity of thematically similar literary texts. The methodology for analyzing the detection of reminiscent motifs in specific texts can be used when writing generalizing works devoted to the phenomenon of the literary tradition.
The results of the study can be used when reading common and special courses on the history of Russian literature, drawing up tutorials According to the work of Pushkin, the poets of the "silver" century for philologists, teachers-verders.
Approbation The main provisions of the dissertation received in reports and speeches on 10 international, interuniversity and regional conferences from 1997 to 2001. In Vladivostok (FNG), Komsomolsk-on-Amur (KGPI), Ussuriysk (Ugi), Neryungri (YSU), in the special course "Russian symbolism", reading for students-philologists in two.
Structure of work. The thesis consists of an introduction, three chapters, the material in which is distributed in accordance with the tasks, the conclusions and a list of references.
Conclusion of scientific work thesis on the topic "Pushkin tradition (the poem" Copper Horseman ") in the work of Russian symbolists: V. Brysov, D. Merezhkovsky, A. White"
Conclusion
Let's summarize the study. Pushkin tradition played a huge role in the "symbolist" space of the "silver century", performing the function of aesthetic prism, refracted by all key problems of existential-historical being at the "turning ages". The phenomenon of Pushkin tradition is one of the most important constants providing the unity of the philosophical and historical and artistic "paintings of the world" of symbolists. For recent appeal The "copper rider" was motivated by Pushkin's formulation of the problem of historicism. At the same time, this problem has become a kind of "stumbling block" in symbolistic projections of tragedy situations embodied in Pushkin Poem, live concretic russian history (Roman D.S. Mezhekovsky) and modernity (Roman Andrei White). Of this conjugation of life and art, some new artistic and historical vision of "world order" was born. At the same time, conflict collisions of Pushkin "Copper Rider" played the role of some "archetypical keys" to the symbolist comprehension of history and modernity. The range of interpretations of Pushkin historicism, expressed in his poem, was determined by how a particular artist interpreted the issue of the freedom of personality (the highest value in the symbolistic ethical and aesthetic system) and the historical need (involving the autoclative-state organization of the nation's life). Axiological actualization of the problem of historicism was determined by the eschatological character of the era.
The tragic industivity of the identity conflict and the state, freedom of will and historical conditionality at the beginning of the 20th century led to the symbolistic appeal to Pushkin's poem, both at the level of its philosophical and journalistic reflection, and at the level of the recipe included ideas, images, plot-composite elements of the "Copper Rider" in The motive structure of his novels. At the same time, the antinomicity and ambivalence of the philosophical-ethical conflict given in the original source and the White has persisted, embodied in the poetics of antithesis, shaped oxymorons, twins, semantic inversions, etc. All this
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BRONZE HORSEMAN
The idea of \u200b\u200bthe story
The first thing that amazes in the "copper rider" is the discrepancy between the fabulous story and its content.
The story tells about the poor, an insignificant Petersburg official, some kind of Eugene, a stupid, non-original, no different from his congratulations, which was in love with some Paras, the daughter of the widow living near the seaside. The flood of 1824 demolished their home; The widow and Parasha were killed. Eugene did not postpone this unfortunate and went crazy. Once at night, passing by the monument to Peter I, Eugene, in his madness, whispered to him several evil words, seeing the culprit of his disasters. Evgeny's upset imagination introduced himself that the copper rider was angry at him for it and chased him on his bronze horse. A few months after that madman died.
But with this simple history of love and grief of a poor official, details and whole episodes are associated with this, it would seem at all ns appropriate. First of all, it was presented by the extensive "accession", which recalls the foundation by Peter Great Petersburg and gives, in a number of paintings, the entire appearance of this "Creation of Peter". Then, in the story itself, the idol of Peter the Great turns out as if the second acting person. The poet is very reluctant and scoop talks about Eugene and Parasha, but a lot and with passion - about Peter and his feat. The persecution of Eugene copper rider is shown not as much as Brad crazy as a real fact, and thus, an element of supernatural is introduced into the story. Finally, individual scenes are told by tone raised and solemn, giving to understand that it is about something exclusively important.
All this made criticism, from her first steps, to search in the "copper rider" of the second, inner meaning, to see in the images of Eugene and Peter of the incarnation, the symbols of two began. Many diverse interpretations of the story were proposed, but all of them, as we think, can be reduced to three types.
Some, among them Belinsky, saw the meaning of the story in comparison of collective will and the will of a single, personality and the inevitable stroke of history. For them, the representative of the collective will was Peter, the incarnation of personal, individual start - Eugene. "In this poem, I wrote Belinsky," we see the sorrowful fate of the person who suffers as if due to the election of a place for the new capital, where so many people were lost ... and we recognize the celebration of the total over private, without giving up our sympathy for The suffering of this private ... When looking at the giant, proudly and non-omitibamo among the universal death and destruction and as if symbolically carrying out the disadvantage of his creation, we although not without heart shudders, but confess that this bronze giant could not protect the fate of individualities , providing the fate of the people and the state that he has a historical need for him and that his look at us is already his justification ... This poem is the apotheosis of Peter the Great, the smallest thing that could only come to the poet, quite decent to be a singer of the great converter " . From this point of view of the two colliding forces rights, the representative of the "historical need", Peter.
Others whose thought expressed everyone D. Merezhkovsky, saw in two heroes of the "copper rider" representatives of the two initial forces fighting in the European civilization: paganism and Christianity, renunciation from their god and degenidation I am in heroism. For them, Peter was an expressant of a personal beginning, heroism, and Eugene - an expressive of the beginning of impersonal, collective will. "Here (in the" copper rider "), - writes Merezhkovsky, - the eternal opposite of two heroes, two began: - Tazita and Galuba, Old Gypsy and Aleco, Tatyana and Onegin ... On the one hand, small happiness of a small, unknown Kolomna official , reminiscent of the humble heroes of Dostoevsky and Gogol, on the other - a superhuman vision of the hero ... What is the case of the giant to the death of unknown? Not for those are countless, equal, extra, so that their great chosen choices go to their goals? .. But what , if in weak heart Insignless of the insignificant, "trembling creature", published from the dust, in simple love it will open the abyss, not less than that of which the will of the hero was born? What if the worm of the earth is indignant against his god? .. Challenge broken. The court of small over the great uttered: "Good, builder miracle! .. So you!" The challenge is thrown, and the calm of the prideous idiot is broken ... The copper rider is haunting the madness ... But the prophetic nonsense, the weak whisper of his indignant conscience will no longer fail, will not be plugged with such thunder to rod, heavy hide hide. "From his point of view, Merezhkovsky Justifies Eugene, justifies the rebellion of "small", "insignificant", the uprising of Christianity on the ideals of paganism.
Third, finally, saw in Peter the embodiment of autocracy, and in the "evil" whisper Evgenia - a rebellion against despotism.
