Mikhail Lermontov - Three palm trees: Verse. Analysis of Lermontov's poem "Three Palms"

"Three Palms" "THREE PALMS", a ballad by L. (1839), the themes and images of the cut - defeated beauty, the disastrous contact with the “other” world, etc. - are included in the system of L.’s late ballad creativity. The fatal accomplishment in “Three Palms” takes place within the conditional limits of the “Arabian land" (the convention is specified by the subtitle "Oriental Legend"). With a stylized geographical and ethnographic The precision of the ballad events are given here outside of time coordinates. A number of images of “Three Palms” are continued in the ballad “Dispute” (1840). A force threatening to conquer the Caucasus. mountains and distort their beauty, is depicted in “The Dispute” historically specifically, this is Russian. troops led by political expediency; but this force also approaches the “heroes” of the ballad in the form of a motley procession, similar to the procession of a caravan in “Three Palms.” There are text matches up to dept. words: “The ax clattered on the elastic roots” and “In the depths of your gorges / The ax will rattle,” Kazbek predicts Shat-mountain. Both ballads contain a “carefree” motif, although at the same time utilitarian and pragmatic. man's relationship to nature. However, both ballads also have tragic meanings in mind. the clash of their “heroes” with the laws of existence, hidden from their spiritual gaze, beyond the limits of their understanding (hence the providentially unjustified murmur of palm trees against God). “Three Palms” lies in the sphere of art. L.'s meditations on beauty and death. The ballad “Tamara” gives an image of killing beauty, and in “Three Palms” - killing beauty: “Their bodies were then chopped up, / And they were slowly burned with fire until the morning”; folklore a variant of the same idea is the ballad “The Sea Princess”. The destruction of beauty in “The Dispute” is a forced, natural consequence of progress; in “Three Palms” it is more complicated: destruction is a consequence of beauty’s desire to, as it were, surpass itself, to unite with benefit. L. does not reject the possibility of such a connection, but worries anxiously about its unforeseen consequences. In the ballad, Lermont was refracted in a new way. motive of thirst for action (see. Action and feat in Art. Motives): inactive existence is depicted by the poet as barren and disastrous for the palm trees themselves: “And the sultry rays began to dry / The luxurious leaves and the sonorous stream.” But unlike other verses, where guilt for impracticability or tragedy. consequences of k.-l. “accomplishments” were assigned to the world hostile to the hero, here the victim herself shares the blame for her death along with the human world alien to her: allegorical. ballad atmosphere verse. allows for different interpretations: the procession of the caravan is conveyed as a natural, spontaneous movement; but it can also be read as a fatal answer to the murmur of the three palms; Lermontov’s artistic solution to this philosophical theme is embodied in the antithesis “sound” - “silence.” According to basic plot motif (murmur of palm trees against God), verse (quadruple amphibrachium), stanza (hexaVVSS type) and oriental coloring of Lermont. the ballad correlates with IX “Imitation of the Koran” by A. S. Pushkin, as N. F. Sumtsov pointed out (A. S. Pushkin, Kharkov, 1900, pp. 164-74). This