The poem “For the explosive valor of the coming centuries” was conceived in 1931, but the date of its final edition was 1935. During this time, many events in the life of the country and in the life of the poet were rethought. Mandelstam replaced Leningrad with Moscow. Between the first and second editions there is the famous epigram on Stalin, written at the end of 1933, for which Mandelstam was first imprisoned in 1934, a suicide attempt, after which the exile in Cherdyn was allowed to be changed to Voronezh. The poems that made up the Voronezh notebook were written there.
Since 1933, there has been a turning point in Mandelstam’s work. He admitted to Akhmatova that these days lyrics should be civil.
Literary direction and genre
The poem contains many difficult-to-interpret symbols, but on the whole it remains close to the poetry of Acmeism, which notices materiality in everything, even in ideas.
The poem is an example of Mandelstam's civic lyricism. The image of a century, a turning point, found in several of the poet’s poems, is interpreted not philosophically, but from the point of view of a cog caught in the wheel of the Soviet machine, which has not lost its human dignity.
Theme, main idea and composition
The poem consists of four quatrains. In the first quatrain, the lyrical hero talks about his sacrifice made in the name of a happy future (the valor of future centuries) and the dignity of people. He was forced to give up some moral principles, lose his reward in the other world (at the feast of his fathers), his own fun and honor.
In the second stanza, the lyrical hero enters into a dialogue with his wolfhound age. This is no longer a confused animal with a broken back, as in the poem of 1922; of all the qualities that remain in the beast, cruelty remains. The lyrical hero resigns himself to his fate. He is ready to flee to the most remote places (Siberia) just to escape the bloody wheel.
The third stanza contrasts the bloody deeds of unworthy people and the purity of nature.
The fourth stanza is again the lyrical hero’s appeal to the century, an attempt to come to an agreement with it. The lyrical hero hopes that the wolfhound will spare him, because the hero is “not a wolf by blood.”
The refrain in the second and fourth stanza defines the main idea of the poem: the lyrical hero is not a wolf by blood, he chooses to leave society or reality, because, on the one hand, he is weak to fight, on the other, he has such strength that only an equal can to kill him, but there were no equals.
The theme of the poem is the place of a noble man in the era of the wolfhound century.
Paths and images
The first stanza is symbolic, which is not typical for Mandelstam’s acmeistic poetry. For the sake of high goals, for the sake of restoring the connection of centuries, the lyrical hero, like Hamlet, is ready to make any sacrifice, material and spiritual, even ready to sacrifice honor. The most controversial symbol is the cup at the feast of the fathers. Either these are worthy ancestors of the lyrical hero, or poets of previous eras who have a clear civic position and have received awards throughout the centuries, erecting a miraculous monument to themselves.
In the second stanza, Mandelstam returns to earthly tangible images. The century is personified, called a wolfhound. The metaphorical image of the sleeve of a hot fur coat of the Siberian steppes is a sign of security, shelter. There is something archetypal in the comparison of the hero with a hat tucked into the sleeve of a hot fur coat (return to a place of rest, the womb of the mother).
In the third stanza, the society of people is contrasted, with its worst representatives, cowards and flimsy dirt (metaphor) and virgin nature, the symbol of purity of which is the blue foxes (which do not live in the steppe zone of Siberia, but only in the tundra). The contrast of the red color (blood) and the dark colors of dirt, the wheel and the shining blue strengthens the image, in the subtext of which is the blue noble blood of a person who has not become a coward, a scoundrel or a traitor.
In the fourth stanza, the space of freedom expands to infinity. It also has the colors of the Yenisei water and the dark night sky with shining stars. Thus, the blue color palette gradually darkens from blue (Arctic fox) to blue (Yenisei) and almost black (night sky).
Metaphorical epithets are colored positively (explosive valor, high tribe, primeval beauty) or negatively (flimsy mud, bloody blood).
The main idea is contained in the last two lines. There was no equal who would kill the poet. He died of typhus in the Vladivostok transit prison, unable to escape from the wolfhound century.
Meter and rhyme
The poem is written in multi-foot anapest with a clear rhythm without pyrrhichs. Cross rhyme, masculine rhymes. The urgency of the theme corresponds to the clarity of the formal organization of the poem.