A new substantiation of such an understanding of the "copper rider" recently gave prof. I. Tretyak / * Józef Tretiak. Mickiewicz I Puszkin. Warszawa. 1906. We used the presentation of G. S. Brailovsky. ("Pushkin and his contemporaries", vol. VII.) (Note. V. Ya. Brysov.) * /, which showed the dependence of the story of Pushkin from Satir Mitskevich "USTçP". Satira Mitskevich appeared in 1832 and at the same time they became known to Pushkin. In Pushkin's papers, there were own lists of several poems from these Satir / * Moskovsky Rumyantsev Museum. N2373 notebook. (Note. V. Ya. Bolsova). * /. A number of poems of the "copper rider" turns out to spread Mitskevich poems, as it were, the answer to them. Mitskevich portrayed the northern capital with too dark paints; Pushkin replied by the apology of St. Petersburg. Comparing the "copper rider" with Satira Mitskevich "Oleszkiewicz", we see that he has a common topic with her, - flooding 1824, and general thought: what the governors are punished with weak and innocent subjects. If you compare the "copper rider" with verses of Mitskevich "Pomnik Piotra Wielkiego", we will find an even more important similarity: Mitskevich "The poet of the Russian people, nice songs for the whole midnight" (i.e., Pushkin himself), brand monument to the title "Cascade of Tirans "; In the "copper rider" the hero of the story is pointing the same monument. In notes to the "copper rider", the name of Mitskevich and its satire twice mentioned, and "Oleszkiewicz" is named one of his best poems. On the other hand, and Mitskevich in his satire several times definitely hints at Pushkin, as if causing him to answer.
Prof. Tretyak believes that in Satira Mitskevich Pushkin heard the accusation of the "winsted" ideals of the youth, which he once shared with a Polish poet. Mitzkevich reproach in his verses "Do Przyjaciól Moskali", addressed to those who are bribed with the tongue with the triumph of the king and rejoices of the flour of his buddies, "Pushkin was supposed to attribute to himself. Pushkin could not resist to such a reproach and did not want to answer the great opponent with the tone of official-patriotic poems. In truly artistic creation, in the Great Images, he expressed everything that he thought about Russian autocracy and his meaning. So the "copper rider" appeared.
What does this answer says Pushkin Mitskevich? Prof. Tretyak believes that both in the poems of Mitskevich "Pomnik Piotra Wielkiego" and in the "Petersburg story" Pushkin - European individualism enters into combating the Asian idea of \u200b\u200bthe state in Russia. Mitskevich predicts the victory of individualism, and Pushkin is his complete defeat. And the answer of Pushkin prof. Tretyak tries to retell in such words: "True, I was and remain the proclaimer of freedom, the enemy of tyranny, but would I have a crazy, speaking on an open struggle with the last? Wishing to live in Russia, it is necessary to submit to the almighty idea of \u200b\u200bthe state, otherwise she will be me Pursue like insane Eugene. " These are three types of interpretation of the "copper rider". It seems to us that the last of them seeing in Peter the embodiment of autocracy must be only closer to the genuine plan of Pushkin. Pushkin did not have to personify such abstract ideas as "paganism" and "Christianity" or "historical necessity" and "fate of individualities" in his creatures. But living last years
In alarm, motley and fruitless
Big light and yard,
He could not not think about the importance of the autocracy for Russia, for the same thoughts they should have to bring it the diligent classes of Russian history and especially the history of Peter the Great. Seem convincing to us and the arguments of prof. Tretyaka about the connection between the "Copper Horseman" and Satir Mitskevich. However, and besides these satir, Pushkin could not help but know that his rapprochement with the courtyard many, and even some of his friends, is interpreted as treason with the ideals of his youth. Back in 1828, Pushkin found it necessary to respond to such reproaches of stans:
No i'm not smoothie when king
Floral praise ...
In addition, the understanding of Peter in the "copper rider", as an embodiment, as an autocracy symbol, to some extent includes other interpretations of the story. Russian autocracy arose due to the "historical need." To the autocracy of the kings of Moscow with the inevitability, the entire course of the development of Russian history was carried out. At the same time, autocracy has always been and deified personality. Peter the Great Lomonosov openly compared with God. God called contemporaries yet Alexander I. The rebellion of a person against autocracy involuntarily becomes a rebellion against the "historical need" and against the "personality deification".
But, joining the main views of prof. Tretyaka, we strongly do not accept his conclusions. Seeing with him in the "copper rider" Answer Pushkin on the reproaches of Mitskevich, we understand this answer otherwise. We believe that Pushkin himself made in its creation completely not the meaning that they want to read in it.
If you look at the characteristic of the two heroes of the "copper rider", it will be explicitly that Pushkin sought to make one of them - Peter - how much is possible more "great", and the other - Eugene - how much is possible more "small", "insignificant." "Great Peter", according to the plan of the poet, was supposed to become the personification of the power of the autocracy in its extreme manifestation; "Poor Eugene" - the embodiment of the extreme impotence of a separate, minor personality.
Peter the Great belonged to the number of the favorite heroes of Pushkin. Pushkin carefully studied Peter, he thought a lot about him, devoted him enthusiastic stains, introduced it as actor In the whole epic, at the end of life began working on the extensive "history of Peter the Great." In all these exquisites, Peter appeared to Pushkin the creature exceptional, as if exceeding human dimensions. "Peter's genius broke out of his century," Pushkin wrote in his "historical remarks" of 1822. In the "Peter of the Great" Peter, Peter is called the "Wonderworker-Giant". In the "stans" his soul was given epithet "comprehensive". In the fields Poltava Peter -
Mighting and joyful, like a fight.
...............................
....... His face is terrible ...
He is all like God's thunderstorm.
In "my pedigree" is gifted by the power of almost supernatural
Who our land moved,
Who gave powerfully running
Stern of the native ship.
However, Pushkin has always seen in Peter and the extreme manifestation of self-leveling, bordering the despotism. "Peter I. despised humanity Maybe more than Napoleon, "wrote Pushkin in the" historical remarks ". Immediately it was added that under Peter Great in Russia there was a" universal slavery and silent obedience. "Peter the Great at the same time Robespierre and Napoleon, embodied the revolution", Pushkin wrote in 1831. In "Materials for the history of Peter the Great" Pushkin at every step calls Petra Decrees that "cruel", then "barbaric", then "Tirans". In the same "materials" we read: "Senate and Synod bring him title: Fatherland's father, the All-Russian emperor and Peter the Great. Peter shortly ceremony and accepted them. " In general, in these "materials" Pushkin, mentioning fluent about those institutions of Peter, who are the essence of the fruits of the mind of extensive, fulfilled benevolence and wisdom, "the decrees of his decrees are diligently, about which he has to talk about" self and barbarism " "injustice and cruelty", about the "militia of the autocrat".
In the "copper rider" the same features of power and self-leveling in the image of Peter brought to the last limits.