connection is polemical. character. Poem. Pushkin is optimistic, it captures the legend of a miracle that happened in the desert; the tired traveler plunges into a mortal sleep, but he awakens, and with him the renewed world awakens: “And then a miracle happened in the desert: / The past came to life in new beauty; / Once again the palm tree sways with its shady head; / Once again the vault is filled with coolness and darkness.” L. contrasts Pushkin’s miraculous revival with devastation: “And now everything is wild and empty all around - / The leaves with the rattling spring do not whisper: / In vain he asks the prophet for shade - / He is only covered in hot sand.” The earlier source verses. and Pushkin, and L. - “The Arab’s Song over the Horse’s Grave” by V. A. Zhukovsky (1810). Just like “Three Palms” by L. and verse IX. “Imitations of the Koran” by Pushkin, “Song” is written in amphibrachic tetrameter; The action takes place in the desert. An Arab, mourning a horse killed in battle, believes that he and his horse friend will meet after death. Basic motives-realities of all three verses. identical: Arab - desert - cool shadow - horse (in Pushkin it is reduced - “donkey”). But, while polemicizing with Pushkin, L. simultaneously touches upon Zhukovsky’s “Song...”. Arab in verse. Zhukovsky does evil, and the death of the horse can be seen as retribution for the murder of the enemy. The Arab commits even greater evil in “Three Palms,” but unlike Zhukovsky’s hero, he is not overtaken by retribution: the carefree Arab and his horse are full of life: “And, leaning his lean body towards his bow, / The Arab made the black horse hot.” Thus, “Three Palms” (if we consider the verse. L. in “reverse perspective, as a product. single lit. process in Russian lit. 1st half. 19th century), contrary to chronology, turn out to be a kind of “preface” to Zhukovsky’s “Song...”: the events of “Three Palms” seem to precede the tragedy that befell his hero. In 1826 in the magazine. "Slav" (No. 11) a verse appeared. P. Kudryashova “Arab in Love.” The Arab admires his horse: “He was eager, he rushed, he flew like a whirlwind... / The sand rose behind the flying mountain!”... “I raced against furious enemies. / The blow of the ax and the blow of the mace / Lay down like a deadly thunderstorm on the heads!” But the Arab saw the beautiful girl and forgot about the horse: “Like a young palm tree, so a maiden is slender; / She captivates with her magical beauty.” Kudryashov's orientation toward Zhukovsky is undeniable. He is imitative and does not pretend to be independent. However, the possibility that his verse cannot be excluded. echoed in the ballad of L., who had the exception. lit. memory: a number of speech patterns and motives of the ballad (the blow of an ax, the image of a young and slender palm tree, etc.) are closest to the motives of the verse. P. Kudryashova. Thus, L. completes the established in Russian. lyric cycle is conventionally orientalistic. poems, at the origins of which is Zhukovsky. “Three Palms” is the last word in almost 30 years of poetic poetry. competition, in which both classics and amateur poets took part. A similar desire to complete a certain line of development of poetry is typical for L. The ballad was highly appreciated by V. G. Belinsky: “The plasticity and relief of the images, the convexity of the forms and the bright shine of oriental colors merge poetry with painting in this play” (IV, 534).