- “Notre Dame”, analysis of Mandelstam’s poem
- "Leningrad", analysis of Mandelstam's poem
The plot of O.E. Mandelstam's poem "For the explosive valor of the coming centuries...", written in the thirties of the twentieth century, has an autobiographical basis. Like many other cultural and artistic figures, the author of these lines fell into the millstone of Stalinist repression.
Hardly experiencing the suffocating social atmosphere of that time, O.E. Mandelstam showed an example of civil courage, continuing to write what he could not remain silent about.
The personality of the lyrical hero in this work is unique. The main thing for her is to maintain self-respect, not to become like the bestial essence of wolves, contrary to the laws of a cruel era.
In the first stanza, O.E. Mandelstam emphasizes the high price that was paid in Stalin’s time for the right to remain true to one’s position in life:
I lost even the cup at the feast of my fathers,
And fun, and your honor.
The last loss, placed at the end of the list, turns out to be undoubtedly the most important and irreparable for O.E. Mandelstam. Only the man himself, falling into the category of so-called “enemies of the people,” understood that he was innocent of anything and hoped that the authorities would sort it out and let him go. Many of his acquaintances sincerely believed in the truth of false, sometimes absurd accusations, and turned away. For the prisoners of Stalin's camps, this was perhaps one of the most difficult mental tests.
Thoughts about personal fate in the soul of the lyrical hero are inextricably linked with thoughts about the historical content of the era as a whole. The poet N. Glazkov wrote:
The twentieth century is an extraordinary century:
The better a century is for a historian,
That makes it even sadder for a contemporary.
The same idea is also expressed by O. Mandelstam, but it is expressed in a more figurative form:
Vek-wolfhound rushes onto my shoulders.
The lyrical hero laments that he “lost even the cup at the feast of his fathers.” This image of the cup of the fathers in the poem is extremely interesting. As is known, the cup was passed around in a circle at a feast in ancient times. She served as a symbol of life and fertility.
In the contemporary era of O. Mandelstam, the continuity of generations was disrupted. The best that had been accumulated over centuries and passed on was destroyed. It was a harsh time of the collapse of ideals and revaluation of values. Based on this, it becomes clear why the lyrical hero dreams of “a hot fur coat of the Siberian steppes. He is not afraid of the harsh climate of Siberia. He is a simple, peaceful person who needs, above all, peace of mind:
So as not to see a coward or a flimsy filth,
No bloody blood in the wheel,
So that the blue foxes shine all night
To me in its primeval glory.
The region “where the Yenisei flows” is idealized and depicted in the lightest and purest colors. O.E. Mandelstam emphasizes that this beauty is primitive, that is, given to man as a kind of immaculate value. It is concrete and visible, in contrast to the very abstract image of the “explosive valor of the coming centuries,” which may not come, and if it does, it will be in the lives of other generations.
The image of the “wolfhound century” looks voluminous and memorable in the poem. The bloody beginning of the twentieth century throughout the world, and especially in Russia, outraged the minds of humanist writers. The best years of an entire generation were poisoned by the ruthless carnage of the civil war. Social strife has embittered people. Many have undergone a reassessment of values. The landmarks that have been established for centuries have shifted. In the thirties, civil confrontation took other, more sophisticated forms, but its essence continued to be preserved: repression, denunciations, persecution of intelligentsia of noble origin.
O.E. Mandelstam's poem "For the explosive valor of the coming centuries..." is an indictment for many of the poet's contemporaries. He accuses some of the cruelty of tyranny, others of cowardice. Moreover, both of these roles seem unattractive to O.E. Mandelstam, unworthy of a real person, therefore Siberian exile is perceived as the only possible and even to some extent happy way out for a person who wants to preserve spiritual purity, his own dignity, and finally, the integrity of his personality and the inviolability of ideals.
Lesson notes on literature in 11th grade.
Poem by O.E. Mandelstam "For explosive valor"
centuries to come..." (Perception, interpretation, evaluation.)
Goals
Educational: learning to analyze a lyric poem, repeating literary terms
Developmental: developing interest in the poetic heritage of Russian literature
Educational: fostering active citizenship.
Equipment: portrait of O.E. Mandelstam, tape recorder, audio CD with recordings of songs based on Mandelstam’s poems,
sheet map for analysis.
