The monument to Peter I by Falcone has long become a symbol of St. Petersburg and was sung by many Russian poets. Alexander Pushkin dedicated the poem "The Bronze Horseman" to the monument, since then a second, unofficial name has been assigned to the monument. The sculpture, full of power and dynamics, inspired Adam Mitskevich, Boris Pasternak, Pyotr Vyazemsky, Anna Akhmatova, Osip Mandelstam. The Bronze Horseman left his mark in the work of Valery Bryusov.
The poet wrote the poem "To the Bronze Horseman" in St. Petersburg on January 24-25, 1906. The work was included in the collection "All tunes", where it opens the "Greetings" cycle. In 1909, the Scorpion publishing house published a collection of works by Valery Bryusov “Ways and Crossroads”. The poem "To the Bronze Horseman" was first published in it.
In his works, Bryusov often turned to historical events, literary sources, paintings, sculptures, and architecture. This intellectual feature was characteristic of outstanding poets, but in the work of Valery Bryusov it is especially clearly expressed. Some critics even reproached the poet for such immersion in the world cultural and historical layer. For example, Julius Eichenwald called Valery Yakovlevich "the thinker of other people's thoughts" and the "stepfather" of ideas.
In fact, Bryusov builds his poetic castles on a solid foundation of history, art and literature. And from an individual approach, these designs do not become less majestic and beautiful. In the poem "To the Bronze Horseman", describing winter St. Petersburg, Bryusov draws attention to the harsh architecture of the capital: "Isaac is whitening in the frosty fog", "the northern city is like a foggy ghost", "houses stood up like crops." The author also mentions important historical events, such as the uprising of the Decembrists and the most destructive flood in St. Petersburg in 1824: "the bodies of the abandoned army lay down", "over the dark plain of turbulent waves." A literary motive is unexpectedly interwoven into the memory of the flood. Bryusov recalls the hero of Pushkin's novel "poor Eugene", who "in vain threatens" the monument.
But the main character of the story is the Bronze Horseman himself. Following Pushkin, Bryusov reveals the symbolism of this image. The severity and power embodied in the word "copper", as well as the association of rapid movement in the word "horseman" ideally characterize Peter I. His "unchanging" monument "rises on a snow-covered block" and at the same time flies "through the ages."
The "eternal" statue is contrasted by the Bryusovs to the brief life of man. Generations change, people - "shadows in a dream", even the city - "foggy ghost", and the monument to the tsar-reformer remains unchanged, trampling on the links of the snake.
The poem "To the Bronze Horseman" is not replete with colors and sounds, which is atypical for the creative manner of Bryusov. There is almost no color here, there is only the verb "whitens". True, there is a lot of fog and shadows. The sound appears exclusively when describing the December events of 1825: "between shouts and hums."
The poem "To the Bronze Horseman" is written in four-foot amphibrach with cross rhyme. The movement is transmitted using a large number of verbs, participles and adverbs: pass, speaking, flying, changing, getting up, lying down, outstretched, bent.
To achieve greater emotional expressiveness, Bryusov widely used comparisons: "at home, like crops", "like shadows in a dream", "as if ... to look", as well as epithets: "frosty fog", "snow-covered block", "abandoned army" ... There are many inversions in the work: “on a snow-covered block”, “with an outstretched hand”, “foggy ghost”, “earthly pole”, “your crops”.
In this poem, Bryusov masterfully created original, capacious images. The "Dark Plain of Rising Waves" represents a flood; "Houses are like crops" - the growth of the city; "Blood on the snow ... could not melt the earth's pole" - the failed uprising of the Decembrists. No less effective in the poem is the antithesis of "daytime twilight."
In his work, Valery Bryusov repeatedly returned to the sculptural symbol of the northern capital. The majestic monument is found in the poems "Three idols", "Variations on the Bronze Horseman", as well as in a critical study of the poem of the same name by Alexander Pushkin. We can safely talk about the consonance of the image created by Falcone, the deep strings of the soul of Valery Bryusov.
- "To the Young Poet", analysis of Bryusov's poem
- "Sonnet to Form", analysis of Bryusov's poem
Chapter 1. "The Bronze Horseman" by Pushkin in the aesthetic-critical self-consciousness of the Symbolists. 9
Chapter 2. Interpretation of the theme of Peter in the novel by D.S. Merezhkovsky "Antichrist.
Peter and Alexey "and the Pushkin tradition.64
Chapter 3 "The Bronze Horseman" A.S. Pushkin in the context of the novel by Andrey Bely
Petersburg ": on the problem of literary reception.137
Dissertation introduction 2002, abstract on philology, Poleshchuk, Lyudmila Zenonovna
The topic of this dissertation is "Pushkin's tradition (the poem" The Bronze Horseman ") in the works of Russian Symbolists: V. Bryusov, D. Merezhkovsky, A. Bely". Its relevance is due to the fact that with a relatively deep degree of study of the problem of "Pushkin and Blok" - in the monographs of ZG Mints, P. Gromov and V. Musatov, - the problem of the Pushkin tradition in the aggregate of the proposed names - V. Bryusov, D. Merezhkovsky , Andrey Bely - turned out to be insufficiently researched. Meanwhile, the Symbolists themselves posed the problem of genesis and apprenticeship with Pushkin. The same Bryusov declared: "My poetry was born from Pushkin's poetry."
Let us emphasize that the exclusion of Alexander Blok from this series of names is due to the fact that the refraction in the work of Blok of the Pushkin tradition ("The Bronze Horseman") in its historiosophical and reminiscent aspect has been deeply and multifacetedly studied in the monograph by K.A. Medvedeva "The problem of a new person in the work of A. Blok and V. Mayakovsky: Traditions and innovation" (Medvedeva, 1989, pp. 20-128).
In the dissertation work, we turn mainly to Bryusov-critic, leaving out of the scope of research his artistic work, which has been sufficiently studied in this aspect in the works of N.K. Piksanov, D.E. Maksimov, E. Polotskaya, K.A. Medvedeva, N.A. Bogomolov, O.A. Klinga and others.
But, unfortunately, the literary-critical Pushkinian and at the present time cannot be considered sufficiently researched. In our opinion, even the well-known article by Bryusov "The Bronze Horseman", articles by Merezhkovsky about Pushkin require a new, more in-depth reading and analysis. Without a thorough study of the Pushkin legacy of the Symbolists, a deep understanding of the originality of their work as an integral aesthetic and philosophical system cannot be achieved.
It should be noted that, in general, the study of the phenomenon of tradition in the literature of the "Silver Age" is one of the most pressing problems of modern literary criticism.
In a number of studies by Pushkin scholars, M.P. Alekseeva, D.D. Blagoy, S.M. Bondi, Yu.N. Tynyanova, B.V. Tomashevsky, G.A. Gukovsky, V. Zhirmunsky, N.V. Izmailova, Yu.V. Mann, G.P. Makogonenko, N.K. Piksanova, JI.B. Pumpyansky, MA. Tsiavlovsky, I.L. Feinberg, N. Ya. Eidelman, B.JI. Komarovich, Yu.M. Lotman, Z.G. Mints, E.A. Maymina, V.M. Markovich, B.C. Nepomnyashchy, S.A. Kibalnik - the problem of typology and specificity of refraction of the Pushkin tradition is posed. Works on the work of the Symbolists - K.M. Azadovsky, A.S. Ginzburg, V.E. Vatsuro, P. Gromova, L.K. Dolgopolova, D.E. Maksimova, L.A. Kolobaeva, A.D. Ospovata and R.D. Timenchik, N.A. Bogomolov, K.A. Medvedeva, S.A. Nebolsina, V.V. Musatov, E. Polotskaya, N.N. Skatova, V.D. Skvoznikova, Yu.B. Boreva, O.A. Klinga, I. Paperno - contain the most valuable observations about the symbolist perception of Pushkin's tradition. Along with this, the phenomenon of the Pushkin tradition was highlighted in the works of representatives of Russian religious philosophy and clergy - V.V. Rozanova, S.L. Frank, S. Bulgakov, I.A. Ilyina and others.
The need for a new understanding of the Pushkin tradition was realized by the Symbolists primarily in terms of their future literary development, as well as in the context of studying the work of their literary predecessors - F.I. Tyutchev, N.V. Gogol, F.M. Dostoevsky, I.S. Turgenev, following the Pushkin tradition.
The symbolists were close to Dostoevsky's idea that Pushkin, with his "universal responsiveness", embodied the essence of the Russian soul, significantly expanded the boundaries of artistic knowledge. The process of comprehending the Pushkin tradition at the turn of the 19th-20th centuries has become an integral part of spiritual life, the leading artistic, research, even life principle of Russian literature. The Symbolists developed the cult of Pushkin as a kind of forerunner of the Symbolists. Striving to create a new synthetic culture, the Symbolists in Pushkin's work saw a new way of understanding the world, a richest source of eternal plots and images, a quintessence of Russian and European culture.
The appeal to Pushkin was inspired by the philosophical, aesthetic and myth-making aspirations of the Symbolists, who perceived Pushkin's work as a kind of aesthetic standard. On the other hand, in the literature of symbolism, its own version of the “Petersburg myth” 1 was formed, the basis for which was the “Petersburg myth” of the 19th century writers, at the origins of which was Pushkin's “Bronze Horseman”. This poem in a symbolist reading, as it were, contained a philosophical attitude towards solving the most important questions of Russian history, culture, and national identity. That is why the Symbolists often referred to this work in their “Petersburg texts”.
The myth was understood by the Symbolists as the most vivid expression of the essence of the creative principles of the world and culture. The mythologization of culture, the revival of the mythological type of thinking leads to the emergence of "texts-myths", where the myth plays the role of a deciphering code, and images and symbols are the essence of the mythologeme - "folded metonymic signs of integral plots" 2.
The object of our research is the phenomenon of the Pushkin tradition (in this case, we restrict ourselves to one - the final - work - the poem "The Bronze Horseman"), refracted in the "Petersburg" prose of the Symbolists, including their literary-critical essays, touching upon the personality and work of Pushkin.
The subject of our research is limited to the "Petersburg" novels of DS Merezhkovsky "Antichrist. Peter and Alexey ”and A. Bely“ Petersburg ”, as well as literary-critical articles by V. Brusov (and first of all, the article“ The Bronze Horseman ”), D. Merezhkovsky (including the article“ Pushkin ”, treatise“ L. Tolstoy and Dostoevsky "), Andrei Bely (first of all his work" Rhythm as a dialectic and "The Bronze Horseman", "Symbolism as a world view").