It opens the story of the Lord, who in the harsh desert thinks his struggle with the elements and with people. He wants a deserted edge to turn in the "beauty and diva of full-on countries", from the molds of swamps to erect the magnificent capital and at the same time for his semician people "to cut the window to Europe." In the first verses, there is not even named Peter, it is said simply:
On the shore of the desert waves
Stood It, The spirit of the great poly.
/ * In the initial embodiment, read:
On the shore of the Varangian waves
Stood, thinking deeply,
Great Peter. It is wide ... and so on.
(Note. V. Ya. Brysov.) * /
Peter does not utter a word, he only thinks his minds - and here, as if miraculously, arises
Full countries of the Beauty and Divo,
From the darkness of forests, from the bonds of the Blat.
Pushkin enhances the impression of the wonderful, making a number of parallels of what was and what happened:
Where before Finnish fisherman,
Sad stepsoko nature
One at low shores
Throw in unknown water
Your old nemid, now there
By busy shores,
Grounds slender crowd
Palaces and towers; ships
Crowd from all ends of the earth
They seek rich marins.
In granite dressed novel;
Bridges hung over waters;
Dark green gardens
It was covered with islands.
In one draft sketch of these poems, after the words about the "Finnish fisherman", Pushkin has even more characteristic exclamation:
Spirit Petrov
Nature resistance!
/ * All quotes like this, so previous and subsequent, are based on independent study The author of this article by manuscripts Pushkin. (Note. V. Ya. Bolsova.)*/
With these words, it is necessary to bring together the place in the story of "Arap Peter the Great," where Peter's St. Petersburg is described. "Ibrahim," says Pushkin, "I looked at the newborn capital with curiosity, which rises from the swamps in mania autocracy. Nude dams, Channels without promenade, Wooden bridges everywhere were the victory of human will over the resistance of the elements. "Obviously, in verses of the "copper rider" Pushkin initially wanted to repeat the idea of \u200b\u200bvictory over the "resistance of the elements" - human, holding will.
"Introduction" after the picture of the modern Pushkin of St. Petersburg, directly named "Creation Peter, "ends with a solemn appeal to the elements - to reconcile with his lesion and with mine captivity.
Non-gas, like Russia!
Yes dying with you
AND defeated element:
Emullid I. captivity Vintage
Let the Finnish waves forget ...
But Pushkin felt that historical Peter, no matter how to exaggerate his charm, will still remain only a person. Sometimes, from under the appearance of the demigod, the appearance of a high height of high growth, in the Green Kaftan, with clay tube in the mouth, which, leaning on the table, reads Hamburg newspapers "(" Arap Peter Great "). And so, to make his hero with a clean embodiment of autocratic power, so that in external to distinguish him from all people, Pushkin transfers the action of his age for a hundred years ahead ("one hundred years passed ...") and replaces Peter himself - his sculpture, his Ideally. The Hero of the story is not the Peter who thought about "threatening the Swede" and call to himself "All flags", but "Copper Horseman", "Code of Valdery" and first of all "idol". It is the "idol", that is, with something deed, everything is more willing and Pushkin himself is a monument to Peter. / * Giant expression does not belong to Pushkin; This is the amendment of Zhukovsky. (Note. V. Ya. Brysov.) * /
In all scenes, the story where the "copper rider" is depicted as a creature of a higher, who knows nothing equal. On his bronze horse, he always stands "in the embroidery"; He alone remains calm at an hour of a universal disaster when "everything was empty" around, "" all ran ", all" in trembling ". When this copper rider jumps, he is heavier than "grumble", like "thunder crash", and all the pavement shocked by this jump, to which the poet chose a suitable definition for a long time - "heavy-dimensional", "far-ringing", "hard-ringing". Speaking about this idol, rushing over the fenceful rock, Pushkin, always so discreet, does not stop in front of the most courageous epithets: it is both the "Lord of Fate", and the "Half-Mary", and (in draft sketches) "Scary Tsar", "Powerful Tsar "," Male of Fate "," Vladyka half-one ".
Higher strength This deification of Peter reaches in those verses, where Pushkin, forgetting for the time of His Eugene, he himself thinks over the meaning of the feat, perfect by Peter:
Oh, powerful Lord of fate!
At the height of the Teplo Iron
Russia raised on rapids?
The image of Peter is exaggerated here until the last limits. This is not only the winner of the elements, it is truly "the Lord of Fate." His "Fatal Will" guides the life of the whole people. He holds the iron to Russia on the edge of the abyss, in which she was already ready to collapse / * We understand this place like this: Russia, rapidly bend forward through the wrong path, was ready to collapse into the abyss. Her "sedodes", Peter, on time, over the most abyss, raised her on the rates and thus saved. Thus, in these verses we see the justification of Peter and his affairs. Another understanding of these verses, the pushing thought of Pushkin as reproaching Peter, who raised Russia so ones, that she was left to "lower hoofs" only in the abyss, "seems arbitrary to us. We note by the way that in all Genuine manuscripts are read "Raised on rap ", and not "Rounded on rap "(as still printed and printed in all publications). (Note. V. Ya. Bolsova.)* /. And poet himself embraced horror Before this superhuman power, he does not know how to answer herself who is in front of him.
It is terrible in the surrounding Mol!
What a thought on the chel!
What power is hidden in it!
.......................................
Where are you jumping, proud horse,
And where do you lower your hooves?
That is the first hero of "Petersburg Tale": Peter, Copper Horseman, Hedgehog. "Pushkin took care of the second hero," poor, poor Eugene, "was true to him opposite.
In the initial sketch of the "copper rider", a lot of space was devoted to the characteristic of the second hero. As you know, the excerpt allocated subsequently into a special whole under the title "pedigree my hero," was first part of the "Petersburg story", and no one else, as "My Yezersky" turned into "poor Eugene". It is, telling how
from guests home
Evgenya came young
Pushkin first continued:
So we will be our hero
We call, then my tongue
I got used to the sound.
Let's start AB OVO: My Eugene
Originated from generations,
Whose bold sail medium
Was the horror of the past days.
However, then Pushkin found inappropriate to tell about the ancestors of that Hero, who, according to the story, should be negligible from insignificant, and not only allocated all the stanza devoted to his pedigree into a separate work, but even deprived him of "nickname", i.e. nameplaces (In various sketches, the hero of the "Petersburg story" was named "Ivan Ezersky", then Zorin is young, then the "Ruling of the Young"). Long pedigree was replaced by a few words:
I don't need nickname
Although after the time
It may be shone ...
Not satisfied with the topics, Pushkin tried to completely disassemble his hero. In the early editors, Eugene's story is still a pretty living person. Pushkin speaks definitely and in detail about his everyday life, and his mental life, and his appearance. Here are some such sketches:
He was a kinder officer,
Face a little ripping.He was intricate, not,
Father Belokur ...He was a very poor official
Flammable, round orphan.Poor official
Pensive, thin and pale.
