Great ones about poetry:
Poetry is like painting: some works will captivate you more if you look at them closely, and others if you move further away.
Small cutesy poems irritate the nerves more than the creaking of unoiled wheels.
The most valuable thing in life and in poetry is what has gone wrong.
Marina Tsvetaeva
Of all the arts, poetry is the most susceptible to the temptation to replace its own peculiar beauty with stolen splendors.
Humboldt V.
Poems are successful if they are created with spiritual clarity.
The writing of poetry is closer to worship than is usually believed.
If only you knew from what rubbish poems grow without shame... Like a dandelion on a fence, like burdocks and quinoa.
A. A. Akhmatova
Poetry is not only in verses: it is poured out everywhere, it is all around us. Look at these trees, at this sky - beauty and life emanate from everywhere, and where there is beauty and life, there is poetry.
I. S. Turgenev
For many people, writing poetry is a growing pain of the mind.
G. Lichtenberg
A beautiful verse is like a bow drawn through the sonorous fibers of our being. The poet makes our thoughts sing within us, not our own. By telling us about the woman he loves, he delightfully awakens in our souls our love and our sorrow. He's a magician. By understanding him, we become poets like him.
Where graceful poetry flows, there is no room for vanity.
Murasaki Shikibu
I turn to Russian versification. I think that over time we will turn to blank verse. There are too few rhymes in the Russian language. One calls the other. The flame inevitably drags the stone behind it. It is through feeling that art certainly emerges. Who is not tired of love and blood, difficult and wonderful, faithful and hypocritical, and so on.
Alexander Sergeevich Pushkin
-...Are your poems good, tell me yourself?
- Monstrous! – Ivan suddenly said boldly and frankly.
- Do not write anymore! – the newcomer asked pleadingly.
- I promise and swear! - Ivan said solemnly...
Mikhail Afanasyevich Bulgakov. "Master and Margarita"
We all write poetry; poets differ from others only in that they write in their words.
John Fowles. "The French Lieutenant's Mistress"
Every poem is a veil stretched over the edges of a few words. These words shine like stars, and because of them the poem exists.
Alexander Alexandrovich Blok
Ancient poets, unlike modern ones, rarely wrote more than a dozen poems during their long lives. This is understandable: they were all excellent magicians and did not like to waste themselves on trifles. Therefore, behind every poetic work of those times there is certainly hidden an entire Universe, filled with miracles - often dangerous for those who carelessly awaken the dozing lines.
Max Fry. "Chatty Dead"
I gave one of my clumsy hippopotamuses this heavenly tail:...
Mayakovsky! Your poems do not warm, do not excite, do not infect!
- My poems are not a stove, not a sea, and not a plague!
Vladimir Vladimirovich Mayakovsky
Poems are our inner music, clothed in words, permeated with thin strings of meanings and dreams, and therefore, drive away the critics. They are just pathetic sippers of poetry. What can a critic say about the depths of your soul? Don't let his vulgar groping hands in there. Let poetry seem to him like an absurd moo, a chaotic pile-up of words. For us, this is a song of freedom from a boring mind, a glorious song sounding on the snow-white slopes of our amazing soul.
Boris Krieger. "A Thousand Lives"
Poems are the thrill of the heart, the excitement of the soul and tears. And tears are nothing more than pure poetry that has rejected the word.
The beautiful, masterpiece works of Fyodor Tyutchev, dedicated to landscape lyrics, occupy their rightful place in the vast Russian literature. In his poetic works, the author skillfully combined traditional Russian motifs and classical European features of the literary genre.
The creative legacy of Fyodor Tyutchev, which passes from generation to generation, reaches 400 works. He devoted almost all his time to the diplomatic service, therefore, there was no time left to create literary masterpieces. But this did not stop the author from replenishing the treasury of Russian literature with wonderful works that can be attributed to classical romanticism. One of these works is “Autumn Evening”.
At the time of writing his poem, the poet was far from his homeland and was madly homesick and missed her. That is why, one autumn evening, Fyodor Tyutchev created such an exciting, gentle, elegant poetic work.
At first glance, the author’s creation is filled with extraordinary sadness, because it is in the fall that nature dies and life stops. A gloomy evening brings to mind thoughts of old age. However, the author did not want to create a dreary poetic work, therefore, from the very first lines Tyutchev writes about the serenity of the evenings that he observes.
The poet caught exactly that moment when the sun setting beyond the horizon touches the treetops with its rays, making them bright and shining. The author called such a moment “the smile of fading.”