Caravan. Ill. V. D. Polenova. Black watercolor. 1891.

Poem. illustrated by more than 20 artists, incl. P. Bunin, M. A. Zichy, V. M. Konashevich, A. I. Konstantinovsky, D. I. Mitrokhin, A. A. Oya, V. D. Polenov, I. E. Repin, V. Ya. Surenyants, M. Ya. Chambers-Bilibina, A. G. Yakimchenko. Set to music by P. A. Manykin-Nevstruev, V. M. Ivanov-Korsunsky; A. A. Spendiarov owns the symphony. painting "Three Palms". On music Spendiarov M. M. Fokin staged the ballet “Seven Daughters of the Mountain King” (1913), which is based on the idea of verse. L. Autograph unknown For the first time - “OZ”, 1839, No. 8, dept. III, p. 168-170; dates back to 1839 (1st half) according to “Poems” by L. (1840).

Lit.: Belinsky, vol. 4, p. 534-35; Chernyshevsky, vol. 3, p. 110; Shevyrev, With. 532; Maikov V., Critical experiments, St. Petersburg, 1891, p. 257-58; Neumann(1), p. 107-09; Distiller G. O. Poetic criticism. text, M., 1927, p. 81-82; Veltman S., East in art. literature, M. - L., 1928, p. 148-49; Zdobnov, With. 267; From the notebook, “Lit. critic", 1939, book. 1, p. 187-88; Neustadt, With. 198; Good(1), p. 412-13; Eikhenbaum(7), p. 69 [same, see Eikhenbaum(12), p. 112-13]; Peisakhovich(1), p. 455-56; Fedorov(2), p. 121-22; Odintsov G. F., Faris in “Three Palms” M. Yu. L., “Rus. speech", 1969, No. 6, p. 94-96; Korovin(4), p. 94-96; Udodov(2), p. 197-99; Chicherin(1), p. 413; Maimin, With. 132-33; Nazirov R. G., Reminiscence and paraphrase in “Crime and Punishment”, in the book: Dostoevsky. Materials and research, vol. 2, L., 1976, p. 94-95; Naiditsch E.E., Selected by the poet himself (About the collection of poems. L. 1840), “RL”, 1976, No. 3, p. 68-69; Potebnya A. A., From lectures on the theory of literature, in his book: Aesthetics and Poetics, M., 1976, p. 550-52; Zhizhina A.D., Verse. M. Yu. L. “Three Palms”, “Rus. speech", 1978, No. 5.

V. N. Turbin Lermontov Encyclopedia / USSR Academy of Sciences. Institute rus. lit. (Pushkin. House); Scientific-ed. Council of the publishing house "Sov. Encycl."; Ch. ed. Manuilov V. A., Editorial Board: Andronikov I. L., Bazanov V. G., Bushmin A. S., Vatsuro V. E., Zhdanov V. V., Khrapchenko M. B. - M.: Sov. Encycl., 1981

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All lovers of parables should read the verse “Three Palms” by Mikhail Yuryevich Lermontov. This work, written in 1838, has its own deep and philosophical meaning. The main characters of the poem are the palm trees themselves, which are located in the desert. The poem touches on religious themes and the problem of the relationship between man and nature. Such questions appear in many of Lermontov's works. He always tried to find answers to the strangest mysteries of the world around him. And I used creativity as a way of communicating with myself, an attempt to reflect and assume, an opportunity to express a thought, to express an opinion.

The text of Lermontov's poem “Three Palms” conveys the essence of the fact that this oasis is a place inaccessible to living beings. It would seem that it was created in order to become a salvation for a lost traveler. And the palm trees cry out to God with these obvious thoughts. He, as if having heard them, sends people to the oasis who are unable to appreciate the incredible beauty of this place. Palm trees lose their beauty, becoming mere fuel. The oasis is destroyed, in its place there remains only a desert, as it should be. Such a painful impact of man on nature causes sadness and melancholy. Indeed, people cannot always rejoice at the beautiful things that the world around them gives them. They think about something else, earthly, not so important. Pride prevents them from seeing everything as it really is. It obscures the gaze with an invisible veil, covering everything truly beautiful and incredible.

One of the main issues raised in the work is the religious aspect. The author seems to be hinting that petitions directed to God will not always lead to the fulfillment of dreams. Many do not understand that their dreams can only bring pain and disappointment. The end does not always justify the means. Pride, which is condemned in the work, often leads to complete self-destruction. Lermontov is trying to protect the reader from trying to get something unattainable. You should always remember that dreams can come true, so you need to think correctly, and do not forget about the consequences. This kind of philosophical message should certainly be taught in high school literature classes. The entire work can be read online or downloaded on our website.

(Eastern legend)

In the sandy steppes of Arabian land
Three proud palm trees grew high.
A spring between them from barren soil,
Murmuring, it made its way through a cold wave,
Kept under the shade of green leaves,
From the sultry rays and flying sands.

And many years passed silently;
But a tired wanderer from a foreign land
Burning chest to the icy moisture
I have not yet bowed down under the green tabernacle,
And they began to dry out from the sultry rays
Luxurious leaves and a sonorous stream.

And the three palm trees began to murmur against God:
“Are we born to wither here?
We grew and blossomed uselessly in the desert,
Wavering with the whirlwind and heat of the fire,
Not pleasing to anyone's benevolent gaze?..
Your holy verdict is wrong, O heaven!”