He dressed carefully,
Always visited crookedly
Its green, narrow fracture.
Like everyone else thought about many
And Zhukovsky smoked tobacco,
How it all wore a uniform fracture.
From all this, in the final processing, only the information remained that "our hero" - "somewhere serves" and that he was poor. "
It is also characteristic that the initial hero of the story appeared to Pushkin, the face much more significant than the later Eugene. At one time Pushkin thought even to make it from him if not a poet, then a person, somehow interested in literature. In the draft sketches read:
My official
Was writer and lover
Like everything he behaved not strictly
Like us, wrote verse lot.
Instead, in the final edition, Pushkin forces Eugene to dream:
What could God add to him
Mind and money ...
Where to think about writing a person who himself confersed that he lacks the mind!
Similarly, the original hero and on the social staircase stood much higher than Eugene. Pushkin first called him his neighbor and even spoke of his "luxurious" office.
In his luxurious office
At that time, the ruining of the young
Sat thoughtfully ...My neighbor came home,
He entered his peaceful office.
/ * As for the passage given by many publications as an option of poems "copper rider":
Then, on the stone court
Sand covered by Seine.
Having swallow
Wide stairs for their own ... etc. -
The connection of these verses with the "Petersburg story" seems to us the weight. "." Doubtful. (Note. 8. Ya. Bolsova.)*/
All these features gradually changed. "Mirny" Cabinet was replaced by the "modest" cabinet; Then, instead of the word "my neighbor" a descriptive expression appeared: "In the house where I stood"; Finally, the dwelling of his hero Pushkin began to determine how "Kanurka Fifth Housing", "Cherdak", "Chulad" or the words: "Lives under the roe." In one draft, the amendment is preserved in this regard: Pushkin stressed the words "my neighbor" and wrote instead of "My Chudak", and the next verse:
He entered his peaceful office. -
Changed like this:
He entered his attic.
Pushkin spread his rigor before he deprived of any individual trait the most "attic" or "chulad". In one of the early editors read:
Sighing, he examined the chunnel,
Bedside, dusty suitcase.
And table covered, covered,
And the desk, with all his good;
I found everything in order: then,
The smoke of his cigar used
Undressed and lay down in bed
Under deserved chinel.
Only deaf mention remained in the final edition of all this information.
Lives in Kolomna ... -
Yes, two dry verses:
So, come home, Eugene
Shook overcoat, undressed, lay down.
Even in the sovereign manuscript presented on censorship, there was still a detailed description of Evgenia's dreams, which introduced the reader into his inner world and in his personal life:
Marry? Well? Why not?
And in fact? I will arrange
A humble corner,
And in him I will calm the packet.
Bed, two chairs, a pot.
Yes, the big one ... What do I like?
On Sundays in the summer in the field
With a pair I will walk:
Place the place; Parasha
Restuch farm ours
And the upbringing of the guys ...
And become living, and so to the coffin
Hand with hand we do we both
And grandchildren will be buried.
Already after watching the manuscript, the king and the prohibition of her Pushkin thrown out this place, inexorable all personal features from His Eugene, all individual traits, as he had taken away the "nickname" from him.
That is the second hero of the "Petersburg story" - an insignificant Kolomna official, "poor Eugene", "Citizen Metropolitan",
What meet you darkness,
They are not much different from them
Nor by face or by the mind.
/ * In such a editorial, these verses are included in one of the manuscripts of the "copper rider". (Note. V. Ya. Brysov.) * /
At the beginning of the "entry" Pushkin did not find it necessary to call named his first hero, since it is enough to say "he", so that it becomes clear about com. Entering into the action of his second hero, Pushkin also did not call it, finding that "Nickname we don't need it." It is from all that it is said in a story about Peter Great, it is impossible to make a certain appearance: everything is blown into something huge, immeasurable, "terrible". There is no appearance and the "poor" Eugene, who is lost in the gray, indifferent mass of such "citizens of the capital". Receptions of images of the other, - the conqueror of the elements and a Kolomna official, - come closer between them, because both of them are the personification of two extremes: the highest human power and the ultimate human insignificance.
The "Introduction" of the story depicts the power of autocracy, triumphant over the elements, and ends with a hymn to him:
Wheel, hail of Petrov, and stand
Non-gas, like Russia!
Two parts of the story depict two rebellion against self-leveling: the rebellion of the elements and a rebellion of a man.
Neva, once enslaved, "captured" by Petro, did not forget his "old enmity" and with "vicious malicious" rebel to the enslave. The "defeated element" is trying to crush his granite shackles and goes to the attack on the "slender grudges of palaces and towers" arising in the way of autocratic Peter.
Describing flooding, Pushkin compares it with military actions, then with the attack of the robbers:
Siege! attack! Evil waves
Like thieves, Climb into the windows ...So the villain,
With fierce shaiko. his,
In the village broke, catches, cuts,
Crash robit; screams, grind,
Violent, brand, anxiety, howl! ..
For a minute it seems that the "defeated element" triumphs that fate itself is for her:
Srit god's Gnev And execution awaits.
Alas! everything dies ...
Even the "deceased king", the successor of the elements of this conqueror, comes to confusion and is ready to recognize himself defeated:
Heat, Smart, he came out
And browned: "with god's elements
Do not cope with the kings "...
However, among the universal confusion there is one who remains calm and non-flash. This is a copper rider, the head of the twilight, the miraculous builder of this city. Eugene, riding marble lion. The "desperate looks" in the distance, where, "like the mountains", "from outrageous depths," terrible waves rise. -
And addressed to him back
In non-omitable embroidery
Over the outstanding Neuly
Stands with a simple hand
Moid on a bronze horse.
In the initial sketch of this place, Pushkin was:
And right in front of it from water
There was a copper crying
Idol on bronze horse
Neve rebellious/ * Option: "crazy." (Note. V. Ya. Brysov.) * / in silence
Threatening real estate ...
But Pushkin changed these verses. The copper rider despises a "vicious malice" of Finnish waves. It does not connect before to threaten the "rebellious Neva" with his shower hand.
This is the first encounter of the poor Eugene and the copper rider. The case did so that they were left alone, two on the empty area, over the water, "won everything around," - one on the bronze horse. Another on the beast stone. A copper rider with contempt "turned backs" to an insignificant man, to one of the countless of his subjects, not. She sees, does not notice him. Eugene, although his desperate looks and induced real estate "on the edge one," he could not not see the idol, arising from the waters "right in front of him."
The copper rider is right in his contempt for the "vicious malicue" of the elements. That was just a "brazen rue", the robbery attack.
Perfect destroying
AND naked violence tired
Neva threw back
With his admiring disturbance
And leaving with cashew
His prey ...
(So) is burdened by robbery,
Fearing chase, tired,
Rush robbers home,
Prey on the way Rhoneia.
In total, after a day, traces of recent rebellion have already disappeared:
Due to tired, pale clouds
Shone over the quiet capital,
And I have not found traces
Trouble yesterday's ...
