Prince Khilkov Andrey Yakovlevich Near steward and resident at the Swedish court. The year of his birth and death is not shown anywhere; but it is only known that he died in Sweden and that his body was brought from there to St. Petersburg in 1718. He was the Russian minister at the court of Charles XII. Peter

Valery Bryusov Adelaide Gertsyk. Poems. SPb., 1910 Ts. 75 kopecks. - Teffi. Seven lights. Ed. "Rose hip". SPb., 1910 Ts. 1 R. Ms. Gertsyk is looking for her own way in art. Its rhythms, its language, its images are peculiar. She likes to look more for the musicality of verse in its freedom than in

Valery Yakovlevich Bryusov - Russian poet, literary critic, historian, playwright, translator, prose writer, founder of Russian symbolism. In the second half of the 90s of the nineteenth century, as a young poet, Bryusov became close to the symbolist poets, and in 1899 he united supporters of the "new art" in the publishing house "Scorpio". In 1900, the collection The Third Guard was published. The poem "Into the depths of the secret universe" was created in the same year 1900, but it was not included in the collection.

In this work, the author raised the topic of the problem of preserving the cultural values ​​of mankind... The poem figuratively represents the work of generations who are striving to regain what their ancestors owned and to increase this property. The central image in the poem is sea monsters, it is they who concentrate the ideological meaning of the work.

The poem "Into the depths of the secret universe" is made in the tradition of symbolism, one of the largest movements in art, characterized by the use of symbolism, hints, mystery and mystery. The energy of the word and the special intuition felt by the author are put into the lines of his creation.

The artistic medium in this work is a symbol - a monster taken from the bottom of the sea. It is pinned to the element artistic speech and in its image relies on a polysemantic poetic word. Poetry becomes a form of thinking, it begins to play with meaning. The author uses a symbol that carries the secrets of humanity, and at the same time, poetic ambiguity.

Although the poem consists of only two stanzas, its content is not affected by the size. In the first part, the author describes how humanity throws with "Mortal boats" gold nets in "Dark waters of centuries"... Nets are a symbol of the use of history, experience, knowledge to extract from the ocean of centuries "Treasures"... In the second stanza, we already observe that in the boat in which the human race is located, the number of these "Treasures"- the heritage of ancestors, forming a whole bulk.

The main purpose of the tropes in the poem is metaphor- to create this figurative meaning of the symbols used: deep in the universe, waters of centuries, we throw golden nets, sea monsters, we get out of strong bonds, huge treasures grow.

The sound of the poem itself has great importance to express characters. In the construction of the verse, the author turned to the two-syllable poetic size trore, using cross rhyme by position in the stanza and feminine rhyme by syllable volume, when the stress falls on the penultimate syllable of each line.

The poem "Into the depths of the secret universe" can be attributed to the civic lyrics. Bryusov in the traditional lyric poetic genre declared the direction of symbolism. It determined the style of the era during which the author worked on his works. The poet's creation is imbued with the spirit of mystery and mysticism.

The beginning of Russian Symbolism is considered the beginning of the Silver Age of Russian poetry. And although this trend originated in Europe, it was in Russia that it reached its peak. The Russian symbolist poet Valery Bryusov brought into it something completely new, original sound, the frequent use of metaphors and allegories. The poet was a creator who glorified artistic and spiritual personal values.

Poetic images seem to rise above reality, are embodied by the author in a musical form. With his talent, Bryusov exposed in these images the eternal correspondences and interconnections of the world, which are reflected in our consciousness, thus shedding light on the secrets that lead us to the Truth.

• "To the Young Poet", analysis of Bryusov's poem
• "Sonnet to Form", analysis of Bryusov's poem
• "First Snow", analysis of Bryusov's poem
• "Woman", analysis of Bryusov's poem

Poetic echoes
Valery Bryusov

The leader of the Symbolists, Valery Bryusov, treated Lokhvitskaya with undisguised antipathy. “I don’t remember now where (either in Truda or in the Russian Review) I saw Lokhvitskaya’s poem The Dream,” he writes in a letter to P.P. Pertsov from June 14, 1895 - “I was a butterfly in a dream, and you were a moth. We hugged and flew away. " At the same time, it is reliably known that Ms. Lokhvitskaya, in fact, did not see this in a dream. What is left of the whole poem? Expressions: morning, butterfly, roses, "like a young dream", moth and azure? It is bad that a "poetic dictionary" has been compiled; combining his words, they get something that we call a poem. "

“There is too much novelty and too much old in it,” he wrote to Pertsov later. Apparently, he is inclined to explain the novelty exclusively by outside influence.

