Purple hands on the enamel wall analysis. Secrets of created creatures (determination of the signs of symbolism on the example of the analysis of poems by V. Ya

CREATIVITY Valery Bryusov

The shadow of uncreated creatures sways in a dream, Like the blades of patching On an enamel wall. Violet hands On the enamel wall Sleepily draw sounds In the sonorous silence. And transparent stalls, In the sonorous silence, Grow like sparkles, Under the azure moon. A naked moon rises Under the azure moon... Sounds hover half asleep, Sounds caress me. The secrets of created creatures caress me with caress, And the patchwork shadow trembles On the enamel wall. March 1, 1895 AT last years nineteenth century symbolism literary direction flourished in France, remaining almost completely unknown in Russia. In 1892, Valery Bryusov, who was then studying at a Moscow gymnasium, read an article about the French Symbolists and set about to create a similar trend in art on Russian soil. "What if I took it into my head to write a treatise on spectral analysis? I would not have enough words and expressions. The same, if I decide to express the feelings of Fin de siХcle in the language of Pushkin!" - Bryusov writes in his diary in 1893. Symbolism for Bryusov of the 90s is the "poetry of allusions", a vague and unsteady reality that appeals to the feelings of a person, just as vague and far from logic, like poetry itself. He begins with translations, mainly Verlaine's poems, and a little later creates his own works in the spirit of symbolism. When the poem "Creativity" is published in 1895, it revolts reading Russia to the depths of its orthodox soul. What, in fact, Bryusov was striving for. His whole appearance, manner of speaking, his whole life of that time pursued one goal: to shock the public, to prove that everything is possible, to draw attention - to himself, to poetry, to symbolism. Symbolists sought to pour life into art, and art into life, to break the transparent, but strong line that separated classical poetry, full of conventions, from real life. The poem "Creativity" fully met the intended goals. The literary community, authors and critics considered the three collections under common name"Russian Symbolists" is an unfortunate trick, and the style of young authors is pompous. At the same time, in form, Bryusov's poems fully correspond to classical ideas. The "Creativity", which shocked the public, was written in a classic four-foot chorea, with cross-rhyming, with alternating female and male rhymes, with five stanzas of four lines each ... The underlined classicism of the form only set off the modernism of the content. Aroused particular outrage double moon ", ridiculed by V. Solovyov in a parody of Bryusov's verse. A naked moon rises Under the azure moon ... Later, attempts were made to find a rational, logical explanation for the painted landscape: the "azure moon" is a lantern outside the window, similar to the moon, in the light which the true month rises. Perhaps so. However, it seems to me that Bryusov could well have neglected strict logic, depicting a metaphysical "month", a symbol of a new creation, perhaps even Creation ... "The moon rises naked under the azure moon ... "Frankness, openness of the Symbolists, who proclaimed sincerity as the main thing in poetry, determine the nakedness of the month. The whole poem is a detailed description of the mysterious process of birth, when the distant, vague sounds of a yet uncreated creation tremble like a shadow of a shadow "on an enamel wall", "like the blades of patching." Poet he is already performing the rites, he is already looking for consonance, he listens to the distant whisper, and in the most ordinary, in the meaningless, at first glance, he sees signs s great, in the play of shadows on the enamel wall sees the contours of sounds. The theme of the work is clearly indicated in its title: "Creativity". Already the first line: "Shadow of uncreated creatures..." screams at the top of its voice that these creatures are uncreated only so far, their very "uncreatedness" implies the possibility of birth, a possibility that is about to come true. The tautological repetition only reinforces this feeling, focusing on the creation, despite its temporary non-creation. Creativity, search, creation of something new is an obscure, over-reasonable process, not subject to logic, and, it would seem, indescribable by definition. But Bryusov takes the liberty of describing - and speaks of the unknowable in the language of hints, symbols, sketching out contours and immediately blurring them with a mixture of watercolor colors. The whole poem "sways in a dream", looking through the mind of the poet, through the verbal lace, like algae through the thickness of greenish water. An unexpected, but psychologically natural leap of thought: just like the shadow of the uncreated, the shadows of patching on the wall sway before the poet's eyes. From the intangible space of creativity and metaphysics, we jerkily move into the real space, which suddenly turned out to be combined with the metaphysical. Further metaphor is logical if between the feathery shadows of indoor palms and the shadows of "uncreated creatures" an equal sign is drawn. Violet hands On the enamel wall Sleepily draw sounds In the sonorous silence. The picture, tied to the metaphysics of creativity by a play of associations, is clearly, almost photographically drawn by a metaphor: the shadows of patching, like purple hands, sway on the enamel wall. But in the next moment, the poet again shifts the boundaries of reality, making the sound visible, outlined, and allowing silence to be heard. The metaphor unfolds, violet hands draw the rhythm of the emerging poem on the wall. And the ringing of silence deafeningly breaks into the mind of the reader, twice underlined by sound writing ("voiced-voiced", sv-zv) and an oxymoron epithet (voiced sound of silence). The poet has already caught the rhythm, the melody of the verse, the intense work of thought - and complete carelessness outwardly; as if bored look moves to the window, casually marking the cityscape. Outside the window, illuminated by the "azure moon", transparent kiosks grow, in the wrong light, mother-of-pearl iridescent, "like sparkles." The first quatrain is a prelude, it sets the mood, declares that the "uncreated creatures" are ready to be born. The second - the beginning of work, the creative process is already picking up speed, the poet listens to the silence, peers into the shadows - trying to make out the contours of the new. The third quatrain, the height of creation, which both formally and semantically should be the center of the entire poem, unexpectedly evenly tells about the external landscape, as if smoothing out the tension of the second stanza. Slowing down? No, not at all! The formal center, with all its outward negligence (a