Progress of the lesson.
- Organizational moment.
- Checking homework: perception of the poem. Beginning of the analysis of the poem.
- Working with a sheet map.
Sheet - map for analysis of O.E. Mandelstam’s poem “For the explosive valor of the coming centuries...”
Lines of the poem | Question | Additional information, hint | Answer |
1. What genre can this poem be classified as? And in this regard, what is the specificity of his stanza? | STANCES - ( from Italian stanza - stop) - a poem, usually consisting of quatrains, each of which is complete in meaning and thematically, and ends with a period. For example: “Am I wandering along noisy streets” by A.S. Pushkin. ELEGY - (Greek elegeia< от elegos - жалобная песня) - жанр лирики: стихотворение медитативного (от лат. meditatio - углубленное размышление) или эмоционального содержания, передающее глубоко личные, интимные переживания человека, как правило, проникнутые настроениями грусти, светлой печали. Чаще всего написано от первого лица. Наиболее распространенные темы Э. - созерцание природы, сопровождающееся философскими раздумьями, любовь, как правило, неразделенная, жизнь и смерть и др. и др MESSAGE - poetic genre: a poetic letter, a work written in the form of an address to someone. and containing appeals, requests, wishes, etc. There are lyrical, friendly, satirical, journalistic, etc. P. | In terms of genre, this poem is closest to stanzas, since it consists of quatrains, each of which is complete in meaning and thematically, and ends with a period (the third stanza - with an ellipsis). In this regard, the specificity of the stanza is that each stanza represents a completed unit of the entire semantic whole of the poem. |
|
For the rattlesnake valor of the coming centuries, For the high tribe of people I lost and cups at the feast of the fathers, And fun, and your honor. | 2. What do these lines say? Who could say about himself: “I suffered for people.” What technique is used in the last line of the stanza? For what purpose? What motive appears in the poem? And in this regard, what can you say about the lyrical hero of the poem? | We need to turn to biblical proportions. In one of his poems, Mandelstam wrote: Or life could whistle like a starling, | Jesus Christ could have said this about himself. This means that for Mandelstam the mission of a poet is akin to the mission of Christ and the prophet. He, too, must convey his and God’s word to people; he cannot remain silent. Silence for him is tantamount to death. But the payment for the poetic and prophetic gift is everything that is dear in this life (this is emphasized by the multi-union). The motive of sacrifice arises (the image of the cup in this case is not accidental). As researchers note, the personality of the lyrical hero and the author are so close that we can talk about their identity. |
3. What is the role of inversion in this stanza? | To find inversion, you need to underline the subject, predicate and objects. | Inversion focuses attention on the phrase “for explosive valor”, “for the high tribe” (here we find an increase in the sound series of alliteration I suffer, I eat) |
|
For the rattlesnake valor of the coming centuries, | 4. What associations does the word “explosive” evoke in you? How do these associations influence the word “valor”? | RATTLE | Ozhegov's Explanatory Dictionary Aya, -ee; -uch (obsolete). Producing loud sounds, thundering. G. waterfall. * A rattlesnake is a poisonous snake; in some species, at the end of the tail there is a kind of rattle - rattling horny rings. Mercury fulminate is an explosive substance - white or gray powder. Explosive gas - an explosive mixture of hydrogen and oxygen. Dostoevsky “The Brothers Karamazov”: “Oh, in my opinion, in my pitiful, earthly Euclidean mind, I only know that there is suffering, that there are no guilty ones, that everything comes out of each other directly and simply, that everything flows and is balanced,” but this is just Euclidean nonsense, because I know this, because I cannot agree to live by it! What does it matter to me that there are no guilty parties and that everything follows directly and simply from one another, and that I know this - I need retribution, otherwise I will destroy myself. And retribution is not in infinity somewhere and someday, but here already on earth, and so that I can see it myself. I believed, I want to see for myself, and if by that hour I am already dead, then let them resurrect me, because if everything happens without me, it will be too offensive. I didn’t suffer for the same reason, so that with myself, my atrocities and suffering, I could manure someone’s future harmony. I want to see with my own eyes how the doe lies down next to the lion and how the slaughtered one gets up and embraces the one who killed him.” | The meaning of the word “valor” is discredited by the word “explosive.” Perhaps there is a echo here with Dostoevsky - with the words of Ivan Karamazov about the price of progress, the so-called. future harmony. |