And they just fell silent - blue in the distance
The golden sand was already spinning like a column,
The bell rang out discordant sounds,
The carpeted packs were full of carpets,
And he walked, swaying like a shuttle at sea,
Camel after camel, blasting the sand.

Dangling, hanging between hard humps
Patterned floors of camping tents;
Their dark hands sometimes raised,
And the black eyes sparkled from there...
And, leaning towards the bow,
The Arab was hot on the black horse.

And the horse reared up at times,
And he jumped like a leopard struck by an arrow;
And white clothes have beautiful folds
Faris curled over the shoulders in disarray;
And rushing along the sand screaming and whistling,
He threw and caught a spear while galloping.

Here a caravan approaches the palm trees, noisily:
In the shadow of their cheerful camp stretched.
The jugs sounded filled with water,
And, proudly nodding his terry head,
Palm trees welcome unexpected guests,
And the icy stream generously waters them.

But darkness has just fallen to the ground,
The ax clattered on the elastic roots,
And the pets of centuries fell without life!
Their clothes were torn off by small children,
Their bodies were then chopped up,
And they slowly burned them with fire until the morning.

When the fog rushed to the west,
The caravan made its regular journey;
And then sad on barren soil
All that was visible was gray and cold ashes;
And the sun burned the dry remains,
And then the wind blew them away into the steppe.

And now everything is wild and empty all around -
Leaves with a rattling key do not whisper:
In vain he asks the prophet for a shadow -
Only the hot sand carries it away
Yes, the crested kite, the steppe unsociable,
The prey is tormented and pinched above him.

Mikhail Yurievich Lermontov was born in October 1814. Throughout his life, in his works he touched on themes of loneliness, sadness, unrequited love, and the desire for an ideal, different world. The poem “Three Palms” is no exception: the author opens the reader’s eyes to the world, to questions that people don’t want to ask out loud.

“Three Palms” M. Yu. Lermontov writes in 1838. The editors of the then-successful journal Otechestvennye zapiski published the poem a year later, in 1839.

In the poem, the poet uses the same images from IX “Imitation of the Koran” by A. S. Pushkin, but the idea and essence of his work have a slightly different direction than Pushkin’s motifs. The author often argued with his ancestor and literary teacher. He addressed the same themes and images, but interpreted them differently, showing a change in guidelines in Russian society.

Genre, direction and size

“Three Palms” is a lyrical ballad that carries a deep philosophical meaning. The poet wrote it in the form of an oriental parable. Notes of romanticism are clearly visible, as the author strives for an impeccable world, for something ideal and remembers God. In addition, he depicts exotic conditions, which is also typical of romantic poets. Riot and its tragic ending are a typical mood for this movement. The author himself indicated the genre of the tale, hinting at the folklore component of his work, because the plot was taken from an eastern legend.

Lermontov used amphibrach tetrameter, so, thanks to him, the author emotionally attuned readers to the Eastern mood and tried to display its intonations. Mikhail Yuryevich uses the sextin rhyme with an adjacent rhyme.

Images and symbols

The main characters are palm trees, they have been living for more than one year in an empty, uninhabited desert, leading a meek, calm, measured life. They believe that all the time allotted to them by fate was lived in vain, since there was not a single bright event in it, so the palm trees are angry with God for his unfair treatment of them. Trees, in their opinion, do not fulfill their purpose - they do not provide shelter for travelers. And God heard their murmur and sent them a caravan, where there were people, horses, and camels. The heroines greeted them with dignity and were delighted, but their desire, satisfied by the Lord, became the cause of their death. This image symbolizes a person who is always dissatisfied with his lot, always expects more from fate, but, in fact, does not know what he wants. He doesn’t think about the consequences of realizing his dream, he doesn’t know what lies behind the beautiful cover. And evil fate punishes him for this.
Caravan – a symbol of a dream come true, which was just a mirage, deception, illusion. The palm trees idealized him, attributed to him meekness and moderation of appetites, but the people turned out to be just people: they cut down the trees for their own needs, not sparing their ancient trunks. So a person imagines God knows what, but in reality everything turns out differently than he imagined. The dream takes on terrifying forms of reality, where there is no place for illusions.
Kite– a symbol of death, a scavenger bird. It completes the picture of the destruction caused by the caravan.
Stream- a symbol of a calm and peaceful life that trees did not value.