In order, the former all entered.
But the rebellion of the elements causes another rebellion: the human soul. The tormented mind of Eugene does not tolerate "terrible shocks", experienced by him, the horrors of the floods and the death of his loved ones. He goes crazy, becomes alien to the light, lives, not noticing anything around, in the world of his Dum, where the "rebellious noise and winds" is constantly distributed. Although Pushkin also calls Evgenia "unfortunate", but still makes it clear that madness somehow elevated, referred to him. In the majority of the editions, Pushkin says about the crazy Eugene -
Was wonderful internal alarm.
/ * So these poems are read and in the white manuscript presented to the sovereign. (Note. V. Ya. Brysov.) * /
In general, in all verses dedicated to the "insane" Eugene, there is a special incessity, starting with exclamation:
But the poor, my poor Yevgeny!
/ * One year with the "copper rider" poems wrote "Do not let me go crazy," where Pushkin admits that he himself would be glad to part with his mind. (Note. V. Ya. Brysov.) * /
It takes a year, the same rainy autumn night comes, which was before flooding, he is distributed around the same "rebellious noise and winds", which he jumps in the minds of Eugene. Under the influence of this repetition of madness with a special "liveliness", he remembers all the experienced and that hour when he remained "on Petrovaya Square" alone with a formidable idol. This memoir leads it to the same area; He sees a stone lion on which he once sat riding, and the same pillars of a big new home and "over the fenceful rock"
Moid on a bronze horse.
"It was cleared of thoughts scary," says Pushkin. The word "scary" makes it clear that this "clarification" is not so much a refund to sound consciousness, how many impressions / * "Scary clarified" -in the final edition; In earlier editors: "Strange Claim "that even strengthens the meaning we give by this place. (Note. V. Ya. Bolsova.)* /. Evgeny in the "idiot" suddenly recognizes the culprit of his misfortunes,
Of which whose will of the fatal
Above the sea was founded.
Peter, saving Russia, Make her on the abyss, leading it to her "will of the fatal", on his chosen path, founded the city "Above the Sea", put the towers and palaces in the swamps. Through it, all happiness died, the whole life of Evgenia, and he wore his unfortunate age given to the half, half. And the "proud iducan" still stands like an idol, in dark embroidery. Then in the soul of a madman is born by a rebellion against violence of someone else's will over the fate of his life, "like a worked force of black", it falls to the lattice and, gritting his teeth, viciously whispers his threat to the Halloon Hall:
"Good, the builder's miracle! So you!"
Pushkin does not disclose the threat of Eugene. We do not know what exactly wants to say to your "hard!". Does this mean that "small", "insignificant" will be able to revenge for their enslavement, humiliation "hero"? Or what is lackless, haired Russia will "uzho" the hand on his rulers, hard forcing their fatal will? There is no answer, / * As you know, the "copper rider" was printed for the first time as not as he was written by Pushkin. This filed a reason for the legend, as if Pushkin was invested in the mouth of Evgenia before the "proud iducane" some particularly sharp monologue that could not appear in Russian press. Kn. P. P. Vyazemsky in his brochure "Pushkin on documents of the Ostafyevsky archive" reported as a fact that in reading the story by the Pushkin himself a stunning impression produced monologue The distraught official in front of the monument to Peter, who made himself about thirty poems, in which "the hate for European civilization was too angically." "I remember," continued KN. P. P. Vyazemsky, - the impression made by him on one of the listeners, A. O. Rossetti, and I seem to remember, he assured me that he would remove the copy for the future time. " CN. P. P. Vyazemsky must recognize completely nonsense. In the manuscripts of Pushkin, nothing else has been preserved, except for those words that are now read in the text of the story. The most sharp expression that Pushkin put in the mouth of his hero, it is "so you!" Or "Already you!", According to the schedule of the original. In addition, the "hatred for European civilization" does not fit with all the progress of the story and with the main idea of \u200b\u200bthe story. (Note. V. Ya. Bolsova.)* / And the most uncertainty of his expressions of Pushkin, as it were, it says that the exact meaning of reproach is not important. It is important that small and insignificant, one who recently realized humbly, that God could add to the mind, "whose dreams did not go fond of modest wishes:" I will drop the place ", suddenly felt like an equal copper rider, found the strength and The courage to threaten the "Half Half".
Characterized by expressions, as the Pushkin describes the state of Eugene at that moment:
The grille faced the clutter
Eyes tormented fog,
On the heart of the flame ran,
Blood boiled ...
Tone solemnity, the abundance of the Slavs ("Man", "Colding", "Flame") show that the "black force", which Yevgeny is buried, makes it possible to treat him otherwise than before. This is no longer "our hero" who "lives in Kolomna, somewhere serves"; This is an opponent of the "Terrible Tsar", which should speak the same language as well as about Peter.
And the "idol", which remained to stand real above the outrageous Nevyo, "in a non-optimile embroidery," cannot consider the threats of the "poor madman" with the same contempt. The face of the Terrible Tsar flashes anger; He leaves his granite foot and "with severe trap" chasing poor Eugene. The copper rider is haunting a madman, so that the horror of his chase, his "heavy-ringing jump" to make him come to terms, forget everything that flashed in his mind at that time when "the thoughts were scary in it."
And all night, madman poor
Where the feet turned either
Behind him everywhere the rider copper
With heavy hidden, jumping.
The copper rider reaches its goal: Eugene arms. The second rebellion is defeated as the first. As after the rust of the Neva "in order former everything went out." Evgeny again became negligible from insignificant, and in the spring of his corpse, like the corpse of the tramp, fishermen buried on the deserted island, "for God's sake."
In the first youth Pushkin adjoined to liberal political movement His era. He was in friendly relations with many Decembrists. "Outrageous" (on the then terminology) verses were one of the main reasons for his reference to the south. In essence, Pushkin's political ideals have always been moderate. In the most bold his poems, he repeated invariably:
Vladyka, the crown and throne
Gives the law, not nature!
In such poems as "liberty", "Dagger", "Andrey Shheny", Pushkin distributes the most non-sequence epithets "inglorious strikes", "criminal secreter", "Issue of the Marat" (Marat), "Areopague Osterveley" (Revolutionary Tribunal 1794 .). But still, in that epoch, under the influence of general fermentation, he was still ready to sing "the last judgment of shame and resentment, punishing the dagger" and believe that the "rebellious area" can
Great day, inevitable
Freedom Bright Day ...