The wolfhound century rushes onto my shoulders, But I am not a wolf by blood, You better stuff me like a hat into your sleeve Hot fur coats of the Siberian steppes. | 5. What new image appears in this poem? How do you understand these words? Pay attention to the highlighted word. | An image of the century appears with a characteristic epithet - “wolfhound”. This is the embodiment of a hostile principle, crushing everything in its path Mandelstam is not a wolf. He states this openly. But he is not a wolfhound either. He is not from the world of two alternatives at all. He is from another world, where there are no wolves and wolfhounds. It’s as if he wants to return to this other dimension - even at the cost of exile (Siberia). There there is hope to find true inner freedom (Pushkin: “On the free road...”). A motive for choice arises. |
|
6. To what times do the words “tribe” and “primitive” refer? | The lyrical hero wants to leave not only his space, but also his time. |
||
So as not to see a coward or a flimsy filth, No bloody bones in the wheel, _________________ To me in its primeval glory. | 7. What punctuation mark should appear at the end of the second stanza? What technique is used here and for what purpose? Compare the visual images of the two parts of this stanza. What can you say about their correlation? What a color contrast present here? | PARCELLATION (in literature), an expressive syntactic device of written literary language: a sentence is intonationally divided into independent segments, graphically highlighted as independent sentences (“And again. Gulliver. Stands. Slouching” by P. G. Antokolsky). | At the beginning of the stanza there is a subordinating conjunction. According to grammar rules, there should be a comma here. This is a parcellation technique. It is used to give the dependent sentence an independent meaning. The technique of antithesis contrasts hellish existence with harmonious existence. “The poem “For the explosive valor of the coming centuries...” is built on the dissonance of a singing, romance rhythm and a rigid figurative structure - “bones in a wheel”, “age-wolfhound”, “coward” and “flimsy mud.” This is an image of that unbearable existence that the lyrical hero is ready to exchange for “Siberia”: “You better stuff me like a hat into the sleeve / of the hot fur coat of the Siberian steppes...” This is how the poet prophesies his future fate, calling upon himself (poetically and realistically) Siberian exile. The poet dreams of Siberia as a world where pristine natural harmony has been preserved, where “blue arctic foxes” shine in “primordial beauty” and “the pine tree reaches the star.” In this figurative connection - “pine trees... to the star "- as the bearer of the main poetic meaning one can see not only the image of the mighty Siberian nature, but also the image agreement between earth and sky , the poet’s dream of the desired harmony of existence, most likely attributed to the “coming centuries.” (History of Russian literature of the 20th century (20-90s). Basic names. Edited by S. I. Kormilov.) |
So as not to see a coward, | 8. Who are we talking about here? | “So as not to see a coward” means “so as not to see oneself in the imposed role of a coward.” |
|
...no flimsy dirt... | 9. Why did the poet use this form of this word? | His disgust towards the world of general denunciation and betrayal around him is emphasized. |
|
No bloody bones in the wheel, | 10. What associations do you have with the word “wheel”? | Bloody machinery, mechanics. A properly functioning structure, unconditionally endowed with its role and a goal known only to its creator engineers. “It is possible that the correct operation of the wheel directly contributes to the “valor of the coming centuries” (K. Ankundinov) |
|
So that the blue foxes shine all night | 11. What artistic device is used in this line? | Metaphor - we are most likely talking about the northern lights. |
|
Take me into the night where the Yenisei flows, | 12. Why does the image of this particular river appear? | ||
And the pine tree reaches the star, | 13. What did Lev Anninsky write about Mandelstam’s images of trees? What means of artistic expression is used here? | ...Russia is not in Mandelstam’s early poems, except for the earliest ones, written by a fifteen-year-old Tenishevite in imitation of the sobbing muse of Nekrasov, and even closer - Nadson. I was swinging in a distant garden On a simple wooden swing And tall dark spruces I remember in a foggy delirium. Then these student groans subside, and it turns out that instead of Russia there is “something” in the world-historical calculation of entities that Russia should become. | Hyperbola. |
You better stuff me... Take me into the night... | 14. Who do you think these requests are addressed to? | To Stalin, or to fate, or to yourself. |
|