Note that the concept of "prose" among the Symbolists extended not only to works of art, but also to literary - critical articles, even - to historical research. Our use of the term "prose" in the dissertation
1 See works: MintsZ.G. On some "neo-mythological" texts in the works of Russian Symbolists // Uchen, notes of the University of Tartu. Issue 459. Tartu 1979, p. 95; Toporov V.N. Myth. Ritual. Symbol. Image: Research in the field of mythopoetic.-M .: Progress-Culture, 1995. S. 368-400; Dolgopolov JI.K. The myth of St. Petersburg and its transformation at the beginning of the century // Dolgopolov J1.K. At the turn of the century. On Russian literature of the late 19th early 20th century. - JL: Sov. writer, 1977.S. 158-204; Titarenko S.D. -Kemerovo, 1996.S. 6; Chepkasov A.V. Neomythologism in the works of D.S. Merezhkovsky in the 1890-1910s // Abstract of the thesis. -Tomsk, 1999; Ilyev S.P. The evolution of the myth about Petersburg in the novels of Merezhkovsky ("Peter and Alexei") and Andrei Bely ("Petersburg") // DS Merezhkovsky. Thought and word. -M .: Heritage, 1999.S. 56-72; Prikhodko I.S. Merezhkovsky's "Eternal Companions" (On the Problem of the Mythologization of Culture). // D.S. Merezhkovsky. Thought and word. S198. corresponds to symbolist word use in the sense of artistic and literary-critical texts.
The choice of these prose works of the Symbolists is dictated by the fact that in them Pushkin's tradition is accommodated in the poem "The Bronze Horseman". And this is not at all accidental. First, the Symbolists themselves singled out "The Bronze Horseman" as the most significant, relevant work for their time. "The Bronze Horseman" - we are all in the vibrations of his copper "- such is the written statement of Blok. This means that in the "air of time" at the turn of the epochs, all of Pushkin's problems and artistic solutions embodied in this poem acquired increased urgency for the Symbolists. Secondly, the principles of Pushkin's historicism in The Bronze Horseman turned out to be so concentrated and philosophically significant that the Symbolists most of all in their interpretations of personality, elements, the historical path of Russia, the theme of St. Petersburg, etc., inevitably "rested" on the problem of historicism - how when comprehending the past, and when comprehending the present. Therefore, the poem "The Bronze Horseman" received such a wide resonance in the art and criticism of the Symbolists. However, the problem of understanding and holistic interpretation of Pushkin's "Bronze Horseman" in symbolist prose remains, in our opinion, not fully studied.
Hence, the purpose of the work is to reveal the patterns of the Symbolist perception of Pushkin's work and the receptive transformation of Pushkin's historical, philosophical and artistic tradition (the poem "The Bronze Horseman") in the articles of the Symbolists about Pushkin and the "Petersburg" novels of Merezhkovsky and Andrei Bely. This goal assumes the solution of the following tasks:
1) Analyze the literary-critical "Pushkinian" of Bryusov, Merezhkovsky, Bely and others in order to identify the role of Pushkin in the philosophical and aesthetic self-determination of the Symbolists.
2) Analyze Merezhkovsky's novel Antichrist. Peter and Alexey ", revealing at the same time the religious and philosophical attitudes and aesthetic and poetic principles of the Symbolist writer in comparison with Pushkin's poem" The Bronze Horseman ".
2 Mints Z.G. On some "neo-mythological" texts in the works of Russian Symbolists // Uch. app.
3) To isolate the reminiscent layer from The Bronze Horseman in Andrei Bely's novel Petersburg and the methods of receptive refraction of Pushkin's historicism in the poetics of the novel.
The methodological basis of the dissertation is literary studies devoted to the problems of the historical and cultural tradition, and in particular, Pushkin's (the works of L.K. Dolgopolov, Yu.M. Lotman, L.A. Kolobaeva, L.V. Pumpyanskiy, S.A. Nebolsin , V.V. Musatova). The above-mentioned monograph by K.A. Medvedeva (Vladivostok, 1989) has become an important methodological reference point for us in the analysis of the reminiscent layer of the Bronze Horseman.
The Pushkin tradition, in our understanding, revealed in itself, first of all, a unique connection, interdependence of the historical and spiritual experience of the people and - the understanding of it by the artist as a representative of the culture of his time (also the “turn of eras”: late 18th - early 19th centuries). In this regard, we see the main driving force behind the development of Pushkin's creativity in its realistic tendency and the associated historicism of Pushkin. And at the next "turn of the eras" of the late 19th - early 20th centuries, the symbolists' comprehension of the Pushkin tradition in its essence was extremely complicated both by the circumstances of the time (the deepening of the gap between the "people and the intelligentsia"), and by the contradictory aesthetic, social positions of the Symbolists, their eschatological aspirations, expectations and a presentiment of universal catastrophes.
Note that Bryusov, Merezhkovsky, Andrei Bely turned to topics and problems that were relevant for their time, raised by Pushkin. But the most difficult thing for them turned out to be the comprehension of that "enduringly valuable" that was the essence of the Pushkin tradition, as we understand it, that is, comprehension of the unique connection between the experience of history, the spiritual life of the people and the experience of culture as a phenomenon of "enlightenment", the consciousness of an "enlightened mind". a cultural figure at the turn of the 18th-19th centuries.
Depending on the formulation of the problem, we turned to the historical-cultural, comparative-historical and comparative-typological research methods.
University of Tartu. Issue 459 .-- Tartu, 1979.S. 95.
The scientific novelty of the work is determined by the outlined problems and research methodology. The proposed perspective of the topic reveals the "through" historical and philosophical tradition from Pushkin's "golden" - to the modernist "silver" age. The dissertation systematically analyzes the attitude of the Symbolists to the Pushkin tradition declared in The Bronze Horseman. This made it possible to illuminate in a new way the refraction of the category of Pushkin's historicism, his ideas about the relationship between the individual and the state, the role of the individual in history; to reveal the specifics of the implementation of Pushkin's artistic experience in the aesthetic consciousness of the Symbolists and in the poetics of the "Silver Age".
The scientific and practical significance of the work is determined by the topic. that it covers a wide layer of insufficiently studied problems of literary-historical perception and typological proximity of thematically similar literary texts. The analysis methodology for identifying reminiscent motives in specific texts can be used in writing generalizing works devoted to the phenomenon of the literary tradition.
The results of the research can be used in reading general and special courses on the history of Russian literature, compiling textbooks on the work of Pushkin, poets of the "Silver" age for students of philology, language teachers.
The main provisions of the dissertation were approved in reports and speeches at 10 international, interuniversity and regional conferences from 1997 to 2001. in Vladivostok (FENU), Komsomolsk-on-Amur (KGPI), Ussuriysk (UGPI), Neryungri (YSU), in the special course "Russian Symbolism" read for students of philology at FENU.
Work structure. The thesis consists of an introduction, three chapters, the material in which is distributed in accordance with the tasks, conclusions and a list of references.
Conclusion of scientific work dissertation on the topic "Pushkin tradition (poem" The Bronze Horseman ") in the works of Russian Symbolists: V. Bryusov, D. Merezhkovsky, A. Bely"
Conclusion
Let's summarize the research results. The Pushkin tradition played a huge role in the “symbolist” space of the “Silver Age”, fulfilling the function of an aesthetic prism that refracted all the key problems of existential-historical life at the “turn of the century”. The phenomenon of the Pushkin tradition is one of the most important constants that ensure the unity of the philosophical, historical and artistic "picture of the world" of the Symbolists. For the latter, the appeal to The Bronze Horseman was motivated by Pushkin's formulation of the problem of historicism. At the same time, this problem became a kind of "stumbling block" in the symbolist projections of tragic situations embodied in Pushkin's poem on the living specifics of Russian history (DS Merezhkovsky's novel) and modernity (Andrei Bely's novel). From this conjunction of life and art, a new artistic and historical vision of the "world order" was born. At the same time, the conflict collisions of Pushkin's "Bronze Horseman" played the role of some "archetypal keys" to the symbolist comprehension of history and modernity. The range of interpretations of Pushkin's historicism, expressed in his poem, was determined by how a particular artist interpreted the issue of personal freedom (the highest value in the symbolist ethical and aesthetic system) and historical necessity (presupposing an autocratic-state organization of the nation's life). The axiological relevance of the problem of historicism was determined by the eschatological character of the epoch.
The tragic insolubility of the conflict between the individual and the state, free will and historical conditionality at the beginning of the 20th century led to the symbolist appeal to Pushkin's poem both at the level of its philosophical and publicistic comprehension, and at the level of receptive inclusion of ideas, images, plot and compositional elements of The Bronze Horseman into the motive structure of their novels. At the same time, both Merezhkovsky and Bely retained the antinomy and ambivalence of the philosophical and ethical conflict specified in the primary source, embodied in the poetics of antitheses, figurative oxymorons, duplicity, semantic inversions, etc. All this
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BRONZE HORSEMAN
THE IDEA OF THE STORY
The first thing that strikes in "The Bronze Horseman" is the discrepancy between the plot of the story and its content.
The story tells about a poor, insignificant Petersburg official, some Yevgeny, stupid, unoriginal, no different from his brothers, who was in love with some Parasha, the daughter of a widow who lives by the seaside. The flood of 1824 demolished their home; the widow and Parasha were killed. Eugene could not bear this misfortune and went mad. One night, passing by the monument to Peter I, Yevgeny, in his madness, whispered several evil words to him, seeing in him the culprit of his misfortunes. Eugene's frustrated imagination imagined that the bronze horseman was angry with him for this and chased him on his bronze horse. A few months after that, the madman died.
But with this simple story of love and grief of a poor official, details and whole episodes are associated, it would seem that they do not correspond to it at all. First of all, it is preceded by an extensive "Introduction", which recalls Peter the Great's founding of St. Petersburg and gives, in a number of paintings, the entire look of this "creation of Peter". Then, in the story itself, the idol of Peter the Great turns out to be, as it were, the second character. The poet speaks very reluctantly and sparingly about Eugene and Parasha, but a lot and with enthusiasm - about Peter and his feat. The persecution of Eugene by the bronze horseman is depicted not so much as the delirium of a madman, but as a real fact, and thus an element of the supernatural is introduced into the story. Finally, certain scenes of the story are told in a tone of uplifting and solemnity, making it clear that it is about something extremely important.
All this made criticism, from its first steps, to look for a second, inner meaning in The Bronze Horseman, to see incarnations in the images of Eugene and Peter, symbols of two principles. Many varied interpretations of the story have been proposed, but all of them, it seems to us, can be reduced to three types.