In this work, the author does not divide nature into living and nonliving. He thinks that a person copies everything that surrounds him every day. Therefore, for him, autumn is a period of full maturity, when each of us can appreciate and realize the passing moments of life.
Tyutchev expresses the admiration he feels for natural phenomena. He talks about their cyclical nature. After all, there is no need to be sad. The dreary autumn will be replaced by a snowy, fluffy winter. And then, the trees and shrubs will wake up again and turn green with lush foliage. And every person who, together with nature, has gone through a cyclical circle, will acquire knowledge and wisdom. And they will help him in the future.
The landscape lyrics of the poet Fyodor Tyutchev rightfully occupy their rightful place in Russian literature of the 19th century. And this is not surprising, since the author of numerous poems about the beauty of nature managed to organically combine the traditions of Russian and European literature in his works. The poems of Fyodor Tyutchev are in the spirit of classical odes, both in style and content, but have a much more modest size. At the same time, they contain European romanticism, which is associated with Tyutchev’s passion for the work of such poets as Heinrich Heine and William Blake.
The literary heritage of Fyodor Tyutchev is small and numbers about 400 works, since the author devoted his entire life to diplomatic public service, finding rare free hours for creativity. However, a magnificent example of classical romanticism is his poem “Autumn Evening,” written in 1830. At this time, Fyodor Tyutchev was in Munich, acutely feeling not only loneliness, but also longing for his homeland. Therefore, an ordinary October evening inspired the poet not only with sad memories, but also set him in a lyrical-romantic mood, which, in turn, prompted him to write a very elegant, exciting and filled with deep philosophical meaning poem called “Autumn Evening.”
It would seem that autumn itself evokes a feeling of melancholy, which is subconsciously associated with the fading of life, the completion of another cycle that makes a person older. Approximately the same feelings are evoked by the evening twilight, which Symbolists associate with old age and wisdom. However, in Tyutchev’s time, it was not customary in literature to express oneself through symbols, so the author tried to find positive aspects in the obviously sad combination of autumn and evening, emphasizing from the first lines of the poem that the “brightness of autumn evenings” has a special, inexplicable charm. Watching the autumn twilight fall on the “sad, orphaned land,” the poet was able to capture the moment when the last rays of light touched the colorful crowns of trees, flashing in the bright foliage. And Fyodor Tyutchev compared this amazingly beautiful phenomenon with the “gentle smile of withering” of nature. And - he immediately drew a parallel with people, noting that among intelligent beings such a state is called “divine modesty of suffering.”
It is noteworthy that in the poem “Autumn Evening” the poet does not separate such concepts as living and inanimate nature, rightly believing that everything in this world is interconnected, and a person often copies in his gestures and actions what he sees around him. Therefore, autumn in the works of Fyodor Tyutchev is associated with spiritual maturity, when a person realizes the true price of beauty and regrets that he can no longer boast of a fresh face and purity of look. And the more he admires the perfection of nature, in which all processes are cyclical and at the same time have a clear sequence. A huge mechanism, launched by an unknown force, never fails. Therefore, a feeling of lightness and joy is mixed with the slight sadness that is inspired by trees shedding their leaves, early evenings and gusty cold winds. After all, autumn will be replaced by winter, and after that the world around us will again change beyond recognition and be full of rich spring colors. And a person, having gone through the next life cycle, will become a little wiser, having learned to find sensual pleasure in every moment he lives and to appreciate any time of the year, depending on the vagaries of nature, his own preferences and prejudices.
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On one of his visits to Russia, after eight years of service in the Russian mission in the Bavarian kingdom, that is, in the fall of 1830, Tyutchev, suddenly inspired by the picturesque picture of the autumn withering of nature, instantly sketched 12 lines of a magnificent, amazing poem "Autumn evening".
Perhaps it can be classified as classical romanticism. It is impossible to classify it as a banal landscape lyric, because it is so openwork, intricate And metaphorical his philosophical canvas. The brilliant expression “the gentle smile of withering” is continued by the no less brilliant rhyme “the divine modesty of suffering.”
The beauty of the fading autumn nature of the middle zone is manifested in the enchanting abundance of the most excellent epithets: “crimson leaves”, “ominous shine and variegation of trees”, “foggy and quiet azure” and others no less expressive. But at the same time, Tyutchev uses the effect of muting, pastel colors in the picture of fading nature he creates: meek, foggy, light, bashful. The entire palette of Tyutchev’s work, with its “ominous shine” and “variegated trees”, “crimson” color of leaves, “foggy” azure, is literally permeated with a premonition of the imminent and inexorable approach of winter oblivion: “... and on everything // That gentle smile of withering... "
But it would be extremely naive, as mentioned above, to perceive Tyutchev’s poem as an example of landscape lyricism. This is not true at all. The quintessence of the description of nature by the majority of Russian poets, in particular the paintings of the evenings of Russian autumn, is a demonstration of their common essence (moreover, the favorite time of day in the Russian position is the evening, which clearly characterizes the worldview of Russian poets: minor-pessimistic). For a Russian poet, what is important is not the translation of an aesthetic impression, but its understanding as a natural phenomenon.