Because I am not a wolf by blood And only my equal will kill me. | 15. How do you understand these lines? What is repeat used for? If we consider the first stanza as a kind of exposition, then how can we characterize the composition of the poem? | MIS-EN-SCENE (French mise en scène - placement on stage), the location of the actors on the stage at one point or another of the performance. M.'s art is one of the most important elements of directing and acting. (Big Russian Encyclopedic Dictionary) _____ and. Placement of actors and stage settings at different points in the performance of the play.| adj. mise-en-scène, oh, oh. (Ozhegov's Explanatory Dictionary) In B. Pasternak we encounter approximately the same motif in the poem “Hamlet”: ...If only possible, Abba Father, Carry this cup past. I love Your stubborn plan And I agree to play this role, But now there is another drama And this time fire me. But the order of actions has been thought out And the end of the road is inevitable. I am alone. Everything is drowning in pharisaism. Living life is not a field to cross. | You can consider these lines as the development of action in the mise-en-scène of the poem. The repetition does not duplicate the state of the participants in the duel: “on the shoulders” means from behind (otherwise it would be “on the chest”), the word “equal” already speaks of a face-to-face duel, since this turned out to be inevitable. He did not want and could not be a passive, impersonal victim, an “unknown soldier” of the wheel of history - and entered into an unprecedented duel with his time. Mandelstam's poetry in the early 30s becomes poetry call |
16. In what size is the poem written? How does this help reveal the main idea of the work? | The poem is written in multi-foot anapest, this was supposed to make the tone and rhythm of the poem soft and smooth. But the cross male rhyme, as well as the absence of pyrrhic rhymes, gives the entire work a rigid, stable rhythm that corresponds to the ideological content. |
- Summing up.
- Homework: write an essay “Analysis of the poem by O.E. Mandelstam "For the explosive valor of the coming centuries..."
- Listening to an audio recording of a song based on the poem “For the explosive valor of the coming centuries...” to music
Poem by O.E. Mandelstam "For explosive valor"
centuries to come..." (Perception, interpretation, evaluation.)
educational: learning to analyze a lyric poem, repeating literary terms
developing: development of interest in the poetic heritage of Russian literature
educational: education of active citizenship.
Equipment: portrait of O.E. Mandelstam, tape recorder, audio CD with recordings of songs based on Mandelstam’s poems,
sheet map for analysis.
Progress of the lesson.
Organizational moment.
Checking homework (perception of the poem). Beginning of the analysis of the poem.
Working with a sheet map.
Sheet - a map for analyzing the poem by O.E. Mandelstam “For the explosive valor of the coming centuries...”
|
Lines of the poem |
Question |
Additional information, hint |
Answer |
|
1. What genre can this poem be classified as? And in this regard, what is the specificity of its stanza? |
STANCES- (from Italian stanza - stop) - a poem, usually consisting of quatrains, each of which is complete in meaning and thematically, and ends with a period. For example: “Am I wandering along noisy streets” by A.S. Pushkin. ELEGY- (Greek elegeia MESSAGE- poetic genre: a poetic letter, a work written in the form of an appeal to someone. and containing appeals, requests, wishes, etc. There are lyrical, friendly, satirical, journalistic, etc. P. |
In terms of genre, this poem is closest to stanzas, since it consists of quatrains, each of which is complete in meaning and thematically, and ends with a period (the third stanza is an ellipsis). In this regard, the specificity of the stanza is that each stanza represents a completed unit of the entire semantic whole of the poem. |
|
|
For the rattlesnake valor of the coming centuries, For the high tribe of people I lost And cups at the feast of the fathers, AND fun, And your honor. |
2. What do these lines say? Who could say about himself: “I suffered for people.” What technique is used in the last line of the stanza? For what purpose? What motive appears in the poem? And in this regard, what can you say about the lyrical hero of the poem? |
We need to turn to biblical proportions. In one of his poems, Mandelstam wrote: And life could whistle like a starling, |
Jesus Christ could have said this about himself. This means that for Mandelstam the mission of a poet is akin to the mission of Christ and the prophet. He, too, must convey his and God’s word to people; he cannot remain silent. Silence for him is tantamount to death. But the payment for the poetic and prophetic gift is everything that is dear in this life (this is emphasized by the multi-union). The motive of sacrifice arises (the image of the cup in this case is not accidental). As researchers note, the personality of the lyrical hero and the author are so close that we can talk about their identity. |
|
3. What is the role of inversion in this stanza? |
To find inversion, you need to underline the subject, predicate and objects. |
Inversion focuses attention on the phrase “for explosive valor”, “for the high tribe” (here we find an increase in the sound series of alliteration gr I feel sick gr eating) |