Some, including Belinsky, saw the meaning of the story in comparing the collective will and will of the individual, the individual and the inevitable course of history. For them, the representative of the collective will was Peter, the embodiment of a personal, individual beginning - Eugene. “In this poem,” wrote Belinsky, “we see the woeful fate of a person who suffers, as it were, as a result of the choice of a place for a new capital, where so many people have died ... the suffering of this particular ... When we look at the giant, proudly and unshakably ascending amid universal destruction and destruction and, as it were, symbolically realizing the invincibility of his creation, although not without a shuddering heart, we confess that this bronze giant could not save the fate of individuals , ensuring the fate of the people and the state, that there is a historical necessity for him and that his view of us is already his justification ... This poem is the apotheosis of Peter the Great, the most courageous one that could only come to the mind of a poet who is quite worthy to be a singer of a great reformer " ... From this point of view, of the two conflicting forces, the representative of "historical necessity," Peter.
Others, whose thought was most clearly expressed by D. Merezhkovsky, saw in the two heroes of The Bronze Horseman the representatives of two primordial forces fighting in European civilization: paganism and Christianity, the renunciation of one's self in God and the deification of one's self in heroism. For them, Peter was the spokesman for the personal principle, heroism, and Eugene was the spokesman for the impersonal, collective will. “Here (in“ The Bronze Horseman ”), - Merezhkovsky writes, - the eternal opposition of two heroes, two principles: - Tazit and Galub, old Gypsy and Aleko, Tatyana and Onegin ... On the one hand, the small happiness of a small, unknown Kolomna official , reminiscent of the humble heroes of Dostoevsky and Gogol, on the other - the superhuman vision of the hero ... What does a giant care about the death of the unknown? Is it not for this that countless, equal, superfluous are born, so that their great chosen ones go through their bones to their goals? .. But what if in the weak heart of the most insignificant of the insignificant, "trembling creature" that came out of the dust, in his simple love an abyss opens, no less than that from which the hero's will was born? What if the worm of the earth rebelled against his god? The judgment of the small over the great is pronounced: "Good, miraculous builder! .. Alright for you!" n e will be drowned out by the thunderous rumbling, heavy footfall of the Bronze Horseman. " From his point of view, Merezhkovsky justifies Eugene, justifies the revolt of the "small", "insignificant", the revolt of Christianity against the ideals of paganism.
Still others, finally, saw in Peter the embodiment of autocracy, and in Eugene's "evil" whisper - a rebellion against despotism.
A new justification for this understanding of the Bronze Horseman was recently given by prof. I. Tretiak / * Józef Tretiak. Mickiewicz i Puszkin. Warszawa. 1906. We have used the presentation of Mr. S. Brailovsky. ("Pushkin and His Contemporaries", issue VII.) (Note. V. Ya. Bryusov.) * /, which showed the dependence of Pushkin's story on Mickiewicz's satire "Ustçp". Mickiewicz's satire appeared in 1832 and then became known to Pushkin. In the papers of Pushkin, there were lists of several poems from these satire made by him with his own hand / * Moscow Rumyantsev Museum. Notebook N2373. (Note. V. Ya. Bryusov). * /... A whole series of poems of The Bronze Horseman turns out to be either a dissemination of Mickiewicz's poems, or, as it were, a response to them. Mickiewicz depicted the northern capital in too gloomy colors; Pushkin responded with an apology for Petersburg. Comparing "The Bronze Horseman" with Mickiewicz's satire "Oleszkiewicz", we see that he has a common theme with it - the flood of 1824, and the general idea: that weak and innocent subjects are punished for the misdeeds of rulers. If we compare "The Bronze Horseman" with Mitskevich's poems "Pomnik Piotra Wielkiego", we will find an even more important similarity: Mitskevich's "poet of the Russian people, glorious in songs for the whole midnight" (that is, Pushkin himself), brands the monument with the name "cascade of tyranny "; in "The Bronze Horseman" the hero of the story curses the same monument. In the notes to The Bronze Horseman, the name of Mickiewicz and his satire is twice mentioned, and Oleszkiewicz is named one of his best poems. On the other hand, Mickiewicz, in his satire, definitely alludes to Pushkin several times, as if challenging him to answer.
Prof. Tretyak believes that in Mickiewicz's satire, Pushkin heard the accusation of betrayal of those "freedom-loving" ideals of youth that he once shared with the Polish poet. Mickiewicz's reproach in his poems "Do przyjaciól Moskali", addressed to those who "with a bribed tongue glorify the triumph of the tsar and rejoice in the torments of their friends," Pushkin should have referred to himself. Pushkin could not keep silent to such a reproach and did not want to answer the great enemy in the tone of official-patriotic poems. In a truly artistic creation, in stately images, he expressed everything that he thought about the Russian autocracy and its significance. This is how the Bronze Horseman was born.
What does this answer from Pushkin say to Mitskevich? Prof. Tretyak believes that both in Mitskevich's poems "Pomnik Piotra Wielkiego" and in Pushkin's "Petersburg story" - European individualism comes into conflict with the Asian idea of the state in Russia. Mickiewicz predicts the victory of individualism, and Pushkin predicts his complete defeat. And Pushkin's answer to prof. Tretiak tries to retell it in these words: "True, I was and remain the herald of freedom, the enemy of tyranny, but would I be crazy, speaking out in an open struggle with the latter? Wanting to live in Russia, it is necessary to submit to the almighty idea of the state, otherwise it will be me chase like mad Eugene. " These are the three types of Bronze Horseman interpretations. It seems to us that the last of them, which sees in Peter the embodiment of autocracy, should be the closest thing to Pushkin's original plan. It was not typical for Pushkin to personify in his creations such abstract ideas as "paganism" and "Christianity" or "historical necessity" and "the fate of individuals." But living the last years
In motley and barren anxiety
Great light and courtyard,
He could not help pondering the significance of autocracy for Russia. His diligent studies of Russian history, and especially the history of Peter the Great, should have led him to the same thoughts. The arguments of prof. Tretyak on the connection between The Bronze Horseman and Mitskevich's satire. However, in addition to these satyrs, Pushkin could not help but know that his rapprochement with the court by many, and even by some of his friends, is interpreted as a betrayal of the ideals of his youth. Back in 1828, Pushkin found it necessary to answer such reproaches with stanzas:
No, I'm not a flatterer when the king
I compose free praise ...
In addition, the understanding of Peter in The Bronze Horseman, as an embodiment, as a symbol of autocracy, to some extent includes other interpretations of the story. The Russian autocracy arose out of "historical necessity." The entire course of the development of Russian history inevitably led to the autocracy of the Moscow tsars. At the same time, autocracy has always been the deification of the individual. Lomonosov openly compared Peter the Great with God. Alexander I was called God by his contemporaries. The revolt of the individual against the autocracy involuntarily becomes a revolt against "historical necessity" and against the "deification of the individual."
But, joining the main views of prof. Tretiak, we resolutely do not accept his conclusions. Seeing together with him in The Bronze Horseman Pushkin's answer to Mitskevich's reproaches, we understand this answer differently. We believe that Pushkin himself put in his creation absolutely the wrong meaning, which they want to read in it.
If you look closely at the characteristics of the two heroes of The Bronze Horseman, it becomes clear that Pushkin tried by all means to make one of them - Peter - as "great" as possible, and the other - Eugene - as "small", "insignificant" as possible. "The Great Peter", according to the poet's plan, was to become the personification of the power of autocracy in its extreme manifestation; "Poor Eugene" is the embodiment of the extreme impotence of an isolated, insignificant person.
Peter the Great was one of Pushkin's favorite heroes. Pushkin carefully studied Peter, thought a lot about him, dedicated enthusiastic stanzas to him, introduced him as a character in whole epics, at the end of his life began to work on the extensive History of Peter the Great. In all these investigations, Peter seemed to Pushkin as an exceptional being, as if exceeding human dimensions. "The genius of Peter broke out beyond the limits of his century," wrote Pushkin in his "Historical Notes" of 1822. In the "Feast of Peter the Great" Peter is called "the miracle worker-giant". In "Stances" his soul is given the epithet "all-embracing". In the fields of Poltava Peter -
Mighty and joyous as a fight.
...............................
........ His face is terrible ...
He's all like a storm of God.
In "My Genealogy" he is endowed with almost supernatural power,
By whom our earth moved,
Who gave the mighty run
The stern of the native ship.
However, Pushkin always saw in Peter and an extreme manifestation of autocracy, bordering on despotism. "Peter I despised humanity, perhaps more than Napoleon ", wrote Pushkin in his" Historical Notes. "It was immediately added that under Peter the Great in Russia there was" universal slavery and silent obedience. "" Peter the Great is both Robespierre and Napoleon, embodied the revolution", wrote Pushkin in 1831. In Materials for the History of Peter the Great, Pushkin calls Peter's decrees at every step either "cruel", now "barbaric", now "tyrannical." In the same "Materials" we read: "The Senate and Synod present him with the title: Father of the Fatherland, All-Russian Emperor and Peter the Great. Peter did not stand on ceremony for long and accepted them. " In general, in these "Materials" Pushkin, while briefly mentioning those institutions of Peter that are "the fruits of a vast mind, full of goodwill and wisdom," "injustice and cruelty", about the "arbitrariness of the autocrat".
In "The Bronze Horseman" the same features of power and autocracy in the image of Peter are brought to the utmost limits.
The story opens with the image of the ruler, who, in the harsh desert, conceives his struggle with the elements and with people. He wants to turn a deserted land into "the beauty and wonder of full countries", from the swamps of swamps to erect a magnificent capital and at the same time for his semi-Asian people "to cut a window to Europe." In the first verses there is not even the name of Peter, it is simply said:
On the shore of desert waves
Stood He, doom great poly.
/ * In the original version of the "Introduction" we read:
On the banks of the Varangian waves
I stood thinking deeply
Great Peter. Wide before him ... etc.
(Note. V. Ya. Bryusov.) * /
Peter does not utter a word, he only thinks of his thoughts - and now, as if by a miracle, there arises
Full-night countries beauty and wonder,
From the darkness of the woods, from the swamp of cronyism.
Pushkin enhances the impression of the miraculous, making a number of parallels of what was and what has become:
Where is the Finnish angler before,
Nature's sad stepson
One off the low shores
Thrown into unknown waters
Its dilapidated seine, now there,
On busy shores
The slender masses are crowding
Palaces and towers; ships
A crowd from all over the earth
They strive for rich marinas.
The Neva was dressed in granite;
Bridges hung over the waters;
Dark green gardens
The islands were covered with it.
In one rough draft of these verses, after the words about "the Finnish fisherman", Pushkin has an even more characteristic exclamation:
Spirit Petrov
Resistance of nature!
/ * All quotations, both this one and the previous and subsequent ones, are based on the independent study by the author of this article of Pushkin's manuscripts. (Note. V. Ya. Bryusov.)*/
With these words it is necessary to draw closer the place in the story "The Arap of Peter the Great", which describes Petersburg in the time of Peter. "Ibrahim," says Pushkin, "looked with curiosity at the newborn capital, which was rising from the swamps by the mania of autocracy. Naked dams, canals without an embankment, wooden bridges everywhere showed the victory of human will over the resistance of the elements. " Obviously, in the verses of The Bronze Horseman, Pushkin initially wanted to repeat the idea of victory over the "resistance of the elements" - the human, sovereign will.