Themes and mood

The poet touches on several pressing topics and problems.

The main theme is the unattainability of the ideal. No matter how much a person wants, his dream will always be just a dream, it cannot be otherwise. When a desire is fulfilled, it ceases to be a desire. The basis of any ideal is self-deception.
Another main theme is the relationship between man and nature.. People are careless and cruel to the world around us, and no matter how much they want, they will still consider themselves stronger than nature, because nature is defenseless - it cannot take revenge, its rage is blind and random.
The author also touches on religious question. When the palm trees begin to be angry with God about their lives, he fulfills their request and gives them the opportunity to live a bright night: they not only gave shelter to the travelers, but also warmed them with their warmth. From this example we can conclude that there is no need to complain about higher powers, because their work is unknown to us, and we do not have omniscience, unlike them.
It follows from this theme of humility, because we need to be grateful for what we have.

Main idea

The poem is a philosophical reflection on the meaning and purpose of human life. The purpose of existence and its meaning are unknown to us; they remain a mystery that can only be solved by higher powers. The author's idea is that you should not grumble about fate, you need to bear your cross with dignity and directly, without calling for God's intervention in this process. Everything goes as it should, everything is predetermined. Rebellion against fate is doomed, and this is also the main idea of the poem.

The poet also raises the question of how to live life: quietly, calmly, helping people year after year, or brightly, but briefly? The palm trees, which had been grumbling against God for a long time, grew steadily and meekly, but this did not suit them, and they began to complain about God’s injustice towards them. Then God gives them the opportunity to live a bright life: travelers came to them, had fun, palm trees bowed their heads before them, and were subsequently broken and used for a fire. Alas, a rich, interesting fate requires sacrifice from a person, it cannot be otherwise.

Means of artistic expression

M. Yu. Lermontov does not limit himself in the means of artistic expression. Thus, he uses many epithets and metaphors that give the poem an emotional mood: “resonant stream”, “luxurious leaves”, “proud palm trees”, “barren soil”, “terry head”; “the sand was spinning like a column”, “flaming chest”.

Comparisons - people are “small children”, the caravan “walked, swaying like a shuttle at sea.” And thanks to personification, the poet does not give the opportunity to clearly see the lyrical hero; instead, the reader watches three palm trees, dissatisfied with life: “palm trees welcome”, “leaves whisper”, tree trunks are “bodies”, leaves are “clothing”, palm trees “have fallen” without life."

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The poem of the mature period “Three Palms” was written by M. Lermontov in 1838. It was first published in Otechestvennye zapiski in 1839.

In a poem that is a genre ballad, the poet used a number of Pushkin’s images from “Imitation of the Koran”, the same poetic size and stanza. However, in terms of meaning, Lermontov's ballad is polemical in relation to Pushkin's poem. The author fills it with philosophical content, placing it at the forefront question about the meaning of human life.

The philosophical meaning of the poem has a clear religious connotation, and the entire poetic parable is saturated biblical symbolism. The number of palm trees symbolizes the three components of the human soul: reason, feelings and will. The spring acts as a symbol of the spirit that connects a person with the source of life - God. The oasis symbolizes paradise; It is no coincidence that the poet places the action of the ballad in "steppes of Arabian land": This is where, according to legend, the Garden of Eden was located. Epithet "proud" in relation to palm trees symbolizes human pride and the presence of original sin. "Dark Hands" And "black eyes" Arabs, chaos and disorder ( "discordant sounds", "with a shout and a whistle", "blasting up the sand") indicate evil spirits. The complete rupture of the human soul with God and its takeover by evil spirits is expressed by the line: “The jugs filled with water with a sound”. The human soul perishes from "axe" Moors, and the caravan follows the next victim to the west, the direction opposite to where God resides. Revealing the meaning of a person’s life, Lermontov calls for being more attentive to one’s soul. Pride and refusal to be humble and accept what is predetermined by God can lead to tragic consequences - the destruction of both soul and body.