|
|
For rattling valor of the coming centuries, |
4. What associations does the word “explosive” evoke in you? How do these associations influence the word “valor”? |
RATTLE | Ozhegov's Explanatory Dictionary, -aya, -ee; -uch (obsolete). Producing loud sounds, thundering. G. waterfall. * A rattlesnake is a poisonous snake; in some species, at the end of the tail there is a kind of rattle - rattling horny rings. Mercury fulminate is an explosive substance - white or gray powder. Explosive gas - an explosive mixture of hydrogen and oxygen. Dostoevsky “The Brothers Karamazov”: “Oh, in my opinion, in my pitiful, earthly Euclidean mind, I only know that there is suffering, that there are no guilty ones, that everything comes out of each other directly and simply, that everything flows and is balanced,” but this is just Euclidean nonsense, because I know this, because I cannot agree to live by it! What does it matter to me that there are no guilty people and that everything follows directly and simply from one another, and that I know this - I need retribution, otherwise I will destroy myself. And retribution is not in infinity somewhere and someday, but here already on earth, and so that I can see it myself. I believed, I want to see for myself, and if by that hour I am already dead, then let them resurrect me, because if everything happens without me, it will be too offensive. I didn’t suffer for the same reason, so that with myself, my atrocities and suffering, I could manure someone’s future harmony. I want to see with my own eyes how the doe lies down next to the lion and how the slaughtered one gets up and embraces the one who killed him.” |
The meaning of the word “valor” is discredited by the word “explosive.” Perhaps there is a echo here with Dostoevsky - with the words of Ivan Karamazov about the price of progress, the so-called. future harmony. |
|
The wolfhound century rushes onto my shoulders, But I am not a wolf by blood, You better stuff me like a hat into your sleeve Hot fur coat Siberian steppes. |
5. What new image appears in this poem? How do you understand these words? Pay attention to the highlighted word. |
An image of the century appears with a characteristic epithet - “wolfhound”. This is the embodiment of a hostile principle, crushing everything in its path Mandelstam is not a wolf. He states this openly. But he is not a wolfhound either. He is not at all from the world of two alternatives. He is from another world, where there are no wolves and wolfhounds. It’s as if he wants to return to this other dimension – even at the cost of exile (Siberia). There there is hope to find true inner freedom (Pushkin: “On the free road...”). A motive for choice arises. |
|
|
6. To what times do the words “tribe” and “primitive” refer? |
The lyrical hero wants to leave not only his space, but also his time. |
||
|
So as not to see a coward or a flimsy filth, No bloody bones in the wheel, _________________ To me in its primeval glory. |
7. What punctuation mark should appear at the end of the second stanza? What technique is used here and for what purpose? Compare the visual images of the two parts of this stanza. What can you say about their correlation? What a color contrast present here? |
PARCELLATION(in literature), an expressive syntactic device of written literary language: a sentence is intonationally divided into independent segments, graphically highlighted as independent sentences (“And again. Gulliver. Stands. Slouching” by P. G. Antokolsky). |
At the beginning of the stanza there is a subordinating conjunction. According to grammar rules, there should be a comma here. This is a parcellation technique. It is used to give a dependent clause its own meaning. The device of antithesis contrasts hellish existence with harmonious existence. “The poem “For the explosive valor of the coming centuries...” is built on the dissonance of a singing, romance rhythm and a rigid figurative structure - “bones in a wheel”, “age-wolfhound”, “coward” and “flimsy mud.” This is an image of that unbearable existence that the lyrical hero is ready to exchange for “Siberia”: “You better stuff me like a hat into the sleeve / of the hot fur coat of the Siberian steppes...” This is how the poet prophesies his future fate, calling upon himself (poetically and realistically) Siberian exile. The poet dreams of Siberia as a world where pristine natural harmony has been preserved, where “blue arctic foxes” shine in “primordial beauty” and “the pine tree reaches the star.” In this figurative connection - “pine trees... to the star"- as the bearer of the main poetic meaning one can see not only the image of the mighty Siberian nature, but also the image land consent And sky, the poet’s dream of the desired harmony of existence, most likely attributed to the “coming centuries.” (History of Russian literature of the 20th century (20-90s). Basic names. Edited by S. I. Kormilov.) |
|
So as not to see a coward, |
8. Who are we talking about here? |