In a letter to Pertsov dated July 19, 1896, Bryusov says that the “Balmont school” began to form in Russian poetry, to which Lokhvitskaya also belongs. About two years later (in January 1898), in a letter to Balmont, he writes: “Here is a new collection by Mirra Lokhvitskaya. I agree, I concede - a lot is not bad here. But here I am, who does not write poetry, I propose to write a poem on any topic no different from these, such that you recognize it as not different, just as “not bad, good”. All this is a stencil, new stencils of poetry, all the same gods of Olympus, the same Cupids, Psishi, Iovish, but in new clothes. No, this is not necessary, not this. Better not to write. " Balmont at this time was completely delighted with the poetry of Lokhvitskaya, and Prince A.I. Urusov is a connoisseur and lover of new French poets. Bryusov, however, recognizes the merits of Lokhvitskaya with great reluctance.

It is noteworthy that in his diaries he gives her a slightly higher rating than in letters: “However, her last poems are good,” he writes in November 1897.

A little later, giving a humorous characterization of modern poetry in the form of biblical prophetic lamentations ("Woe to you, Russian literature! ..."), he puts Lokhvitskaya in a row with decadents - Balmont, Gippius and others, opposing "his" "insignificant poet Fedorov and ... Rathaus" ...

He studies her creativity quite seriously. Its archive contains four volumes of Lokhvitskaya's poems (two - with the poet's dedication). Individual verses are underlined. To the poem "At noon" in volume III, he even ascribes a stanza from himself. Unfortunately, it is impossible to read it - Bryusov uses abbreviations, but it is known that he considered this poem one of the strongest in Lokhvitskaya, and it is really difficult to argue with this.

Judging by the diary entries, humanly Lokhvitskaya is unsympathetic to him: he is too picky about her appearance and her demeanor. During the life of Lokhvitskaya, only one review of Bryusov appeared in print - on her IV volume. “The numbering of Ms. Lokhvitskaya's three collections can be changed without a noticeable difference. In the IV volume of her poems, the same themes, the same techniques, the same soul, as in the two previous ones. Isn't it boring for a poet to repeat himself? And what is the point in this multiplication of identical verses, even if they are sonorous? "

The response is rather strange: in volume IV, Lokhvitskaya just declares a departure from previous motives and turns to religious and philosophical topics. Naturally, this is not close to Bryusov, but if the poetess can be blamed for something, then it certainly is not in self-repetition. However, with the light hand of Bryusov, this thesis was firmly established in literary criticism for a long time. Stylistically, in Volume IV, a strengthening of the rhetorical tendency is noticeable, which is just close to Bryusov himself - but for some reason he does not notice this. It is clear that he wants to say: "It is not worth reading, it is not interesting."

Bryusov did not respond to the death of Lokhvitskaya in any way. The 9th issue of "Libra" for 1905 contains only short message about her death (one line). Undoubtedly, it looked like a sign of “official” non-recognition. However, it cannot be said that this event passed unnoticed for Bryusov.

Of great interest is the draft of Lokhvitskaya's obituary, entitled "In Memory of a Witch", stored in his archives. Judging by the abundance of edits and variations, Bryusov carefully considered this article. In its first lines, he very accurately, and most importantly, very atypically for modernist criticism, defines the main meaning of the poet's work: "The work of Lokhvitskaya is an unchanging, unquenchable longing for the unearthly, unearthly." And it is precisely the search for liberation from the "shackles of being" that explains her initial appeal to love themes: "Lokhvitskaya glorified passion for the brightness of her moments, liberating" amid the dullness "of life ... But already in the second volume of her poems ... other ways of liberation begin." Next comes outright falsification. "Other ways", according to Bryusov, lead to the witches' sabbath and further to hell, to Satan. The obituary ends eerily: “There is no return from this path. Whoever crosses this line must stay forever in that country. Lokhvitskaya did everything that ... "- further completely illegible. The poems that he quotes: "At noon", "Murgit", "The Witch" - indeed belong to Lokhvitskaya's best (although his choice is very tendentious in terms of content). In the context of everything that Bryusov himself wrote in those years about the "creation of life" and with such an understanding of the end of the earthly path of the poetess, he should have publicly honored her memory, since it turned out that it was she who fulfilled his cherished aspirations. However, for some reason he did not.