"Entry" after the painting of contemporary Pushkin Petersburg, directly named "creation Peter ", ends with a solemn appeal to the elements - to come to terms with your defeat and with his captivity.
Unwavering as Russia!
Let it be reconciled with you
AND defeated element:
Enmity and captivity your old
Let the Finnish waves forget ...
But Pushkin felt that the historical Peter, no matter how exaggerated his charm, would still remain only a man. At times, from under the appearance of a demigod, the appearance of simply "a tall man, in a green caftan, with a clay pipe in his mouth, who, leaning on the table, reads the Hamburg newspapers" ("Arap of Peter the Great"), will inevitably appear. And so, in order to make his hero a pure embodiment of autocratic power, in order to distinguish him from all people in the external, Pushkin transfers the action of his story a hundred years ahead ("A hundred years have passed ...") and replaces Peter himself with his statue, his perfect way. The hero of the story is not the same Peter who intended to "threaten the Swede" and invite "all the flags" to visit him, but "The Bronze Horseman", "the proud idol" and above all the "idol". It is precisely "idol", that is, something deified, that Pushkin himself most willingly calls the monument to Peter. / * The expression "giant" does not belong to Pushkin; this is Zhukovsky's amendment. (Note. V. Ya. Bryusov.) * /
In all the scenes of the story, where the Bronze Horseman appears, he is depicted as a higher being, who knows nothing equal to himself. On his bronze horse, he always stands "on high"; he alone remains calm in the hour of universal calamity, when all around "everything is empty," "everything ran," everything is "in awe." When this Bronze Horseman gallops, a "heavy stomp" is heard, similar to "thunder rumbling", and the whole pavement is shaken by this galloping, for which the poet has long chosen a suitable definition - "heavy-dimensional", "far-ringing", "heavy-ringing". Talking about this idol, towering over a fenced rock, Pushkin, always so restrained, does not stop at the most daring epithets: this is both "the lord of Fate" and "the sovereign of the half-world", and (in rough sketches) "a terrible tsar", "a powerful king "," husband of Fate "," lord of half the world. "
This deification of Peter reaches its highest power in those verses where Pushkin, having forgotten his Eugene for a while, ponders the meaning of the feat accomplished by Peter:
Oh, powerful lord of Destiny!
At the height of an iron bridle
Has he reared Russia?
The image of Peter is exaggerated here to the utmost limits. This is not only the conqueror of the elements, it is truly the "lord of Fate". With his "fatal will" he directs the life of an entire people. He holds Russia with an iron bridle at the edge of the abyss, into which she was already ready to collapse / * We understand this place as follows: Russia, rapidly rushing forward along the wrong path, was ready to collapse into the abyss. Her "rider", Peter, just in time, above the abyss itself, raised her on her hind legs and thus saved her. Thus, in these verses we see the justification of Peter and his work. Another understanding of these verses, which interprets Pushkin's thought as a reproach to Peter, who raised Russia on its hind legs so much that she only had to “drop her hooves” in the abyss, seems arbitrary to us. Note by the way that in all authentic manuscripts read "raised on their hind legs "and not "pulled up on hind legs "(as it has been printed and printed up to now in all editions). (Note. V. Ya. Bryusov.)* /. And the poet himself, engulfed in horror in front of this superhuman power, he does not know how to answer himself who it is in front of him.
He is terrible in the surrounding darkness!
What a thought on your forehead!
What power is hidden in him!
.......................................
Where are you galloping, proud horse,
And where will you drop your hooves?
Such is the first hero of the "Petersburg tale": Peter, the Bronze Horseman, a demigod. - Pushkin made sure that the second hero, "my poor, my poor Eugene", was the true opposite of him.
In the original draft of The Bronze Horseman, a lot of space was devoted to the characterization of the second hero. As you know, the passage, later separated into a special whole under the title "Genealogy of my hero", was at first part of the "Petersburg story", and none other than "my Yezersky" later turned into "poor Eugene". Namely, having told how
from the guests home
Young Eugene came,
Pushkin continued at first:
So let's be our hero
We call, then that my tongue
I'm used to the sound.
Let's start ab ovo: my Eugene
Descended from generations
Whose daring sail among the seas
Was the horror of days gone by.
However, later Pushkin found it inappropriate to talk about the ancestors of the hero, who, according to the story's plan, should be the most insignificant of the insignificant, and not only singled out all the stanzas dedicated to his genealogy into a separate work, but even deprived him of his "nickname", that is, his surname (in various sketches the hero of the "Petersburg story" is named either "Ivan Yezersky", then "Zorin young", then "Rulin young"). The long lineage has been replaced by a few words:
We don't need his nickname,
Although in times gone by
It may have shone ...
Not content with that, Pushkin tried to completely depersonalize his hero. In the early editions of the story, Eugene is still a rather lively person. Pushkin speaks definitely and in detail about his everyday situation, and about his spiritual life, and about his appearance. Here are some of these sketches:
He was not a rich official,
The face is slightly speckled.He was intricate, not rich,
Blond ...He was a very poor official,
Rootless, round orphan.The official is poor
Brooding, thin and pale.
He dressed carelessly
Always buttoned up crooked
His green, narrow tailcoat.
Like everyone else, I thought a lot about money,
And Zhukovsky smoked tobacco,
Like everyone else, he wore a uniform coat.
From all this, in the final processing, only information remained that "our hero" - "serves somewhere" and that "he was poor."
It is also characteristic that the original hero of the story seemed to Pushkin a person much more significant than the later Eugene. At one time, Pushkin even thought to make him, if not a poet, then a person who was somehow interested in literature. In the rough sketches we read:
My official
Was writer and lover,
Like everyone else, he did not behave strictly,
Like us, wrote poems a lot of.
Instead, in the final version, Pushkin makes Eugene dream:
What could God add to him
Mind and money ...
Where else can a man think about writing, who himself admits that he lacks intelligence!
In the same way, the original hero and on the social ladder stood much higher than Eugene. At first, Pushkin called him his neighbor and even talked about his "luxurious" office.
In your luxurious office
At that time, Rulin was young
He sat pensively ...My neighbor came home
I entered my peaceful office.
/ * Regarding the passage given by many publications as a variant of the Bronze Horseman's verses:
Then, across the stone platform
Sand-strewn canopy.
Having run up the steps, let us slope
Its wide staircase ... etc. -
That the connection of these verses with the "Petersburg story" seems to us weight. "I doubt it. (Note 8. Ya. Bryusov.)*/
All these features gradually changed. The "peaceful" cabinet was replaced by a "modest" cabinet; then instead of the word "my neighbor" a descriptive expression appeared: "in the house where I stood"; finally, Pushkin began to define the dwelling of his hero as "canurka of the fifth dwelling," "attic," "closet," or in the words: "He lives under the roof." In one draft, a characteristic amendment in this respect was preserved: Pushkin crossed out the words "my neighbor" and wrote instead "my eccentric", and the following verse:
I entered my peaceful office. -
Changed like this:
He went in and unlocked his attic.
Pushkin extended his severity to the point that he deprived of all individual traits this very "attic" or "closet". In one of the early editions we read:
Sighing, he examined the closet,
Bed, dusty suitcase.
And a table covered with papers
And the cupboard, with all its goodness;
I found everything in order: then,
Sated with the smoke of his cigar,
I undressed myself and went to bed
Under a well-deserved overcoat.
Only a dull mention of all this information has survived in the final edition:
Lives in Kolomna ... -
Yes, two dry verses:
So, I came home, Eugene
He shook off his overcoat, undressed, lay down.
Even in the whitewashed manuscript submitted to the sovereign for censorship, there was still a detailed description of Eugene's dreams, which introduced the reader into his inner world and into his personal life:
Marry? Well? Why not?
And really? I will arrange
Himself a humble corner,
And I will calm Parasha in it.
A bed, two chairs, a pot of cabbage.
Yes, he is big ... why should I care?
Sundays in the summer in the field
I will walk with Parasha:
I will ask for a place; Parashe
I will entrust our farm
And the upbringing of children ...
And we will live, and so on until the grave
Hand and hand we both reach,
And the grandchildren will bury us.
After viewing the manuscript by the tsar and prohibiting it, Pushkin threw out this place too, inexorably taking away from his Eugene all personal characteristics, all individual traits, as he had previously taken away his "nickname".
Such is the second hero of the "Petersburg story" - an insignificant Kolomna official, "poor Eugene", "a citizen of the capital",
What kind of darkness do you meet
Not at all different from them
Not in the face, not in the mind.
/ * In this edition, these verses are included in one of the Bronze Horseman manuscripts. (Note. V. Ya. Bryusov.) * /
At the beginning of "Entry" Pushkin did not find it necessary to name his first hero by name, since it is enough to say "He" about him to make it clear who he is talking about. Having put into action his second hero, Pushkin also did not name him, finding that "we do not need his nicknames." From everything that is said in the story about Peter the Great, it is impossible to form a definite shape: everything is blurred into something huge, immeasurable, "terrible." “Poor” Yevgeny has no appearance either, who is lost in the gray, indifferent mass of “citizens of the capital” like him. The methods of depicting both of them - the conqueror of the elements and the Kolomna official - are getting closer to each other, 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 the autocracy, triumphing over the elements, and ends with a hymn to it:
Flaunt, city of Petrov, and stay
Unwavering as Russia!
Two parts of the story depict two rebellions against autocracy: the rebellion of the elements and the rebellion of man.
The Neva, once enslaved, "taken prisoner" by Peter, has not forgotten its "ancient enmity" and with "vain malice" rises against the enslaver. The "defeated element" is trying to crush its granite shackles and is attacking the "slender bulk of palaces and towers" that arose due to the mania of the autocratic Peter.
Describing the flood, Pushkin compares it either with military operations or with an attack by robbers:
Siege! attack! Evil waves
Like thieves climb through the windows ...So villain
With a fierce gang his,
Having burst into the village, catches, cuts,
Crushes and robs; screams, grinding,
Violence, abuse, alarm, howl! ..
For a moment it seems that the "defeated element" is triumphant, that Fate itself is behind it:
See god's wrath and awaits execution.
Alas! everything perishes ...
Even the "late king", the successor of this conqueror of the elements, is confused and ready to admit himself defeated:
Sad, confused, he came out
And he said: "With by the element of God
The kings cannot cope "...
However, in the midst of the general confusion, there is One who remains calm and unshakable. This is the Bronze Horseman, the ruler of the half-world, the miraculous builder of this city. Eugene, riding a marble lion. gazes "desperate gazes" into the distance where, "like mountains", "from the indignant depths", terrible waves rise. -
And turned his back to him,
In the unshakable height
Over the indignant Neva,
Stands with outstretched hand
An idol on a bronze horse.