The declared analogy between natural phenomena and the phenomena of human life testifies to the synthesis in Tyutchev’s work of the human world and the natural world. This is a purely pantheistic view. Tyutchev's nature is anthropomorphic: it breathes, feels, is sad and rejoices. For Tyutchev, autumn is gentle suffering, the painful smile of nature.
In a word, the amazing beauty of the autumn evening motivates Tyutchev to generalizations about human fate and the unearthly essence of suffering. But what is so wonderful about this poem by Tyutchev is the clearly felt, although not written down, joy of the upcoming next spring reincarnation, when, after a winter sleep, nature will again demonstrate the continuity of the life cycle, coloring the world with bright and rich colors and shades.
When writing this poem, Tyutchev used iambic pentameter And cross rhyme.
There are in the brightness of autumn evenings
Touching, mysterious charm!..
The ominous shine and diversity of trees,
Crimson leaves languid, light rustle,
Misty and quiet azure
Over the sad orphaned land
And, like a premonition of descending storms,
Gusty, cold wind at times,
Damage, exhaustion - and everything
That gentle smile of fading,
What in a rational being we call
Divine modesty of suffering!
October 1830
Plan
1.Introduction
2. Features of size, rhyme and ideological content
3. Artistic techniques and their role in the text
4.Conclusion
F.I. is rightfully considered one of the most brilliant landscape poets of the nineteenth century. His poems not only depict the beauty of nature, but also draw an invisible parallel between it and the human world. And even though he devoted most of his life to state activities, among his four hundred poems, each is certainly the greatest creation of the poetic and philosophical thought of a true creator. This work was written by the poet in 1830.
The text is created in iambic pentameter with cross rhyme. The structure of the verse itself is surprising, because it consists of one complex sentence that can be read in one breath. Undoubtedly, this was not done by accident. The image of autumn, as a moment of preparation for a kind of death - sleep in nature, is so short-lived that this syntactic feature is precisely intended to emphasize.
Created in a romantic vein, the poem is an example of landscape lyricism, but at the same time it is filled with deep philosophical meaning, which is contained in the figurative metaphorical nature of autumn, as a time of a certain maturity in human life. The poet was able to discern in the dull autumn landscape that instant beauty, sometimes elusive to the gaze of every person, which is why the concept of “lightness of the evenings” arises.
The use of epithets “touching, mysterious charm” emphasizes the beauty of the moment, the mystery of the changes occurring in nature that we take for granted. The metaphorical epithet “sinister brilliance” suggests that all this beauty is about to disappear, and this is the insidiousness of the laws of the universe.
The use of assonances with “and”, “a”, “e”, “u” creates a certain length of poetic lines, bringing a feeling of despondency into the reader’s soul. Alliterations with “l”, “s”, “r” make it possible to convey the smoothness of movements contained in the fall of a leaf, the fluttering of branches from a gust of breeze. The personification “sad orphaned earth” so succinctly depicts the autumn landscape, in which the bare crowns of trees are immediately imagined, as if someone had deliberately stolen this beauty and decoration from the world.
But, despite the fact that everywhere the lyrical hero observes the damage brought by the autumn season, he notes a smile in every detail. And this is not without reason, because it is common knowledge that after autumn comes winter, and the long-awaited spring, when nature will be reborn again and appear in all its dazzling splendor. This is the law of life, and this is precisely its charm. It is in the last line that the poet draws a parallel between all the described natural sensations and man. After all, in the life of each of us there comes our own autumn, a time of wisdom, self-discovery, a time when we look back with a gentle smile, a time when we begin to appreciate every moment of our life.
It is in human autumn that we realize how fleeting life is, that it passes as instantly as autumn, that we no longer have the former beauty and splendor that we were so proud of earlier. But a person also has a kind of spring in his life, a new rebirth, which he will certainly feel in his children and grandchildren. How subtly Tyutchev noticed such burning questions in this poem. How skillfully he depicted everything living and inanimate as a single whole, endowing them with similar features and sensations, as if deliberately reminding us, the readers, of true values.