However, in the mid-20s, before the event, December 14, a certain coup was made in the political views of Pushkin. He was disappointed in his revolutionary ideals. On the question of "freedom" he began to watch not so much with political as from a philosophical point of view. He gradually came to the conviction that "freedom" cannot be achieved by a violent change in political system, but will be a consequence of spiritual education of humanity. / * The evolution of political views of Pushkin, schematically scheduled by us, was traced in more detail in Article Alexander Slonimsky - "Pushkin and December Movement" (t. II, p. 503). (Note. V. Ya. Brysov.) * / These glances are based on the "copper rider". Pushkin chose his hero of the most powerful one of all the autocrats, which ever restrained on Earth. It is a giant-wonderworker, the demigod who commands the elements. The spontaneous revolution is not afraid of him, he despises her. But when the free spirit of a single person is rebeling to him, the "Half Half" comes into confusion. He leaves his "fenced cliff" and all night long Pursuits a madman, if only their heavy trample to drown out in it the rebellion of the soul.
"Copper Horseman", indeed, the response of Pushkin on the reproaches of Mitzkevich in the treason of "winsted" ideals of youth. "Yes, - as if Pushkin says, - I do not believe more in the fight against despotism by the forces of the spontaneous insurgency; I see all his infertility. But I did not change the high ideacs of freedom. I'm still sure that it is not eternal" idol with copper head "No matter how terrible in the surrounding millet, no matter how much he is" in a non-isolated embroidery ". Freedom will arise in the depths of the human spirit, and the" fence rock "will have to empty."
The emergence and composition of the story
Annenkov suggests that the "copper rider" constituted the second half of a large poem, conceived by Pushkin earlier than 1833 and not over. An excerpt from the first half of this poem, Annenkov sees in the "pedigree of my hero." However, we have no reason to make such an assumption.
Nor in the papers of Pushkin, nor in his letters up to 1833 there are no instructions on the great poem conceived by him, in which the "copper rider" would be part of as part. Such good arguments make it possible to think that the Pushkin of Satira Mitskevich pushed to work on the "copper rider", with whom he could get acquainted not earlier than the end of 1832. /*Cm. Previous article. (Note. V. Ya. Bolsova).* / If, and existed at Pushkin before 1833, the idea of \u200b\u200bthe poem, had something in common with the "Copper Horseman", then only in the most common features. So, in one of the sketches of the "joining" Pushkin says that the idea of \u200b\u200bdescribing the St. Petersburg flood of 1824 appeared under the impression of the first stories about him. Pushkin even hints that he had seen as if his duty, - the duty of the poet before the "sad hearts" of his contemporaries:
There was a terrible time!
It will begin the narrative.
For a long time, when I first
Heard sad loyadium
Sad hearts for you
Then I gave the promise
Verses believe your story.
As for the "pedigree of my hero," the testimony of manuscripts does not leave doubts about its origin. It - part "Copper rider" isolated from its composition and treated as a separate whole. In the initial sketches of the "pedigree of my hero" there was a pedigree later "poor Eugene", but Pushkin soon made sure that these stains violate the harmony of the story, and excluded them. Later he made an independent work, giving a pedigree somehero, not a hero of one or another story, but "hero" at all. In addition, the "Copper Horseman" - the creation is so complete, its idea is so fully expressed that it is impossible to consider the Petersburg story to be part of some more extensive whole.
Written "Copper Horseman" in Boldin, where Pushkin after a trip to the Ural spent about one and a half months, from October 1, 1833 in mid-November. Under one of the first sketches, there are litters: "October 6"; Under the first list of the whole story: "October 30". Thus, all the creation of stories took less than a month.
It is possible, however, without probability to assume that the thought of writing a "copper rider" arose from Pushkin before his arrival in Boldino. Probably, some sketches have already been made in St. Petersburg, for example, those written not in notebooks, but on separate sheets (such a passage "over St. Petersburg overshadowed ..."). We have a testimony that on the way to Ural Pushkin thought about flooding 1824. Regarding the strong western wind, causing him on the road, he wrote his wife (August 21): "What was with you, St. Petersburg residents? Didn't you have new Flooding? what if and it's me Walked? It would be annoying. "
From Boldin Pushkin almost no one, except for his wife, did not write. He spoke about his verses with his own poems as a revenue article and, moreover, by the tone of the joke. Therefore, from Boldin's letters of Pushkin, we will not know anything about the progress of his work on the Petersburg Tale. Once October, he reported: "I am writing, I'm in troubles." October 21: "I work lazily, through the stump of a deck of the curren. I started a lot, but there is no hunting; God knows what is done with me. Stairs has become the mind of the bad. October 30: "Recently signed and already wrote the abyss." November 6: "I will bring you a lot of rhymes, but not disclosed it, and then the Almachnashniki will nourish me." The title of the "copper rider" here is not named here, and the common tone of the joke does not allow you to treat the confidence in the recognition of Pushkin, as if at the time of work on the story he has no hunting.
Turning to the manuscripts, we see that the story cost Pushkin of huge work. Each of her passage, each of her verse before plunge into its final form, was several - sometimes up to ten - modifications. From the original draft sketches, where there is still a lack of many binding parts, Pushkin, in a special notebook, the first alignment of the entire story was made. This arch, marked "October 30," is the second edition of the story, since it changed a lot, relatively with the first sketches. This list is covered with new amendments. giving a third editor. She reached us also in his own Pushkin List, made to represent the story of the sovereign. Finally, already in this white list (and more after Prohibition of the Tale of the "Highest Censorship") Pushkin also made a number of changes, the whole passages are thrown into, many expressions and integers are replaced by others, etc. Thus, now the printed text must be considered the fourth edition of the story.
To give a concept about work spent by Pushkin on the "copper rider", suffice to say that the beginning of the first part is known to us in six Completely processed, editors. Already one of the first seems so complete creation that it almost makes sorry about the rigor of the "Declaring" artist, who dropped from it many features:
Above Petersburg is overshadowed
Autumn wind clouds challenge.
Neva, in the lies of outstanding,
Noise, rushing. Sullen shaft
As if the serve is restless
Splash in granite fence slender
Wide Nevsky Beasts.
Among the running clouds
The moon was not visible at all.
Lights shone in homes,
The street was gone as dust
And the violent Vikhore was sad
Celebration Syrene Night
And drowning watch.
Fabul "Copper Rider" belongs to Pushkin, but individual episodes and paintings are not created without outsiders.
The idea of \u200b\u200bthe first poems "entry" is borrowed from the article Batyushkov "Walk to the Academy of Arts" (1814). "My imagination," writes Batyushkov, "Petra presented me, who for the first time overlook the Wild Neva, now so beautiful ... The great thought was born in the mind of a great man. Here there will be a city, he said, a miracle of the world. This will prize everything here Arts, all arts. Here articles, arts, civilian institutions and laws will win the very nature. He said - and Petersburg originated from the wild swamp. " Poems "Introduction" repeat some expressions of this place almost literally.
Before the description of St. Petersburg, Pushkin makes Note: "See the poems of the KN. Vyazemsky to the Countess of W - Oh." In this poem of the KN. Vyazemsky ("Conversation on April 7, 1832"), indeed, we find a few stuff, resembling Pushkin's description:
I love St. Petersburg with his Krasoy Slender,
With a brilliant belt of luxury islands,
With a transparent night - the day with a rival, relatives,
And with fresh greens of his junior gardens ... etc.