In the initial sketch of this place, Pushkin had:
And right in front of him from the waters
Arose as a copper head
Idol on a bronze horse,
Neve rebellious/ * Option: "insane". (Note. V. Ya. Bryusov.) * / in silence
Shaking with a motionless hand ...
But Pushkin changed these verses. The Bronze Horseman despises the "vain malice" of the Finnish waves. He does not condescend to threaten the "rebellious Neva" with his outstretched hand.
This is the first clash between poor Eugene and the Bronze Horseman. The chance made it so that they were left alone, two on a deserted square, above the water that "conquered everything around" - one on a bronze horse. the other on the stone beast. The Bronze Horseman contemptuously "turns his back" to an insignificant man, to one of his countless subjects, not. sees, does not notice him. Eugene, although his desperate gaze is fixed motionlessly "to the edge one", cannot help but see the idol emerging from the waters "right in front of him."
The Bronze Horseman turns out to be right in his contempt for the "vain malice" of the elements. It was just a "brazen rampage", a robbery attack.
Satisfied with destruction
AND insolent riot tired
The Neva was dragged back
His admiring indignation
And leaving carelessly
Your prey ...
(So) weighed down by robbery,
Afraid of being chased, weary
Hurry robbers home,
Dropping prey along the way.
Just a day later, the traces of the recent rebellion had already disappeared:
From the tired, pale clouds
Flashed over the quiet capital,
And I have not found any traces
Yesterday's troubles ...
Everything went into the previous order.
But the rebellion of the elements causes another rebellion: the human soul. Eugene's confused mind does not tolerate the "terrible shocks" experienced by him - the horrors of the flood 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 thoughts, where "the rebellious noise of the Neva and the winds" is constantly heard. Although Pushkin now calls Eugene "unhappy," he nevertheless makes it clear that madness somehow elevated, ennobled him. In most editions of the story, Pushkin talks about the crazy Eugene -
Was weird internal anxiety.
/ * This is how these verses are read in the white manuscript presented to the sovereign for viewing. (Note. V. Ya. Bryusov.) * /
And in general, in all the poems dedicated to the "crazy" Eugene, there is a special sincerity, starting with the exclamation:
But poor, my poor Eugene!
/ * In the same year as "The Bronze Horseman", the poems "God forbid me to go mad" were written, where Pushkin admits that he himself "would be glad" to part with his reason. (Note. V. Ya. Bryusov.) * /
A year goes by, the same rainy autumn night comes, which was before the flood, the same "rebellious noise of the Neva and the winds" is heard all around, which sounds every hour in Yevgeny's thoughts. Under the influence of this repetition, the madman with special "vividness" recalls everything he experienced and the hour when he remained "on Petrova Square" alone with the formidable idol. This memory brings him to the same square; he sees the stone lion, on which he once sat astride, and the same pillars of a large new house and "above the fenced rock"
An idol on a bronze horse.
"Terrible thoughts cleared up in him," says Pushkin. The word "scary" makes it clear that this "clarification" is not so much a return to sanity as some insight / * "Terribly cleared up" - in final version; in earlier editions: "strange cleared up ", which further enhances the meaning we give to this place. (Note. V. Ya. Bryusov.)* /. Eugene in the "idol" suddenly admits the culprit of his misfortunes,
The one whose fateful will
The city was founded over the sea.
Peter, saving Russia, raising her on its hind legs over the abyss, leading her with his “fatal will”, along his chosen path, founded the city “over the sea”, put towers and palaces in the swamps of swamps. Through this, all happiness, all of Yevgeny's life, perished, and he drags out his unhappy age as a half-man, half-beast. And the "proud idol" still stands, like an idol, in the dark heights. Then a rebellion against the violence of someone else's will over the fate of his life is born in the soul of the madman, "As if possessed by the power of black," he falls to the bars and, gritting his teeth, angrily whispers his threat to the ruler of the half-world:
"Good, miraculous builder! Already you!"
Pushkin does not elaborate on Yevgeny's threats. We still do not know what exactly the madman wants to say to his "Alright for you!" Does this mean that the "small", "insignificant" will be able "already" to avenge their enslavement, humiliation by the "hero"? Or that the voiceless, weak-willed Russia will raise its "uzho" hand against its rulers, who are heavily forcing them to test their fatal will? No answer, / * As you know, "The Bronze Horseman" was published for the first time not in the form written by Pushkin. This gave rise to the legend that Pushkin put into the mouth of Eugene in front of the "proud idol" some particularly harsh monologue that cannot appear in the Russian press. Book. P. P. Vyazemsky in his brochure "Pushkin according to the documents of the Ostafievsky archive" reported as a fact that in reading the story by Pushkin himself he made an amazing impression monologue a distraught official in front of the monument to Peter, which contained about thirty verses in which "hatred of European civilization sounded too energetic." “I remember,” continued Prince PP Vyazemsky, “the impression he made on one of the listeners, AO Rossetti, and it seems to me that he assured me that he would make a copy for the future.” The message of the book. PP Vyazemsky must be admitted to be completely absurd. Nothing has been preserved anywhere in Pushkin's manuscripts, except for the words that are now read in the text of the story. The harshest expression that Pushkin put into the lips of his hero is - "Alright for you!" or "Already for you!", according to the spelling of the original. In addition, "hatred of European civilization" does not at all fit with the entire course of the story and with the main idea of the story. (Note. V. Ya. Bryusov.)* / and by the very vagueness of his expressions, Pushkin seems to say that the exact meaning of the reproach is unimportant. The important thing is that the small and insignificant, the one who recently humbly confessed that "God could have added his wits", whose dreams did not go further than a humble wish: "I will ask for a place", suddenly felt himself equal to the Bronze Horseman, found strength in himself and courage to threaten the "sovereign of half the world."
Characteristic are the expressions with which Pushkin describes the state of Eugene at this moment:
I lay down on the cold grate,
The eyes were covered with fog,
A flame ran through my heart,
Blood boiled ...
The solemnity of tone, the abundance of Slavisms ("chelo", "cold", "flame") show that the "black power" with which Yevgeny is seized makes him treat him differently than before. This is no longer "our hero" who "lives in Kolomna, serves somewhere"; it is the rival of the "formidable tsar", about whom one should speak in the same language as about Peter.
And the "idol" who remained motionless over the indignant Neva, "in the unshakable height", cannot treat the threats of the "poor madman" with the same contempt. The face of the formidable king is kindled with anger; he leaves his granite foot and "with a heavy stomp" chases after poor Eugene. The Bronze Horseman pursues the madman in order to make him reconcile with the horror of his chase, his "heavy-ringing galloping", to forget everything that flashed in his mind at the hour when "terrible thoughts became clear in him."
And all night long, poor madman
Wherever you turned your feet,
Behind him everywhere the Bronze Horseman
He rode with a heavy stomp.
The Bronze Horseman reaches his goal: Eugene humbles himself. The second rebellion was defeated, like the first. As after the rampage of the Neva, "everything went back into order." Eugene again became the most insignificant of the insignificant, and in the spring his corpse, like the corpse of a vagabond, was buried by fishermen on a deserted island, "for God's sake."
In his first youth, Pushkin joined the liberal political movement of his era. He was on friendly terms with many Decembrists. "Outrageous" (in the terminology of that time) poetry was one of the main reasons for his exile to the south. In essence, Pushkin's political ideals have always been moderate. In his most daring poems, he repeated invariably:
Lords, you have a crown and a throne
The law gives, not nature!
In such poems as "Liberty", "Dagger", "Andrey Chenier", Pushkin distributes the most unflattering epithets to "inglorious blows", "criminal ax", "fiend of rebellion" (Marat), "Areopagus frenzied" (revolutionary tribunal of 1794 .). But nevertheless, in that era, under the influence of general fermentation, he was still ready to praise the "last judge of shame and insult, a punishing dagger" and believe that over the "rebellious square"
The day is great, inevitable
Freedom is a bright day ...
However, in the mid-1920s, even before the events of December 14, a certain revolution took place in Pushkin's political views. He became disillusioned with his revolutionary ideals. He began to look at the question of "freedom" not so much from a political as from a philosophical point of view. He gradually came to the conviction that "freedom" could not be achieved by a violent change in the political system, but would be the result of the spiritual education of mankind. / * The evolution of Pushkin's political views, outlined by us, is traced in more detail in the article by Alexander Slonimsky - "Pushkin and the December Movement" (vol. II, p. 503). (Note. V. Ya. Bryusov.) * / These views are the basis of "The Bronze Horseman". Pushkin chose as his hero the most powerful of all autocrats who have ever rebelled on earth. This is a gigantic miracle worker, a demigod who rules over the elements. Spontaneous revolution does not frighten him, he despises it. But when the free spirit of a single person rises up against him, the "sovereign of the half-world" is thrown into confusion. He leaves his "enclosed rock" and all night long pursues the madman, if only to drown out the rebellion of the soul in him with his heavy stomp.
The Bronze Horseman is indeed Pushkin's answer to Mitskevich's reproaches for betraying the "freedom-loving" ideals of his youth. “Yes,” as it were, Pushkin says, “I no longer believe in the struggle against despotism by the forces of spontaneous rebellion; I see all its futility. But I have not betrayed the lofty ideals of freedom. I am still sure that the“ idol with the copper head "no matter how terrible he is in the surrounding darkness, no matter how he is lifted up" in the unshakable height. "Freedom will arise in the depths of the human spirit, and the" fenced rock "must be empty."
Origin and composition of the story
Annenkov suggests that The Bronze Horseman was the second half of a large poem conceived by Pushkin before 1833 and not finished by him. Annenkov sees an excerpt from the first half of this poem in The Pedigree of My Hero. However, we have no reason to accept this assumption.
Neither in Pushkin's papers nor in his letters before 1833 there are any indications of the large poem he conceived, in which "The Bronze Horseman" would be included as a part. Sufficiently compelling arguments allow us to think that Pushkin's satire by Mickiewicz, with whom he could have met not earlier than the end of 1832, pushed Pushkin to work on The Bronze Horseman. /*Cm. previous article. (Note. V. Ya. Bryusov).* / If Pushkin had an idea for a poem that had something in common with The Bronze Horseman before 1833, it was only in the most general outline. So, in one of the sketches of the "Introduction" Pushkin says that the idea of describing the St. Petersburg flood of 1824 came to him under the impression of the first stories about him. Pushkin even hints that he saw in this, as it were, his duty - the duty of the poet to the "sad hearts" of his contemporaries:
It was a terrible time!
I'll start the story about her.
A long time ago when I was for the first time
I heard a sad legend
Sad hearts, for you
Then I made a promise
Verses believe your story.