“So as not to see a coward” means “so as not to see oneself in the imposed role of a coward.” |
|
|
...no flimsy dirt... |
9. Why did the poet use this form of this word? |
There is an emphasized disgust towards the world of general denunciation and betrayal around him. |
|
|
No bloody bones in the wheel, |
10. What associations do you have with the word “wheel”? |
Bloody machinery, mechanics. A properly functioning structure, unconditionally endowed with its role and a goal known only to its creator engineers. “It is possible that the correct operation of the wheel directly contributes to the “valor of future centuries” (K. Ankundinov) |
|
|
So that the blue foxes shine all night |
11. What artistic device is used in this line? |
Metaphor – we are most likely talking about the northern lights. |
|
|
Take me into the night where the Yenisei flows, |
12. Why does the image of this particular river appear? |
||
|
And the pine tree reaches the star, |
13. What did Lev Anninsky write about Mandelstam’s images of trees? What means of artistic expression is used here? |
...Russia is not in Mandelstam’s early poems, except for the earliest ones, written by a fifteen-year-old Tenishevite in imitation of the sobbing muse of Nekrasov, and even closer - Nadson. I was swinging in a distant garden On a simple wooden swing And tall dark spruces I remember in a foggy delirium. Then these student groans subside, and it turns out that instead of Russia there is “something” in the world-historical calculation of entities that Russia should become. |
Hyperbola. |
|
Stuff it better than me... Take me away me at night... |
14. Who do you think these requests are addressed to? |
To Stalin, or to fate, or to yourself. |
|
|
Because I am not a wolf by blood And only my equal will kill me. |
15. How do you understand these lines? What is repeat used for? If we consider the first stanza as a kind of exposition, then how can we characterize the composition of the poem? |
MIS-EN-SCENE(French mise en scène - placement on stage), the location of the actors on the stage at one point or another of the performance. M.'s art is one of the most important elements of directing and acting. (Big Russian Encyclopedic Dictionary) and. Placement of actors and stage settings at different points in the performance of the play.| adj. mise-en-scène, oh, oh. (Ozhegov's Explanatory Dictionary) In B. Pasternak we encounter approximately the same motif in the poem “Hamlet”: ...If only possible, Abba Father, Carry this cup past. I love Your stubborn plan And I agree to play this role, But now there is another drama And this time fire me. But the order of actions has been thought out And the end of the road is inevitable. I'm alone. Everything is drowning in pharisaism. Living life is not a field to cross. |
You can consider these lines as the development of action in the mise-en-scène of the poem. The repetition does not duplicate the state of the participants in the duel: “on the shoulders” means from behind (otherwise it would be “on the chest”), the word “equal” already speaks of a face-to-face duel, since this turned out to be inevitable. He did not want and could not be a passive, impersonal victim, an “unknown soldier” of the wheel of history - and entered into an unprecedented duel with his time. Mandelstam's poetry in the early 30s becomes poetry call. |
|
16. In what size is the poem written? How does this help reveal the main idea of the work? |
The poem is written in multi-foot anapest, this was supposed to make the tone and rhythm of the poem soft and smooth. But the cross male rhyme, as well as the absence of pyrrhic rhymes, gives the entire work a rigid, stable rhythm that corresponds to the ideological content. Poems: “Notre Dame”, “Insomnia. Homer. Tight sails...", " For rattling valor ... Order No. Merzlikina O. V. Work program on literature for grade 11 “A”Work program... (Review.) Poems: “Notre date”, “Insomnia. Homer. Tight sails...", " For rattling valor of the coming centuries..., M.A. Bulgakova, A.P. Platonova, A.A. Akhmatova, O.E. Mandelstam, M.I. Tsvetaeva, M.A. Sholokhov; - theoretical and literary concepts... Names of the school media libraryDocumentSchool. Poem Lermontov "Borodino". Historical context poems. ... Gumileva, A.A. Akhmatova, O.E. Mandelstam about one’s own destiny and creativity... Digital educational resource: "" For rattling valor centuries to come..."" We study... The breath of the brewing revolution sharpens the poet's social sense. His lyrics show a personal interest in current events. The poet writes about PeterDocumentTo know: I am also a contemporary” (poetry by O.E. Mandelstam) Creation Mandelstam Name Mandelstam becomes known in 1910...", "The apartment is quiet as paper", " For rattling valor"and sharp poem against the "Kremlin highlander" (Stalin) ... |
“For the explosive valor of the coming centuries...” Osip Mandelstam
For the explosive valor of the coming centuries,
For the high tribe of people
I lost even the cup at the feast of my fathers,
And fun, and your honor.