Only seven years later, in the critical collection Distant and Close, he published another note about Lokhvitskaya, called an “obituary”. It is possible that he did it under pressure from Balmont, who wrote to him in a letter: "It is impossible to print a review of poets, in which you include all sorts of nameless rubbish ... and not give characteristics of such true bright colors as Lokhvitskaya." Probably, there was no note about Lokhvitskaya in the original version of the book. Nevertheless, the assessment that Bryusov gives to the poet's work in it is quite high. In terms of artistry, her "songs of sin and passion" are rated above all. The article ends with the words: “For a future anthology of Russian poetry, it will be possible to choose from Lokhvitskaya's poems 10-15 truly flawless, but attentive reader the inner drama of the soul, captured by her in all her poetry, will always excite and captivate. " As a matter of fact, “10-15 truly flawless poems” in the anthology of Russian poetry (without specifying the era) is something that only a first-class poet can claim.

Against the background of such a skeptical attitude towards the poetry of Lokhvitskaya, Bryusov the critic is especially striking that Bryusov the poet often re-sings her poems. Often these overhauls are downright sadistic. It is completely incomprehensible why he continues to create them even years after the death of the poetess.

If you look closely, you can see that at the time of maturity between Bryusov and Lokhvitskaya there is a certain commonality of style: striving for laconicism, sonorous rhetoric. It is interesting that Bryusov writes his article "In Memory of a Witch" just at the time when he himself begins work on the novel "The Fiery Angel", which also contains many allusions to the poetry of Lokhvitskaya.

In a word, there is a suspicion that the main reason his negative attitude is the desire to hide his own (for the sake of justice, let's say: partial) dependence on her - what the very young Tsvetaeva wrote about:

I forgot that your heart is only a night light,

Not a star! I forgot about it

That your poetry is from books,

And out of the envy of the critic. Early old man,

You are again for me for a moment

Seemed like a great poet.

Poems

VIOLET

* * *

K. Balmont

Priestess of the Moon

FROM HELL EXPLORED

In the crypt

OCEANID

MEETING

RED ROSE

TO THE FEAST

Pray

Roses, lilies, dragonflies are quite recognizable allusions to Lokhvitskaya's lyrics, especially early ones.

But how unnatural it is when “thrice Roman” (“will, ox, wolf”) - in the words of Tsvetaeva - Bryusov suddenly appears as an apologist for sentimentality.

* * *

Literature lesson in grade 8

Teacher N.N. Bochkova.

Topic: The basis of literature - national tradition

(Valery Bryusov "Into the depths of the secret universe ...")

Tasks:TDTs (triune didactic goal):

A) educational:

To foster love for native literature, the artistic word as an object of art, love for cultural heritage ancestors, to foster a civic sense of responsibility for the preservation and augmentation of this wealth

B) training:

Form skills linguistic analysis artistic text, identification of its artistic potential, to consolidate the concept of literary tradition, its features on the example of a poem by V.Ya.Bryusov.

C) developing:

Activate cognitive, research activities students, their creativity, develop imaginative thinking and ways to display it in different types activities (in particular, drawing), the emotional sphere of students.

Lesson type: research lesson, analytical reading

Lesson technologies: variable learning technology, analytical reading as a creative activity

During the classes

© A.B. Filimonov, B.P. Filimonov
© State Museum of the History of Cosmonautics. K.E. Tsiolkovsky, Kaluga
Section "Research of the scientific creativity of K.E. Tsiolkovsky"
2011 r.

V late XIX- early XX centuries. in the circles of writers and poets, more and more the topic of the search for brothers in reason sounded. The belief that somewhere out there in the endless expanses of the universe there are other civilizations similar to ours inspired Valery Yakovlevich Bryusov.

Being one of the main representatives of symbolism, V.Ya. Bryusov at the dawn of his creative path, addressing the scientists, said: "I will be a companion of your space disputes."

Bryusov realized his promise in a number of "scientific" poems. The most famous of them is "The world of the electron":

Maybe these electrons

Worlds where there are five continents ...

Their measures are small, but still the same

Their infinity, as here.

A poetic response to the ideas of the multidimensional geometries of Lobachevsky and Riemann was Bryusov's poem "The World of N Dimensions", where the poet tried to supplement dry mathematical conclusions with fantastic conjectures about the population of other dimensions.

But they live, they live in dimensions

Whirlwinds of waves, cyclones of thought, those

Who are we funny with our children's eyesight,

With our step along the same line!

Our suns, stars, everything in space,

All infinity, where the light was wingless,

Only festoon in that festive decoration,

Than their world hid its proud appearance.