As for "My Hero's Genealogy", the evidence of the manuscripts leaves no doubt about its origin. This is - part The Bronze Horseman, separated from its composition and processed as a separate whole. In the initial sketches, "The Pedigree of My Hero" was precisely the genealogy of the later "poor Eugene", but Pushkin soon became convinced that these stanzas violate the harmony of the story, and excluded them. Later, he made an independent work of them, giving a pedigree some a hero, not a hero of this or that story, but a "hero" in general. In addition, "The Bronze Horseman" is a creation so complete, its idea is so fully expressed, that it is in no way possible to consider the "Petersburg story" a part of some broader whole.
The Bronze Horseman was written in Boldino, where Pushkin, after a trip to the Urals, spent about a month and a half, from October 1, 1833 to mid-November. Under one of the first sketches of the story there is a label: "October 6"; under the first list of the whole story: "October 30". Thus, the entire creation of the story took less than a month.
It is possible, however, not without probability to assume that the idea of writing "The Bronze Horseman" occurred to Pushkin before his arrival in Boldino. Probably, some sketches have already been made in St. Petersburg - for example, those that were written not in notebooks, but on separate sheets (such is the passage "Above St. Petersburg darkened ..."). We have evidence that on the way to the Urals, Pushkin thought about the flood of 1824. Regarding the strong westerly wind that overtook him on the road, he wrote to his wife (August 21): “What happened to you, Petersburg residents? new floods? what if u this is me skipped? it would be a shame. "
From Boldin, Pushkin wrote to almost no one except his wife. With his wife, he spoke of his poems only as a profitable item and, moreover, in the tone of a joke. Therefore, from Pushkin's letters from Boldin, we learn nothing about the progress of his work on the "Petersburg story." On October II he reported: "I am writing, I am in trouble." October 21: "I work lazily, through a stump of a deck of currency. I started a lot, but I don't want anything; God knows what is happening to me. Staram has become a bad mind." October 30: "I recently signed and already wrote the abyss." November 6: "I will bring you a lot of rhymes, but do not divulge it, otherwise the almanacists will seize me." The very title of "The Bronze Horseman" is not named here, and the general tone of the joke does not allow one to take with confidence the recognition of Pushkin, as if during the work on the story he "had no desire for anything."
Turning to the manuscripts, we see that the story cost Pushkin a tremendous amount of work. Each of its fragments, each of its verses, before putting on its final form, appeared in several - sometimes up to ten - modifications. From the initial rough sketches, where many connecting parts are still lacking, Pushkin, in a special notebook, made the first set of the entire story. This collection, marked "October 30", is the second edition of the story, since much has been changed in it, in comparison with the first sketches. This list is covered with new amendments. giving the third edition. It also came down to us in Pushkin's own handwritten copy, made for the presentation of the story to the sovereign. Finally, already on this white list (and, moreover, after the prohibition of the story by the "highest censorship") Pushkin also made a number of changes, whole passages were thrown out, many expressions and whole verses were replaced by others, etc. Thus, the text now being printed should be considered the fourth edition of the story.
To give an idea of the work that Pushkin spent on The Bronze Horseman, suffice it to say that the beginning of the first part is known to us in six, completely processed, editions. Already one of the first seems to be such a complete creation that it almost makes one regret the severity of the "discerning" artist, who has omitted many features from it:
Over darkened Petersburg
The autumn wind drove the clouds.
Neva, in the course of indignation,
Noisy, rushed. Gloomy shaft,
As if a restless petitioner,
Splashed into a slender granite fence
The wide banks of the Neva.
Among the running clouds
The moon was completely out of sight.
Lights shone in the houses
Ashes flew up in the street
And the violent whirlwind howled dejectedly,
The clubbing hem of the night sirens
And drowning out the sentries.
The plot of The Bronze Horseman belongs to Pushkin, but individual episodes and pictures of the story were created not without outside influence.
The idea of the first poems of "Entry" is borrowed from Batyushkov's article "A Walk to the Academy of Arts" (1814). "My imagination," writes Batyushkov, "introduced me to Peter, who for the first time surveyed the banks of the wild Neva, now so beautiful ... A great thought was born in the mind of a great man. There will be a city," he said, a wonder of the world. arts, all arts. Here arts, arts, civil institutions and laws will conquer nature itself. He said - and St. Petersburg emerged from a wild swamp. " The poems of the "Introduction" repeat some of the expressions of this passage almost literally.
Before describing St. Petersburg, Pushkin himself makes a note: "See the poems of Prince Vyazemsky to Countess Z - oi". In this poem of the book. Vyazemsky ("Conversation on April 7, 1832"), indeed, we find several stanzas reminiscent of Pushkin's description:
I love Petersburg with its slender beauty,
With a gleaming belt of luxurious islands,
With a transparent night - a heartless rival of the day,
And with the fresh greens of his younger gardens ... etc.
In addition, the description of Pushkin was influenced by the influence of Mickiewicz's two satire: "Przedmiescia stolicy" and "Petersburg". Prof. Tretiak / * See. previous article. Here, too, we use Mr. S. Brailovsky's exposition. (Note. V. Ya. Bryusov.) * / proved that Pushkin almost step by step follows the paintings of the Polish poet, responding to his reproaches with an apology for the northern capital. So, for example, Mickiewicz laughs at that. that Petersburg houses are behind iron bars; Pushkin objects:
The pattern of your fences is cast-iron.
Mitskevich condemns the severity of the Petersburg climate: Pushkin replies:
I love your cruel winters
Immobile air and frost.
Mickiewicz speaks contemptuously of northern women, white as snow, ruddy as crayfish; Pushkin glorifies -
Girlish linden is brighter than roses
There is an analogy between the image of the "idol" in "The Bronze Horseman" and the description of the same statue in Mickiewicz's satire "Pomnik Piotra Wieikiego".
The image of the animated statue could have been inspired by Pushkin by the story of M. Yu. Vielgorsky about some wonderful dream. In 1812, the sovereign, fearing an enemy invasion, intended to take away the monument to Peter from Petersburg, but he was stopped by Prince. A. I. Golitsyn, reporting that recently one major had a wonderful dream: as if the Bronze Horseman gallops through the streets of St. Petersburg, drives up to the palace and says to the sovereign: “Young man! nothing to fear. " However, the same image could have been suggested by the episode with the statue of the commander in Don Juan.
The description of the flood of 1824 was compiled by Pushkin according to the testimony of eyewitnesses, since he himself did not see it. He was then in exile, in Mikhailovsky. / * Having received the first news of the disaster, Pushkin at first treated it half-jokingly and, in a letter to his brother, even admitted the severity of a rather dubious dignity in connection with the flood. However, having learned more about the circumstances of the case, he completely changed his mind and, in another letter to his brother, wrote: “This flood is not crazy to me: it is not at all as funny as it seems at first glance. from Onegin money, but I ask without any fuss. " (Note. V. Ya. Bryusov.) * / Belinsky wrote: "The picture of the flood was painted by Pushkin with paints that a poet of the last century would have been willing to buy at the cost of his life, who was obsessed with the idea of writing an epic poem The Flood ... Here you do not know what to marvel more, whether the description is enormous or its almost prosaic simplicity, that taken together comes to the greatest poetry. " However, Pushkin himself said in the preface that "the details of the flood were borrowed from the magazines of that time," and added: "the curious can cope with the news compiled by V. N. Berkh."
Cope with Berkh's book ("Detailed historical news of all the floods that happened in St. Petersburg"), we have to admit that Pushkin's description, for all its brightness, is indeed "borrowed." For example, here is what Berch says: "Rain and shrewd cold wind off the very morning they filled the air with dampness ... with dawn ... crowds of the curious rushed to the banks of the Neva, which is high rose frothy waves and with terrible noise and spray smashed them on the granite shores ... The vast expanse of waters seemed boiling abyss ... white foam swirled over the water masses, which, incessantly increasing, at last, fiercely rushed to the shore ... People were saved as best they could. ”And further:“ Neva, encountering an obstacle in its course, has grown in its shores, filled the canals and poured through the underground pipes as fountains to the streets. In an instant, water poured across the edges of the embankments ".
All the main features of this description were repeated by Pushkin, partly in the final version of the story, partly in rough sketches.
...rain dull
Knocked on the window, and wind howled.
In the morning over her shores
The crowds were crowded by the people,
Admiring spray, mountains
AND foam angry waters.The Neva wandered, raged,
I got up and boiled,
A cauldron of bubbling and swirling.Neva all night
I was torn to the sea against the storm
And it became impossible for her to argue!
And from their / * It is not entirely clear what the word "them" refers to, both here and in the corresponding place in the final edition:Rushing to the sea against the storm
Without defeating them powerful stupid.Probably, Pushkin had in mind the "sea" and "storm", or "winds", about which it is said further: But by force winds from the bay the Barred Neva ...
By the way, all editions still printed "winds" instead of "winds" (as is read in all manuscripts). (Note. V. Ya. Bryusov.) * / ferocious fool
I went bubbling and swirling.
And suddenly, like a frenzied tiger,
Through the iron fence
The hail rushed in waves.Everything ran, everything around
Suddenly empty ... Water suddenly
Flowed into underground cellars;
Channels poured into the gratings.The people fled. To meet her
The channels poured in; from pipes
Fountains gushed out.
In the initial versions of the description, Pushkin reproduced in verse and an anecdote about c. VV Tolstoy, later told by Prince. P.A.Vyazemsky / * See. in Text histories. (Note. V. Ya. Bryusov.) * /.
In any case, Pushkin had the right to say in one of his notes, comparing his description of the flood with the description of Mickiewicz (who depicts the evening before the flood): "our description or rather"...
In terms of the number of poems, The Bronze Horseman is one of the shortest poems by Pushkin. It contains only 464 verses in the final version, while in "Gypsies" - 537, in "Poltava" - about 1500, and even in "Bakhchisarai Fountain" - about 600. Meanwhile, the concept of "The Bronze Horseman" is extremely broad, hardly broader. than in all other Pushkin's poems. For less than 500 poems, Pushkin managed to fit Peter's thoughts "on the banks of the Varangian waves", and a picture of St. Petersburg at the beginning of the 19th century, and a description of the flood of 1824, and the story of love and madness of poor Eugene, and his thoughts over the case of Peter. Pushkin even found it possible to allow himself, as a luxury, a few jokes, for example, the mention of Count Khvostov.
The language of the story is extremely diverse. In those parts where the life and thoughts of an official are depicted, he is simple, almost prosaic, willingly allows colloquial expressions ("life is much easier", "I will entrust the economy", "he is big", etc.). On the contrary, where the fate of Russia is spoken of, the language completely changes, prefers Slavic forms of words, avoids everyday expressions, such as:
A hundred years have passed - and young hail.
