In the sandy steppes of Arabia. Analysis of the Poem “Three Palms”

Reading M. Yu. Lermontov’s poem “Three Palms,” you involuntarily think: have I brought much benefit to the world, or maybe I belong to the people who want to warm themselves by the fire of someone else’s misfortune? Lermontov created real masterpieces. For example, his landscape lyrics. How vividly he knew how to convey the beauty of nature in all its colors, with all its moods! Many of the poet’s works are filled with sadness and tragedy, and the author saw the cause of this tragedy in the unjust structure of the world. An example is his poem “Three Palms”.
The poem “Three Palms” surprises with its colorfulness and strength. It also made a great impression on the outstanding Russian critic V. G. Belinsky. “What imagery! - so you see everything in front of you, and once you see it, you will never forget it! A marvelous picture - everything sparkles with the brightness of oriental colors! What picturesqueness, musicality, strength and strength in every verse...,” he wrote.
In Syria, this poem by Lermontov was translated into Arabic, and children in schools learn it by heart.

The action takes place against the backdrop of beautiful oriental nature.

Three palm trees
(Eastern legend)

IN sandy steppes 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 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?..
Yours is wrong, oh heaven, holy sentence!”........

Vasily Ivanovich Kachalov, real name Shverubovich (1875-1948) - leading actor of Stanislavsky's troupe, one of the first People's Artists of the USSR (1936).
The Kazan Drama Theater, one of the oldest in Russia, bears his name.
Thanks to the outstanding merits of his voice and artistry, Kachalov left a noticeable mark in such a special type of activity as the performance of works of poetry (Sergei Yesenin, Eduard Bagritsky, etc.) and prose (L. N. Tolstoy) in concerts, on the radio, in gramophone recordings records.

IN famous poem Mikhail Lermontov's "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 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.

There is only a spring left 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 to hate 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...

Picture or drawing Three palm trees

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"Three Palms" "THREE PALMS", a ballad by L. (1839), the themes and images of the cut - defeated beauty, the fatality of 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 from “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 dep. words: “By the roots elastic ax knocked” 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 alien human world: 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; artistic solution to this philosophical theme Lermontov embodies 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; tired traveler plunges into 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 the bow, / The Arab set the black horse on fire.” Thus, “Three Palms” (if we consider literary poetry in “the reverse perspective, as a product of a single literary process in Russian literature of the 1st half of the 19th century), contrary to chronology, turns out to be unique” 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" - last word in almost 30 years of 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.

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 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

See what “Three Palms” is in other dictionaries:

"Three Palms"- THREE PALMS, about a one-act ballet to music. A. A. Spendiarova, stage. and ballet E. Ya. Chang. 11/29/1964, T r im. Spendiarova, art. M. Avetisyan, conductor A. M. Voskanyan; Three palm trees J. A. Kalantyan, A. G. Marikyan, L. I. Mityai, Stream V. Sh.… … Ballet. Encyclopedia

TRANSLATIONS AND STUDY OF LERMONTOV IN THE LITERATURES OF THE PEOPLES OF THE USSR. The connections between L.’s creativity and the literature of the peoples of the USSR are numerous and diverse, they were implemented in different ways and were realized in individual literature, and arose in different times depending on... ... Lermontov Encyclopedia

MUSIC and Lermontov. Music in the life and work of L. The first muses. L. owes his impressions to his mother. In 1830 he wrote: “When I was three years old, there was a song that made me cry; I can’t remember her now, but I’m sure that if I had heard her, she would... ... Lermontov Encyclopedia

TRANSLATIONS AND STUDIES OF LERMONTOV ABROAD. The degree of fame of L. in a particular country largely depends on the intensity of cultural ties of this country with Russia in the past, and then with the USSR. His poems and prose gained the greatest popularity in... ... Lermontov Encyclopedia

RUSSIAN LAKES and Lermontov's legacy. L.'s creativity has found an interpretation. in one of the types of Nar. decorative arts and crafts in pictorial miniatures, executed on papier-mâché products (coated with black varnish) by masters. artist crafts... ... Lermontov Encyclopedia

ILLUSTRATION OF Lermontov's WORKS. During the life of the poet, his production. not illustrated. The exception is 3 cars. illustrations preserved in manuscripts: frontispiece to the poem “ Caucasian prisoner"(gouache, 1828), cover of the poem "Circassians" (pen,... ... Lermontov Encyclopedia

Russian composer (born in 1871), student of N. Klenovsky and Rimsky Korsakov. His main works: quartet based on words by Pushkin “Bird of God”, minuet “Berceuse”, concert overture for orchestra, quartet based on words… … Big biographical encyclopedia

- (1871 1928), sov. composer and conductor. In 1895 he wrote a romance based on L.’s poems: “They loved each other” (included in his collection: Four Romances for Voice with Accompaniment of Php., St. Petersburg, 1899), in 1901 the romance “Branch of Palestine” for a vocal quartet with... ... Lermontov Encyclopedia

"Three Palms" Mikhail Lermontov

(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.

Analysis of Lermontov's poem "Three Palms"

Mikhail Lermontov's poem "Three Palms" was created in 1838 and is a poetic parable, which contains a deep philosophical meaning. The main characters of the story are three palm trees in the Arabian desert, where no human has ever set foot. A cold stream flowing among the sands turned the lifeless world into a magical oasis, “kept, under the canopy of green leaves, from the sultry rays and flying sands.”