An equally important place was occupied by Bryusov's theme of man as a conqueror of nature, a tireless worker and an inspired creator. The heroic image of the man-builder formed the basis of the odic poem "Praise to Man" (1906). Since then, concern about the fate of man on Earth and in the universe has not left the poet. Moreover, she received Bryusov's characteristic constructive form, led him to a kind of planetary innovation proposal. “Humanity,” Bryusov wrote, “is spending its life as a careless youth: the best proof of the youth of the earth! There are so many immediate tasks before humanity, understandable to everyone, the simplest, not to mention the more complex! It is necessary to irrigate deserts on the ground, drain swamps, insulate cold countries, dig canals: the area of ​​useful soil would multiply tenfold! ... And what has mankind done to take a worthy position in the family of our inhabitants solar system? ". It is easy to understand how far from decadent individualism such thoughts took Bryusov.

In 1895-99 V. Ya. Bryusov worked on a relatively small work - the novel "Mountain of the Stars". It was conceived as an adventure game with elements of mysticism and fantasy. The manuscript of Star Mountain remained in the desk (it was first published in 1975). Instead, Bryusov published other lines that fully fit into the stereotype formed by the efforts of the then intelligentsia:

I'm waiting to finally see the shiny ball

Like a small point, lost in the lights,

Flying in a way planned to another earth,

To recreate the brotherhood in scattered worlds.

In the story "Night Journey" (1913), the hero, together with the Devil himself, goes on a journey to one of the planets in the constellation Orion. The unfinished play "The World of Seven Generations" (written in 1923, first published in 1973) also takes place in outer space. The plot unfolds on an inhabited comet approaching the Earth, whose inhabitants are faced with a dilemma: should a less developed civilization sacrifice itself for the sake of a more perfect one.

In the mature period of Bryusov's work, his passionate and excited attitude to scientific knowledge and technological progress in the present and his dream of immeasurable achievements of science in the future were reflected in his poetry even more vividly and consistently. Suffice it to refer at least to those poems of Bryusov, in which he glorifies aviation or, rising to true lyricism, expresses the hope for rapprochement with the hypothetical inhabitants of neighboring planets (Who is, 1908; Son of the Earth. 1913, Children's Hope, 1914; etc.) ...

In our time, when the human genius managed to pave the first paths into outer space, one cannot but recall with what enthusiasm, with what stubborn and ardent faith Bryusov thought about establishing a connection between the "small Earth" with other distant worlds, her "sisters" in the universe:

And, son of the earth, one of the innumerable,

I throw a verse into the endless, -

To those beings, bodily or incorporeal,

That they think that they live in other worlds.

I don't know how my call will reach its destination

I don't know who will bring my greetings,

But if they loved and grieved,

But if they dreamed in their turn

And with greedy thought they plunged into secrets,

Watching the rays burning in the distance -

My passionate sigh, rushing from the ground!

“Is interplanetary communication possible at all? - wrote Bryusov. In any case, there is nothing in them, in the idea, that contradicts the data of science. Perhaps "travel" from Earth to another planet is unlikely due to the fact that it would take too much time (which creates too many technical difficulties: the need to carry a huge supply of oxygen, food, water). But the wireless telegraph opens up broad prospects for "negotiations". If humanity, instead of wars, devoted its energies to such a cause, perhaps we would have already managed to catch the "signals" of other worlds as the receivers of exceptional power. That so little we have done so little in this direction puts us on a low stage of development among the inhabitants of the universe. However, the inhabitants of other planets have not yet managed to declare themselves in a certain way - the Earth: this, to some extent, justifies us. " This passage, testifying to the direction of Bryusov's interests, gives an idea of ​​the very style of Bryusov's thinking, which has no analogies among the poets of his circle.

The last science fiction work of Bryusov is the story "The First Interplanetary Expedition", which tells about the flight to Mars. The writer worked on this story in 1920–21, and it was published only in 1976.

When humanity first entered space, Bryusov's poems written 40-50 years ago are much to a greater extent than the poetic responses of some of our contemporaries, turned out to be adequate to the feelings and thoughts that overwhelmed modern mankind. Despite suffering and death, he affirms the greatness of Man, whose thought and deed know no barriers. And in the verses of the poet, burned by an insatiable passion for knowledge of the world, for creativity, life - one of the undoubted sources of our today's movement:

Sang over a generation

Flaming copper your challenge

Giving a sign that the inertia of the body

We must overcome by will.

Our century again believed in Daedalus,

His stern face lifted

And measured with a dead compass

Possibility of impossible dreams.

May the mighty whirlwind triumph

Cut the wings of the ship

And there, below, in the breakthroughs of the clouds,

The Earth turns blue and glides.