Full-night countries beauty and wonder.
From the darkness of the forest, from the swamp blat
Ascended magnificently, proudly.
However, Pushkin clearly avoids truncated adjectives, and in the whole story there are only three of them: "spring days", "times past", "eyes are sleepy."
A peculiar feature of the Bronze Horseman's verse is the abundance of caesurs. In none of his poems, written with iambic tetrameter, did Pushkin allow himself so often, as in The Bronze Horseman, to stop within a verse in meaning. Apparently, in The Bronze Horseman, he deliberately strove to ensure that logical divisions do not coincide with metric divisions, thus creating the impression of extreme ease of speech. There are especially many such examples in verses telling about Eugene, for example:
Sat motionless, terribly pale
Evgeny. He dreaded the poor
Not for yourself.Evgeny for his good
Ns came. It will soon light
Became a stranger. I wandered on foot all day
I slept on the pier.Near the Nevskaya pier. Summer days
They were leaning towards autumn. Breathed
Rainy wind.
It is remarkable that almost all new sections of the story (as it were, its individual chapters) begin with a half verse. In general, in about a third of the Bronze Horseman's verses, there is a dot in the middle of the verse, and in more than half of the verse there is a logical stop of speech.
In the use of rhymes in The Bronze Horseman, Pushkin remained true to his rule, expressed by him in The House in Kolomna:
I need rhymes, I'm ready to save everything.
In "The Bronze Horseman" there are many ordinary rhymes (nights - eyes, horse - fire, etc.), even more verbs (sat down - looked, got angry - rushed around, recognized - played, etc.), but there are also several "rare" (suns - chukhontsa, cuts - rattle) and a number of "rich" (living - sentries, penalties - steps, howling - washing away, head - fatal, etc.). As in other poems, Pushkin pronunciation freely rhymes adjectives in th with adverbs in o (carefree - willingly).
The verse of "The Bronze Horseman" is known to few rivals by its sonic depiction. It seems that in none of his creations did Pushkin so often use all the means of alliteration, playing with vowels and consonants, etc., as often as in the "Petersburg story". An example of them is the quatrain:
And shine, and noise, and talk of balls,
And at the hour of the reveling bachelor
Shi singing pen empty glasses
AND NS ounsha NS blue lamen.
But the verse of "The Bronze Horseman" in the scene of the persecution of poor Eugene reaches the top of the depiction. Repetition of the same rhymes, repetition of the initial letter several times in adjacent words and persistent repetition of sounds k, g and NS- Pushkin gives a vivid impression of "heavy-sonorous galloping", the echo of which sounds over the empty square like the rumble of thunder.
And he NS O NS horses NS mouth Oh
Runs and hears for sob Oh
TO but To as if G rum G roaring,
Heavy-ringing To oh with To but To anye
By n shaken off bridges Oh.
And, illuminated by the moon pale
Stretch your hand high
Per n them n yes IN gardener Copper
Ringing To oh with To feeling To one;
And all night long a madman poor
Wherever you turned your feet,
Followed by sun yuda Sun adnik Copper
WITH T cruel T opot sc but To al.
However, traces of some haste in the processing of the form are also noticeable in the story. Three verses were left without rhyme at all, namely:
She rushed to the city. Before her ...
And I have not found any traces ...
I slept on the pier. Ate ...
In the original editions, the first and last of these verses have their own rhyme:
With all my heavy strength
I went to the attack. In front of her
The people fled and disappeared suddenly.I slept on the pier. Ate
A piece thrown from the windows;
I hardly undressed anymore
And the dress is shabby on him
It was torn and smoldering ...
As you know, in 1826 the sovereign expressed his desire to personally be Pushkin's censor. All his new works, prior to their publication, Pushkin had to submit, through Benckendorff, to this "highest censorship".
On December 6, 1833, shortly after his return from Boldino, Pushkin wrote a letter to Benckendorff, asking permission to present to his Excellency a "poem" that he would like to publish. Presumably it was the Bronze Horseman. On December 12, the manuscript of The Bronze Horseman was already returned to Pushkin. The "highest censorship" found a number of reprehensible passages in the story.
We do not know how Pushkin himself reacted to the prohibition of the story. He spent the last years of his life in strict spiritual solitude and, apparently, did not initiate anyone into his inner life. In his letters he became extremely restrained and no longer allowed himself that captivating chatter about everything that interested him, which is the main charm of his letters from Mikhailovsky. Even in the entries of his diary, which he kept in the last years of his life, Pushkin was very careful and did not allow a single superfluous word.
In this diary on December 14 it is written: “On the 11th I received an invitation from Benckendorff to appear to him the next morning. I arrived. Bronze Horseman with the sovereign's remarks. The word idol is not passed over by the highest censorship; poems:
And in front of the younger capital
Old Moscow has faded,
As before the new queen
Porphyry Widow -
Are blackened out. In many places -? -. All of this makes a big difference to me. I was forced to change the terms with Smirdin. "
Nor will we learn anything else from Pushkin's letters. In December 1833, he wrote to Nashchokin: "Here I had financial troubles: I came to an agreement with Smirdin and was forced to destroy the treaty, because the censorship did not let the Bronze Horseman pass. This is a loss for me." Pushkin repeated to him in another, later letter: "The Bronze Horseman has not been missed - losses and troubles." Pogodin, in response to his question, Pushkin said briefly: "You are asking about the Bronze Horseman, about Pugachev and about Peter. The first one will not be published."
From these dry messages one can only conclude that Pushkin wanted to print the "Petersburg story" (which means that he considered it finished, processed) and that he introduced it to his friends.
Pushkin himself believed that his manuscripts were examined directly by the sovereign. He believed that the manuscript of The Bronze Horseman was returned to him "with the sovereign's remarks." But at the present time it has been sufficiently clarified that Pushkin's manuscripts were considered in Benckendorff's office and that the sovereign only repeated, sometimes retaining all the polemical attacks, critical remarks of this office. The inner meaning of The Bronze Horseman, of course, was not understood by this censor, but a whole series of individual expressions seemed unacceptable to her.
Apparently, the same manuscript that was submitted to the sovereign for consideration has reached us (Pushkin writes: "I returned The Bronze Horseman ... "). In this manuscript, the poems about the" faded Moscow ", about which Pushkin speaks in his diary, are crossed out in pencil and marked on the side with the sign NB. A question mark is placed against those verses where the Bronze Horseman first appears.
Over the indignant Neva
Stands with outstretched hand
An idol on a bronze horse.
In the second part, a question mark is placed against the repetition of these verses:
Idol with outstretched hand
Sat on a bronze horse.
Who stood motionless
In the darkness, the head of brass,
The one whose fateful will
The city was founded over the sea.
Oh powerful lord of Destiny,
Are you not right above the abyss itself,
At a height, with an iron bridle,
Has he reared Russia?
Finally, the expressions "proud idol" and "miraculous builder" are underlined and all verses are deleted, from the words of the madman addressed to the "idol" to the end of the page.
In another manuscript, a list made by a clerk's hand, there are traces of Pushkin's amendments, apparently begun with the aim of softening the expressions indicated to him. Pushkin replaced the word "idol" with the word "rider" and in the quatrain about "faded Moscow" restored the original version of the second verse ("Moscow bowed down the head"). However, Pushkin did not bring his amendments to the end and preferred to refuse to publish the story. "Pushkin's poem about the flood is excellent, but it has been crossed out (ie, it has been erased by the censorship), and therefore is not published," wrote the book. P. Vyazemsky A. I. Turgenev.
During Pushkin's lifetime, only an excerpt from the Entry under the title Petersburg was published from The Bronze Horseman. After Pushkin's death, the story was published with Zhukovsky's amendments, who in his own way softened all the controversial passages. For a long time, Russia knew one of the most significant creations of Pushkin only in a distorted form. The correction of the text based on Pushkin's original manuscripts, begun by Annenkov, continued until recently. The original reading of the poems about the "idol" was restored only in the 1904 edition of P. Morozov. However, some poems only in this edition first appear in the form written by Pushkin.
The poem "The Bronze Horseman" reveals the theme of the relationship between the common man and the authorities. The technique of symbolic opposition of Peter I (the great reformer of Russia, the founder of St. Petersburg) and the Bronze Horseman - a monument to Peter I (the personification of autocracy, senseless and cruel power) is used. Thus, the poet emphasizes the idea that the undivided power of one, even an outstanding person cannot be just. The great deeds of Peter were committed for the good of the state, but were often cruel towards the people, towards an individual: On the banks of the desert waves He stood, thoughts of the great zero, And looked into the distance.
Before him the river rushed widely; the poor canoe Aspired along it lonely. Along the mossy, swampy shores, Cherneli huts here and there. The shelter of the wretched Chukhonts; And the forest, unknown to the rays In the fog of the hidden sun. It was noisy all around.
Pushkin, recognizing the greatness of Peter, defends the right of every person to personal happiness.
The clash of the "little man" - the poor official Yevgeny - with the unlimited power of the state ends in Yevgeny's defeat: And suddenly he started running headlong. It seemed to Him that a formidable king. Instantly ignited with anger. The face quietly turned ... And he runs across the empty square and hears behind him - As if thunder rumble - Heavy-ringing galloping On the shocked pavement, And, illuminated by a pale moon. Stretch your hand up high. Behind him rushes the Bronze Horseman On a ringing horse; And all night long, poor madman.
Wherever he turned his feet, The Bronze Horseman followed him everywhere, galloping with a heavy stomp. The author sympathizes with the hero, but realizes that the rebellion of a loner against the "powerful lord of fate" is mad and hopeless.
- Artistic features of the poem.
The Bronze Horseman is one of the most perfect poetic works of Pushkin. The poem is written with iambic tetrameter. The uniqueness of this work lies in the fact that the author has overcome the genre canons of the historical poem.
Peter does not appear in the poem as a historical character (he is an "idol" - a statue), and nothing is said about the time of his reign. The poet turns not to the origins of this era, but to its results - to the present: On the porch With a raised paw, as if alive. There were guard lions, And right in the dark height Above the fenced rock Kumir with an outstretched hand Sat on a bronze horse. The conflict reflected in the poem is supported stylistically.
The introduction, the episodes connected with the "idol on the bronze horse" are sustained in the tradition of the ode - the state genre itself: And he thought; From here we will threaten the Swede. Here the city will be founded In spite of the arrogant neighbor. Nature here we are destined to cut a window to Europe. Stand firm by the sea. Here on their new waves All flags will visit us, And we will lock in the open. Where Eugene is discussed, prosaicism prevails: “Marry?
To me? why not? It's hard, of course; But well, I'm young and healthy. Ready to work day and night; I will somehow arrange for myself a humble and simple Shelter And in it I will calm Parasha. Perhaps a year or two will pass - I will get a place, I will entrust our family to Parasha And the upbringing of the children ...