The wolfhound century rushes onto my shoulders,
But I am not a wolf by blood,
You better stuff me like a hat into your sleeve
Hot fur coats of the Siberian steppes.So as not to see a coward or a flimsy filth,
No bloody blood in the wheel,
So that the blue foxes shine all night
To me in its primeval beauty,Take me into the night where the Yenisei flows
And the pine tree reaches the star,
Because I am not a wolf by blood
And only my equal will kill me.
Analysis of Mandelstam’s poem “For the explosive valor of the coming centuries...”
At the time of the October Revolution, Osip Mandelstam was already a fully accomplished poet, a highly valued master. His relationship with the Soviet government was contradictory. He liked the idea of creating a new state. He expected the degeneration of society, of human nature. If you carefully read the memoirs of Mandelstam’s wife, you can understand that the poet was personally acquainted with many statesmen - Bukharin, Yezhov, Dzerzhinsky. Stalin’s resolution in the criminal case of Osip Emilievich is also noteworthy: “Isolate, but preserve.” However, some poems are imbued with rejection of the Bolshevik methods and hatred of them. Just remember “We live without feeling the country beneath us...” (1933). Because of this open ridicule of the “father of the people” and his associates, the poet was first arrested and then sent into exile.
“For the explosive valor of the coming centuries...” (1931-35) - a poem somewhat close in meaning to the above. The key motive is the tragic fate of the poet living in a terrible era. Mandelstam calls it “the wolfhound century.” A similar naming was found earlier in the poem “Century” (1922): “My century, my beast...”. The lyrical hero of the poem “For the explosive valor of the coming centuries...” contrasts himself with the surrounding reality. He does not want to see its terrible manifestations: “cowards”, “flimsy dirt”, “bloody bones in a wheel”. A possible way out is an escape from reality. For the lyrical hero, salvation lies in Siberian nature, so the request arises: “Take me into the night where the Yenisei flows.”
An important thought is repeated twice in the poem: “... I am not a wolf by my blood.” This dissociation is fundamental for Mandelstam. The years when the poem was written were extremely difficult times for Soviet residents. The party demanded complete submission. Some people were faced with a choice: either life or honor. Someone became a wolf, a traitor, someone refused to cooperate with the system. The lyrical hero clearly considers himself to be in the second category of people.
There is another important motive - the connection of times. The metaphor comes from Hamlet. In Shakespeare's tragedy there are lines about a broken chain of times (in alternative translations - a dislocated or loosened eyelid, a torn connecting thread of days). Mandelstam believes that the events of 1917 destroyed Russia's connection with the past. In the already mentioned poem “Century,” the lyrical hero is ready to sacrifice himself in order to restore broken ties. In the work “For the explosive valor of the coming centuries...” one can see the intention to accept suffering for the sake of the “high tribe of people” who are destined to live in the future.
The confrontation between the poet and the authorities, as often happens, ended in victory for the latter. In 1938, Mandelstam was arrested again. Osip Emilievich was sent to the Far East, and the sentence was not too harsh for those times - five years in a concentration camp for counter-revolutionary activities. On December 27, he died of typhus while in the Vladperpunkt transit camp (the territory of modern Vladivostok). The poet was not buried until the spring, like other deceased prisoners. He was then buried in a mass grave, the location of which remains unknown to this day.