In addition, the description of Pushkin affected the influence of two Satir Mitskevich: "Przedmiescia Stolicy" and "Petersburg". Prof. Tretyak / * cm. Previous article. We also use the presentation of G. S. Brailovsky. (Note. V. Ya. Brysov.) * / Proved that Pushkin almost step by step follows the paintings by the Polish poet, responding to his uks of the apology of the Northern Capital. So, for example, Mitskevich laughs over. that Petersburg houses are behind iron lattices; Pushkin objects:
Your fence is cast iron.
Mitskevich condemns the severity of the climate of St. Petersburg: Pushkin replies:
I love the winter of your cruel
Remote air and frost.
Mitskevich contemptively responds about the northern women, white, like snow, ruddy, like crayfish; Pushkin Slavit -
Girls Lipa Brighter Roses
There is an analogy between the image of the "idol" in the "Copper Horseman" and the description of the same statue in the Satire Mitskevich "Pomnik Piotra Wieikiego".
The image of a lively statue could be inspired by Pushkin by the story of M. Yu. Vielgorski about some wonderful dream. In 1812, the sovereign, fearing the enemy invasion, was assumed to take a monument to Peter from St. Petersburg, but he stopped him. A. I. Golitsyn, saying that recently one major saw a wonderful dream: as if the copper rider jumps along the streets of St. Petersburg, it approaches the palace and says the sovereign: "Young man! What did you bring my Russia! But I will show my city on the spot, my city There is nothing to fear. " However, the same image could be suggested and the episode with the statue of the commander in Don Juan.
The description of the flood of 1824 is composed of Pushkin according to eyewitnesses, since he himself did not see him. He was then in the link, in Mikhailovsky. / * Having obtained the first news of the disaster, Pushkin first reacted to him half sufficiently and in a letter to his brother allowed even about the floods of sharpness of fairly dubious dignity. However, having learned the circumstances of the case, completely changed the judgment and, in another letter to the brother, wrote: "This flood is crazy to me: he is not so funny, as at first glance it seems. If you think about helping some kind of nonsense, help From Onegin money, but I ask without any noise. " (Note. V. Ya. Brysov.) * / Belinsky wrote: "The picture of floods is written in Pushkin with paints, which the price of life would be ready to buy the poet of the last century, which was prevented on the thoughts to write an epic poem of the Flood ... You don't know what more to make a rush, the gradation of the description or his almost prosaic simplicity, What together comes to the greatest poetry. " However, Pushkin himself stated in the preface that "flood details are borrowed from the then magazines", and added: "Curious can cope with the news drawn up by V.N. Bercha."
Changing the Book Book ("Detailed historical news of all floods, former in St. Petersburg"), have to admit that the description of Pushkin, with all its brightness, is really "borrowed". Here, for example, what tells Berch: "Rain and insightful cold wind S. The morning filled the air with dampness ... with dawn ... crowds of curious rushed to the shores of the Neva, Which is high receded foamy waves and with terrible noise and splashes broke them about granite shores ... The unrefined waters seemed boilingpunching ... White foam Clubs Above the aqueous bulk, which, incessantly increasing, finally, rushed to the shore ... People saved, As they could ". And further:" Neva, having met obstacle in its current, increased in their shores, filled channels and hung over the underground pipes as fontanov On the streets. In one moment the water was poured through the edges of the embankments. "
All the main features of this description are repeated by Pushkin, part in the final edition of the story, part of the draft sketches.
...rain Sad
Pounded in the window and wind Holded
In the morning over her brags
Crowded crowds people
Enjoying splashes Mountains
AND foam Frightened waters.Neva wandered, ravened,
Risen and boiled,
Boiler Klokocha I. floating.Neva all night
Rushed to the sea against storm
And it was not on me to argue!
And here from them / * It is not entirely clear what the word "them" refers to, both here and in the appropriate place of the final edition:Rushed to the sea against the storm
Not ododes them Powerful duri.Probably Pushkin meant "the sea" and "storm", or "winds", which is stated on: but by force winds From the bay of overheated Neva ...
By the way, in all editions still printed "wind" instead of "winds" (as read in all manuscripts). (Note. V. Ya. Brysov.) * / Fierce Duri.
Went bubloche i. floating.
And suddenly, as a tiger is worse,
Through the iron fence
The waves hung up to the city.All ran, everything around
Suddenly empty ... Waters suddenly
Flowed into underground basements;
Channels poured to grilles.The people fled. Towards it
Channels were hushed; From the pipe
Fountains splashed.
In the initial descriptions of the description, Pushkin reproduced in verses and went through the city anecdot about gr. V. V. Tolstom, later told the book. P. A. Vyazemsky / * See in Text history. (Note. V. Ya. Brysov.) * /.
In any case, Pushkin quite had the right to say in one of his notes, comparing its flood description with the description of Mitskevich (which depicted the evening before flood): "Our description rather"...
By the number of poems "Copper Horseman" - one of the most short Pushkin's poems. In it, in the final version of only 464 verses, whereas in the "Gypsies" - 537, in Poltava - about 1500 and even in the Bakhchisarai fountain - about 600. Meanwhile, the idea of \u200b\u200bthe "copper rider" is extremely wide, hardly ns is wider than in all other poems Pushkin. For less than 500 poems, Pushkin managed to fit Peter's Duma "on the shore of the Varangian Waves", and the picture of St. Petersburg in early XIX. Century, and a description of the flood of 1824, and the history of love and madness of poor Eugene, and their meditation over the work of Peter. Pushkin found it possible to even afford how luxury, a few jokes, for example, mention of the column column.
The language is extremely diverse. In those parts where the life of the official is depicted, it is simple, almost prosened, willingly admits conversational expressions ("Life is light", "Rebuild the economy", "big", etc.). On the contrary, where the fate of Russia speaks, the language is completely changing, prefers the Slavic forms of words, avoids expressions of everyday, as, for example:
It took a hundred years - and the young grad.
Full countries beauty and Divo.
From the darkness of forests, from the rope blat
Ascension Pyshno, proudly.
However, the truncated adjectives of Pushkin is clearly avoiding, and in the entire story there are only three of them: "Weighing days", "past the times", "Sleepy eyes".
A peculiar feature of the verse of the "copper rider" is the abundance of cesur. None of his poems, written by a four-stranded yamb, did not allow himself Pushkin as often as in the "copper rider", stopping in meaning inside the verse. Apparently, in the "copper rider" he consciously sought to ensure that logical divisions would not coincide with the divisions of metric, creating this impression of the extreme ease of speech. Especially many such examples in verses telling about Eugene, for example:
Little sat, scary pale
Evgeny. He was afraid of poor
Not for yourself.Evgeny for his good
NA came. He is soon light
Became alien. All day walked on foot,
And slept on the pier.Nevsky Pier. Days of summer
Known to autumn. Dyshal.