- The main conflict of the poem.
The main conflict of the poem is the conflict between the state and the individual. It is embodied, first of all, in the figurative system: the opposition of Peter and Eugene. The image of Peter is central in the poem. Pushkin gives in "The Bronze Horseman" his interpretation of the personality and state activities of Peter.
The author depicts two faces of the emperor: in the introduction Peter is a man and a statesman: On the shore of the desert waves He stood, full of great thoughts, And looked into the distance. He is guided by the idea of the good of the Fatherland, not arbitrariness. He understands the historical pattern and appears as a decisive, active, wise ruler. In the main part of the poem, Peter is a monument to the first Russian emperor, symbolizing autocratic power, ready to suppress any protest: he is terrible in the surrounding darkness! What a thought on your forehead!
What power is hidden in him! The conflict between history and personality is revealed through the depiction of the fate of an ordinary person. Although the researchers do not include Eugene in the gallery "little people", nevertheless, we find some typical features of such heroes in this image. The confrontation between man and power, personality and state is an eternal problem, the unambiguous solution of which Pushkin considers impossible. In the poem, the empire is represented not only by Peter, its creator, the embodiment of her titanic will, but also by St. Petersburg.
Unforgettable stanzas about St. Petersburg give the best opportunity to understand what Pushkin loves in Peter's Creation. All the magic of this northern Petersburg beauty lies in the reconciliation of two opposite principles: I love your cruel winters Immobile air and frost. Sled run along the wide Neva. Maiden faces are brighter than roses, And the sparkle, and the noise, and the talk of balls, And at the hour of the bachelor party The hiss of frothy glasses And punch a blue flame. I love the warlike liveliness of the Amusing Fields of Mars. Infantry men and horses Monotonous beauty, In their harmoniously unsteady formation The patches of these victorious banners. The radiance of these copper caps.
Shot through and through in battle. I love it, the military capital. Thunder and smoke of your stronghold. When the full-bodied queen Grants a son to the royal house. Either Russia triumphs over the enemy again, Or, breaking its blue ice, the Neva carries it to the seas And, sensing spring days, rejoices. Almost all epithets are paired, they balance each other. The cast iron of the lattices is cut through with a light pattern, the bulk of the deserted streets are "clear", the needle of the fortress is "bright".
- Heroes of the poem.
In "The Bronze Horseman" there are not two heroes (Peter and Eugene - the state and the person), but three - this is the element of the raging Neva, their common enemy, the image of which is devoted to most of the poem. Russian life and Russian statehood are a continuous and painful overcoming of chaos by the beginning of reason and will. This is the meaning of the empire for Pushkin. And Yevgeny, an unfortunate victim of the struggle between the two principles of Russian life, is not a person, but just an inhabitant, perishing under the horse's hoof of the empire or in the waves of the revolution. Eugene is devoid of individuality: At that time, a young Eugene came home from the guests ...
We will call our hero by this name. It sounds nice; with him for a long time My pen is also friendly. We don't need his nickname. Although in the past times It, perhaps, shone And under the pen of Karamzin In native legends sounded; But now it is forgotten by light and rumor. Our hero lives in Kolomna; somewhere he serves, Boasts a noble and does not grieve Neither about the deceased relatives. Not about the forgotten antiquity. Peter I becomes for him that “significant person” who appears in the life of any “little person” in order to destroy his happiness.
The greatness, the state scale of the image of Peter and the insignificance, the limited range of personal concerns of Eugene are emphasized compositionally. Peter's monologue in the introduction (And he thought: "From here we will threaten the Swede ...") is contrasted with Eugene's "thoughts" ("What was he thinking about? / That he was poor ...").
Literary critic MV Alpatov claims that all the critics who wrote about The Bronze Horseman see in it an image of two opposing principles, with which each of them gave its own interpretation. However, according to MV Alpatov, the Bronze Horseman is based on a much more complex multistage system of images. It includes the following characters: Peter with his "companions" Alexander, the Bronze Horseman and St. Petersburg. An element that some critics tried in vain to identify with the image of the people.
People. Evgeny. A poet who, without speaking openly, is invariably present as one of the protagonists. A poem assessed by critics and literary scholars. “The will of the hero and the uprising of the primitive elements in nature - a flood raging at the foot of the Bronze Horseman; the will of the hero and the same uprising of the primitive elements in the human heart - a challenge thrown into the face of the hero by one of the countless ones doomed to perish by this will - this is the meaning of the poem ”(Dn. Merezhkovsky).
“Pushkin managed to see a significant event in the St. Petersburg flood and in the unfortunate fate of a poor official and to reveal in it a range of ideas that go far beyond the described incidents. In this regard, it is natural that Pushkin's poem reflected the poet's experiences associated with 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 his relation to society, nature and fate ”( M.V. Alpatov). “Pushkin does not disclose in more detail the threats to Eugene.
We still do not know what exactly the madman wants to say to his “Oh, you!”. Does this mean that the "small", "insignificant" will be able to ‘* uzho” avenge their enslavement, humiliation by the “hero”? Or that the dumb, weak-willed Russia will raise "uzho" a hand against its rulers, who are heavily forcing them to test their fatal will? There is no answer ... What is important is that the small and insignificant, the one who recently humbly confessed that “God could add his wits”, whose dreams did not go beyond the humble wish: “I’ll ask for a place,” suddenly felt himself equal to the Bronze Horseman, found in his strength and courage to threaten the "sovereign of the half-world" "(V.Ya. Bryusov). “We understand with an embarrassed soul that not arbitrariness, but a reasonable will is personified in this Bronze Horseman, who, in the unshakable height, with outstretched hand, as if admiring the city ...
And it seems to us that, in the midst of the chaos and darkness of this destruction, a creative “let it be!” Emanates from his brazen lips, and the outstretched hand proudly commands the enraged elements to subside ... the suffering of this particular ...
The works of Etienne Maurice Falcone are one of the most famous symbols of the Northern capital. The first poem about the monument was written a year after its opening, and since then the monumental image has appeared in literature. We recall the "copper Peter" and his incarnations in Russian poetry.
Yermil Kostrov and "demigod" on a stone stronghold
Who is this, exalted on a stone stronghold,
Sitting on a horse, stretching out his hand to the abyss,
Preventing the steep waves to gallop up to the clouds
And to whirlwind vortex stormy pont breathing? -
That is Peter. With his mind Russia is renewed,
And the universe is full of his high-profile deeds.
He, seeing his loins the famous fruit,Snotting joyfully from the highest heights.
And the brass that the sight of him on the shore represents,
She is sensitive to joy;
And his proud horse, lifting the lightness of his legs,
Desires a seated demigod on him
The porphyry girl flew to kiss the girl,
Congratulate the newly eastern day to the Ross.From the poem “Eclogue. Three Graces. On the birthday of Her Highness the Grand Duchess Alexandra Pavlovna ", 1783
Alexey Melnikov. Opening of the monument to Peter I on Senate Square in St. Petersburg. Engraving of 1782
Ermil Kostrov is a Russian poet of the 18th century. According to the memoirs of Alexander Pushkin, he served as a poet at Moscow University: he wrote official poems on solemn occasions. Yermil Kostrov was the first in Russia to translate the masterpieces of ancient literature - the Iliad by Homer and the Golden Donkey by Apuleius.
"Eclogue. Three Graces. On the birthday of Her Highness the Grand Duchess Alexandra Pavlovna, ”Kostrov wrote when Paul I had the eldest daughter, Alexandra. The poem, created in ancient traditions, is built as a conversation between three graces (goddesses of beauty and joy): Euphrosine, Thalia and Aglaya. Aglaya speaks about the monument to Peter I and the tsar himself in the eclog. With the work of Kostrov, the literary tradition began to depict the copper Peter as the patron saint of the city, able to save it from harm. The image of the "proud horse" from the eclogue will later appear in Alexander Pushkin's The Bronze Horseman.
Alexander Pushkin and the Bronze Horseman
Bronze Horseman
On the shore of desert waves
He stood, full of great thoughts,
And looked into the distance. Before him wide
The river was rushing; poor boat
I strove for it lonely.
On mossy, swampy shores
The huts were blackened here and there,
The shelter of the wretched Chukhonts;
And a forest unknown to the rays
In the mist of the hidden sun
It was noisy all around.And he thought:
From here we will threaten the Swede,
Here the city will be laid
To the evil of the haughty neighbor.
Nature is destined for us here
Cut a window to Europe
Stand firm by the sea.Here on new waves
All flags will visit us,
And we'll lock it up in the open.
Alexander Benois. Bronze Horseman. 1903
Some researchers consider the Decembrist poet Alexander Odoevsky to be the author of the Bronze Horseman metaphor. In his 1831 poem "Saint Bernard" there is this line: "In the midnight darkness, in the snow, there is a horse and a rider of brass"... However, this expression became stable after the release of the Pushkin poem of the same name. The poet wrote a work about Eugene, who lost his beloved after the flood of 1824, during the autumn of Boldin 1833. In 1834, only its first part was published - with censorship edits by Nicholas I. And the whole poem was published only three years later, after the death of Alexander Pushkin. For publication in Sovremennik, the text was prepared by Vasily Zhukovsky.
"Pushkin is as much the creator of the image of St. Petersburg as Peter the Great is the builder of the city itself."
Nikolai Antsiferov, Soviet historian and culturologist
Composer Reingold Glier wrote a ballet for The Bronze Horseman. Its fragment - "Hymn to the Great City" - became the anthem of St. Petersburg.
Valery Bryusov. "With an outstretched hand you fly on a horse"
To the Bronze Horseman
In the frosty fog, Isaky turns white.
Peter rises on a snow-covered block.
And people pass in the twilight of the day,
As if speaking before him
for review.You also stood here, splattered
and in the foam,
Over a dark plain of rippling waves;
And the poor man threatened you in vain
Evgeny,
Seized by madness, full of rage.You stood when between the screams and the hum
The bodies of the abandoned rati lay down,
Whose blood smoked in the snow, flashed
And the earthly pole could not melt!Changing, they rustled around the generation,
We got up at home like your crops ...
His horse trampled the links with mercilessness
Powerlessly beneath him curved snake.But the northern city is like a foggy ghost,
We humans pass by like shadows in a dream.
Only you through the ages, unchanging, crowned,
With an outstretched hand you fly on a horse.
Alexander Beggrov. Bronze Horseman. 19th century
About 15 Petersburg addresses are associated with the name of Osip Mandelstam in St. Petersburg: these are apartments in which the poet lived at different times. Many of his works are created in the genre of urban lyrics. The poet wrote about the architecture of St. Petersburg as a man-made fifth element: "We are pleased with the domination of the four elements, / But a free man created the fifth"("Admiralty").