In the poem, Lermontov raises and problem of the relationship between man and nature: people do not appreciate what nature gives them. They seek to destroy it for the sake of momentary desires or gain, without thinking about the consequences. Condemning people for their consumerist attitude towards the world around them, the poet warns that defenseless nature can still take revenge on the offenders, and this revenge will be as ruthless and cruel as the actions of people who consider themselves kings of nature.

The poem has ring composition based on taking the antithesis life and death in the first and last stanzas. The first stanza vividly paints an idyllic picture of a magical oasis in the vast desert. In the last stanza the oasis turns into "gray and cold" ash, the stream carries hot sand, and the desert again becomes lifeless, promising the travelers inevitable death. With the help of this organization of the poem, Lermontov emphasizes the whole tragedy of man in a catastrophic situation.

The work is narrative in nature clear storyline. The main characters of the poem are "three proud palms". Those who don't want to live "no use" and dissatisfied with their fate, they begin to grumble against the Creator: “Your wrong, oh heaven, holy sentence!”. God heard their discontent, and miraculously a rich caravan appeared near the palm trees. Its inhabitants quenched their thirst "icy water" from the stream, rested in the gracious shade of friendly palm trees, and in the evening, without regret, they cut down the trees: “The ax clattered on the elastic roots, // And the pets of centuries fell without life!”. The proud palm trees were punished for not being content with their lot, but for daring "to grumble against God".

The ballad consists of 10 six-line stanzas written tetrameter amphibrachium, a three-syllable foot with stress on the second syllable. The poem is distinguished by an acute conflict plot, a clear composition, rhythmic organization of the verse, lyrical richness and vivid imagery. Lermontov uses unusually widely various means of expression: epithets (a sonorous stream, luxurious leaves, proud palm trees, barren soil, terry head), metaphors (the sand was spinning like a pillar, the chest was flaming), comparisons(People - "little children", caravan “walked, swaying, like a shuttle at sea”), personifications (the spring was breaking through, the leaves were whispering with the thundering stream, the palm trees were welcoming unexpected guests). Personifications allow you to see in images "proud palms" people who are dissatisfied with their lives. When describing the cutting of palm trees, it was used alliteration sound "r".

In the poem “Three Palms,” Lermontov managed to combine a vivid rendering of the beauty of eastern nature in all its colors and the most important philosophical questions that have worried more than one generation.

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In Mikhail Lermontov’s famous poem “Three Palms,” green beauties unsuccessfully wait for travelers to rest in the shade of their branches. A chilly stream of spring water gurgles among the desert near the palm trees. And those who so dream of giving rest and coolness to tired travelers continue to be tormented by loneliness. No one stops under the palm trees.

And then the palm trees turned to God with agony: “Are we born for this reason, to wither here?” The sky showed sympathy, the request turned into a caravan. The travelers settled down under spreading trees and began to fill jugs with clean water from the source. It seems like there it is, an idyll, a wonderful picture of happiness and tranquility. But at night, the heartless travelers, having rested, cut down the palm trees at the roots. They burned them in a merciless flame.

All that remained was a spring in barren soil. Now there is no one to protect it from drying out, and it is no longer so full and cool. And the proud palm trees, which so wanted to please people with shade, fell for nothing.

The poet calls for hating human cruelty and senseless aggression. The miniature certainly has an allegorical sound. And palm trees are prototypes of those who fell in the struggle for a brighter tomorrow and human values. Thanks to its wise conclusion, the poem resembles a small philosophical poem that can be read and reread and find new accents for reflection...