Rainy wind.
It is remarkable that almost all new departments of the story (as if her individual chapters) begin with a semi-edge, in general about a third of the poems of the "copper rider" in the middle of the verse there is a point, and more than half inside the verse there is a logical speech stop.
The rhymes in the "Copper Horseman" Pushkin remained faithful to his rule expressed by him in the "Kolomna house":
I need rhymes, everything is ready to save me.
In the "copper rider" many rhymes of the most ordinary (nights - eyes, horse - fire, etc.), even more verbal (sat down - she looked, they were angry - they worked, I learned - played, etc.), but there are several "Rare" (Suns - Chukhonza, cuts - grinding) and a number of "rich" (living - guard, penalties - steps, howling - waving, head - fatal, etc.). As in other poems, Pushkin on pronunciation freely rhymes adjectives on oh With adverbs on O (carefree - willingly).
On the sound image of the verse of the "copper rider" knows little rivals. It seems that neither of his creatures did not use Pushkin as often as in the Petersburg stories, all means of alliteration, games with vowels and consonants, etc. An example of them can serve as quarries:
And gloss and noise and balley talk
And at the hour of the porushka idle
Shi singie Pen.extreme Boxes
AND punasha pblue lamp.
But the top of the pictusivity reaches the verse of the "copper rider" in the scene of the persecution of poor Eugene. Repetition of the same rhymes, repeating several times the initial letters in standing next words and stubborn repetition of sounds k, G. and h. - Gives Pushkin a lively impression of "heavy-ringing jump", the echo of which sounds in a blank area like a thunder thunder.
And he pabout pgoszchadi pmouth oh
Runs and hear for sob oh
TObut to like g.roma. g.trump
Heavy-ring tooE S. tobut toannia
According to P.dieden bridges oh.
And, illuminated the moon pale
Sketch of hand in the embroidery,
Per n.them n.esually INsadnik Copper
Ringing toabout S. toachchech toone;
And all night madness poor
Where the feet turned either
Behind him sunyud. Sunadnik Copper
FROM t.ygel t.nether sC.but toal.
However, traces of some athlete in form processing are noticeable. Three verses remained at all without rhyme, namely:
The city rushed. Before it ...
And I did not find traces ...
And slept on the pier. Food ...
In the initial editors, the first and the last of these verses have their own rhyme:
All gravily power
I went to the attack. Before her
The people fled and disappeared suddenly.And slept on the pier. Food
From the windows abandoned piece;
Already almost did not undress,
And dredged on it
Rushed and trelo ...
As you know, in 1826 the sovereign expressed a desire to personally be a censor Pushkin. All their new works, before their printed, Pushkin was supposed to represent, through Benkendorf, in this "highest censorship."
On December 6, 1833, soon after returning from Boldin, Pushkin turned with a letter to Benkendorf, asking for permission to present his "poem", which would wish to print. It must be assumed that it was a "copper rider". On December 12, the manuscript "Copper Rider" was already returned to Pushkin. The "highest censorship" found a number of reprehensible places in the story.
We do not know how to prohibit the story of Pushkin himself. He spent the last years of his life in strict spiritual loneliness and, apparently, did not devote anyone in his inner life. In his letters, he became extremely restrained and no longer allowed the fascinating chatter about everything that he interests him, which is the main charm of his letters from Mikhailovsky. Even in the records of your diary, which he led last years Life, Pushkin was very careful and did not allow any extra words.
In this diary, on December 14, it was recorded: "The invitation from Benkendorf was received by me to appear on the other day in the morning. I came. I come back Bronze Horseman With the comments of the sovereign. The word idol is not missed by the highest censor; poems:
And before the youngest capital
Earl old Moscow,
As before the new queen
Porphic widow -
Washed. In many places set -? -. All this makes me a big difference. I had forced to change the condition with the licdine. "
We will not know anything else and from letters Pushkin. In December 1833, he wrote Nastokine: "I had a monetary trouble here: I had conspited with Smpdinis and was forced to destroy the contract, because the copper rider censored did not miss. This is me a loss." He repeated Pushkin in another, later letter: "The copper rider is not missing, - losses and trouble." Let's go, in response to his question, Pushkin reported briefly: "You ask about the copper rider, about Pugacheva and about Peter. The first will not be printed."
From these dry messages, it is possible to conclude only that Pushkin wanted to print a "Petersburg story" (it means that he considered her finished, processed) and that he introduced his friends with her.
Pushkin himself believed that his manuscripts were considered directly from the sovereign. He believed that the manuscript was "copper rider" returned to him "with the comments of the sovereign." But at present, it is sufficient that Pushkin's manuscripts were considered in the Office of Benkendorf and that the sovereign only repeated, sometimes retaining all the polemical attacks, critical comments of this office. The inner meaning of the "copper rider", of course, was not understood by this censorship, but a number of individual expressions seemed to her unacceptable.
We apparently reached us, apparently, the most manuscript that was presented for consideration by the sovereign (Pushkin writes: "To me returned Copper rider ... "). In this manuscript, the poems about the" filling Moscow ", about which Pushkin speaks in the diary, stricken the pencil and the side is noted by the NB sign. The question mark is set against those poems, where the copper rider appears for the first time.
Above the perturbation of Nevyu
Stands with a simple hand
Moid on a bronze horse.
In the second part, the question mark was set against the repetition of these poems:
Moid with a speed of hand
Sat on a bronze horse.
Who is motionlessly elevated
In the dark, copper head,
Of which whose will of the fatal
Above the sea was founded.
Oh, powerful lord of fate,
Aren't you over the abyss
At the height, the TSA iron,
Russia raised on rapids?
Finally, emphasized the expressions "Viddequel Easthan" and "Builder Miraculor" and drawn all the poems, starting with the words of a madman facing the "idol" to the end of the page.
In another manuscript, the list made by the Piselian hand, traces of Pushkin amendments were preserved, apparently, in order to soften the expressions mentioned it. The word "idol" Pushkin replaced the word "sedodes" and in the quatraisses about "filling Moscow" restored the initial version of the second verse ("the head of Moscow"). However, until the end of Pushkin did not bring his amendments and preferred to refuse to print a story. "Pushkin's poem is excellent, but is exhausted (ie, it is exhausted censored), and therefore it is not printed," wrote the KN. P. Vyazemsky A. I. Turgenev.
During the lifetime of Pushkin from the "copper rider", only the passage of "entry" under the title "Petersburg" was printed. By the death of Pushkin, the story was printed with the amendments of Zhukovsky, in his own way mitigating all controversial places. For a long time, Russia knew one of the most significant creation of Pushkin only in a distorted form. Correction of text on the genuine manuscripts of Pushkin, started by Annenkov, lasted until recently. Genuine reading of poems about the "idol" restored only in the 1904 P. Morozov edition. However, some verses only in this edition appear for the first time as Pushkin wrote them.