The idyllic picture painted by the poet has one significant flaw, which is that this paradise is inaccessible to living beings. Therefore, proud palm trees turn to the Creator with a request to help them fulfill their destiny - to become a refuge for a lonely traveler lost in the dark desert. The words are heard, and soon a caravan of traders appears on the horizon, indifferent to the beauties of the green oasis. They do not care about the hopes and dreams of the proud palm trees, which will soon die under the blows of axes and become fuel for the fires of cruel guests. As a result, the blooming oasis turns into a pile of “gray ashes”, the stream, having lost the protection of green palm leaves, dries up, and the desert takes on its original appearance, gloomy, lifeless and promising inevitable death to any traveler.

In the poem “Three Palms” Mikhail Lermontov touches on several current issues. The first of these concerns the relationship between man and nature. The poet notes that people are cruel by nature and rarely appreciate what gives them the world around us. Moreover, they are inclined to destroy this fragile planet in the name of their own benefit or momentary whim, not thinking that nature, not endowed with the ability to defend itself, still knows how to take revenge on its offenders. And this revenge is no less cruel and merciless than the actions of people who believe that the whole world belongs only to them.

The philosophical meaning of the poem “Three Palms” is of a pronounced religious nature and is based on the biblical concept of the processes of the universe. Mikhail Lermontov is convinced that you can ask God for anything. However will the petitioner be happy with what he receives? After all, if life goes on in its own way, as it was destined from above, then there are reasons for this. An attempt to refuse humility and acceptance of what is determined by fate can lead to fatal consequences. And the theme of pride that the poet raises is close not only to him, but also to his generation - reckless, cruel and not realizing that a person is just a puppet in someone’s hands, and not a puppeteer.

The parallel that Mikhail Lermontov draws between the life of palm trees and people is obvious. Trying to fulfill our dreams and desires, each of us strives to speed up events and achieve the intended goal as soon as possible. However, few people think about the fact that end result can bring not satisfaction, but deep disappointment, since the goal often turns out to be mythical and does not live up to expectations at all. In turn, disappointment, which in the biblical interpretation is called despondency, is one of the greatest human sins, as it leads to self-destruction of both soul and body. This is a high price to pay for the pride and self-confidence that most people suffer from. Realizing this, Mikhail Lermontov tries, with the help of a parable poem, not only to understand the motives of his own actions, but also to protect others from the desire to get what is not intended for them. After all, dreams tend to come true, which often turns into a real disaster for those who place their desires much higher than their capabilities.

Mikhail Lermontov's poem "Three Palms" was created in 1838 and is a poetic parable with a deep philosophical meaning. The main characters of the story are three palm trees in the Arabian desert, where no human has ever set foot. A cold stream flowing among the sands turned the lifeless world into a magical oasis, “kept, under the canopy of green leaves, from the sultry rays and flying sands.”

The idyllic picture painted by the poet has one significant flaw, which is that this paradise is inaccessible to living beings. Therefore, proud palm trees turn to the Creator with a request to help them fulfill their destiny - to become a refuge for a lonely traveler lost in the dark desert. The words are heard, and soon a caravan of traders appears on the horizon, indifferent to the beauties of the green oasis. They do not care about the hopes and dreams of the proud palm trees, which will soon die under the blows of axes and become fuel for the fires of cruel guests. As a result, the blooming oasis turns into a pile of “gray ashes”, the stream, having lost the protection of green palm leaves, dries up, and the desert takes on its original appearance, gloomy, lifeless and promising inevitable death to any traveler.

In the poem “Three Palms,” Mikhail Lermontov touches on several pressing issues at once. The first of these concerns the relationship between man and nature. The poet notes that people are cruel by nature and rarely appreciate what the world around them gives them. Moreover, they are inclined to destroy this fragile planet in the name of their own benefit or momentary whim, not thinking that nature, not endowed with the ability to defend itself, still knows how to take revenge on its offenders. And this revenge is no less cruel and merciless than the actions of people who believe that the whole world belongs only to them.

The philosophical meaning of the poem “Three Palms” is of a pronounced religious nature and is based on the biblical concept of the processes of the universe. Mikhail Lermontov is convinced that you can ask God for anything. However will the petitioner be happy with what he receives? After all, if life takes its course as it is destined from above, then there are reasons for this. An attempt to refuse humility and acceptance of what is determined by fate can lead to fatal consequences. And the theme of pride that the poet raises is close not only to him, but also to his generation - reckless, cruel and not realizing that a person is just a puppet in someone’s hands, and not a puppeteer.

The parallel that Mikhail Lermontov draws between the life of palm trees and people is obvious. Trying to fulfill our dreams and desires, each of us strives to speed up events and achieve the intended goal as soon as possible. However, few people think about the fact that the end result may not bring satisfaction, but deep disappointment, since the goal often turns out to be mythical and does not live up to expectations at all. In turn, disappointment, which in the biblical interpretation is called despondency, is one of the greatest human sins, as it leads to self-destruction of both soul and body. This is a high price to pay for the pride and self-confidence that most people suffer from. Realizing this, Mikhail Lermontov tries, with the help of a parable poem, not only to understand the motives of his own actions, but also to protect others from the desire to get what is not intended for them. After all, dreams tend to come true, which often turns into a real disaster for those who place their desires much higher than their capabilities.

"Three Palms" Mikhail Lermontov

(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 does he ask 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.