careless look seeking refuge from boredom in the landscape beyond the windows) and calmness, rings with the "vociferous silence" of creative tension. The poet was not distracted from work. The fact is that not only the room is already included in the creative process, but the whole world outside the window, the whole objective reality. The space moves apart, obedient to the poet's gaze, growing, gaining infinity - and fits into the creation without losing its boundlessness. A similar paradox occurs with time. In the third quatrain, Bryusov changes the tempo without slowing down or changing the rhythm. The almost complete immobility of the landscape - "transparent stalls", slowly, majestically growing in the light of the moon - contrasts with the intensity of the poet's thoughts, with the speed of thought, which are not depicted by Bryusov, only a hint of them is given - in the ringing of silence. The fourth stanza marks the next stage: the contours are already clear, most of the work is done, and -- The naked moon rises By the azure moon. The naked month of creativity is opposed to the "azure moon" real world , refutes it, overshadows it. However, it rises in the same reality, in the same space and time as the moon. The metaphysical reality of creativity is once again superimposed on our familiar, logical reality. The "naked moon" rises as a symbol of the created creation. The poet managed to find the shadows of sounds that swayed in a dream, to tame the element of the word - and now he proudly says: "sounds caress me", - tamed sounds. Anaphoric beginning - Sounds hover half asleep, Sounds caress me ... - slows down the tempo, evens it out, giving it smoothness. The poet has completed his work, and now enjoys his work, contemplating what was born. Sounds come to life in personification, caressing their creator, like a child or a cat, the created thing takes on life, breathes - already on its own. The last, fifth quatrain returns us to the beginning: the created is created, the poet completed his role, allowing the poem to be born. The whole stanza is a tie of repetitions, closing reality into a ring. There is not a single new image here: the beginning of the stanza ("Secrets of created creatures") is a slightly modified first line of the poem. The second line of the quatrain ("They fondle me with caress") - by repeating ties the fifth stanza to the fourth. The image drawn in the final two lines - And the shadow of patching trembles On the enamel wall - this is the image that arose at the beginning of the poem and completes it, summing up the line. Nothing has changed on the enamel wall and in the "big" world outside the window, but meanwhile the creative process has ended with the birth of a new one. "The shadow of uncreated creatures ..." - sounds at the very beginning of the work as a vague promise. The secrets of created creatures caress me with caress! - proudly announces the poet in the last stanza. Two lines, created and uncreated, are opposed to each other, and the same-root repetition emphasizes the idea of ​​creation, creation four times, affirming the triumph of creativity. The whole poem as a whole is distinguished by a ring composition. I have already shown how the first and last stanzas echo, connecting, connecting. But this is not the only repetition in the fabric of the poem. The last line of each quatrain is repeated in the next stanza, the second line. Here are the lines from the third to the sixth: ...Like the blades of patching On the enamel wall. Violet hands On the enamel wall... The line, which has just resounded, subsided for a moment, but still trembling on the tongue, in consciousness, in the air, echoes, already picked up in a new stanza. Thanks to this, the entire poem is permeated by a single rhyme for all even lines: in a dream - a wall; wall - silence; silence - the moon; the moon - to me; to me - the wall. In addition, it is necessary to note one more feature in the division of the poem into stanzas. On the one hand, such a division is quite natural and logical. The first stanza conveys the state of the poet before the beginning of creation. The second one shows how the main contours of the future work are looming, that tense moment when an uncreated creation at any moment can break back into non-existence without being embodied. The third is the formal center of the poem, the process of creation itself. The fourth is the completion of this process. Fifth - return to the beginning, the circle is closed, the creation is created. But despite this division - natural from the point of view of both form and content - the poem retains an amazing integrity, tension, unity. "Creativity" can be compared to a stretched string, trembling in "sonorous silence". Together the poem is connected not only by semantic and lexical repetitions, a single rhyme, images flowing one into another and intertwining with each other, like shadows of patching on an enamel wall. Five distinct parts are soldered so firmly that each of them, read separately, immediately pulls out all the others. The poem rings in a special rhythm, intricate and clear, like a bizarre, elegant and strict pattern. Another thread that binds together the whole work is the color scheme. The hands-shadows are purple, the enamel wall shimmers with bluish mother-of-pearl, the transparent kiosks shimmer blue in the light of the azure moon... Blue-violet haze moonlit night envelops everything, either hiding the corners and edges with soft dark velvet, or vice versa, sharply highlighting the detail: purple hands are sharply outlined, and this sharpness of fan-shaped, feathery shadows crosses out the correct lines of the room with the strict geometry of walls, ceiling, windows ... Kiosks, slightly gleaming blue mother-of-pearl, melt in the moonlight, translucent through. Bryusov's "creativity" is similar to the paintings of the French Impressionists, where the greatest clarity is acquired not by the contours of objects, but by the contrast between light and shadow. The artist's attention is on the verge of not between enamel wall and a window frame, but between the pale purple spots of moonlight on objects and the contrastingly dark shadows of the "hands" of patching. This gamma reflects the state of mind of the poet-artist. First, in such an approach, the attitude of the Symbolists - both artists and poets - to the world as a whole is clearly manifested. according to them, there is an ordinary, real, familiar world, and a secret world, hidden from casual glances, but revealing itself to those who can open themselves to the world. The first world is significant, but only insofar as it reflects the second, true world. And purpose creative personality- to show the great through the ordinary, to poke the sleeping public with its nose into the wrong side of reality. Night, the time of sleep, mystery and creativity, is the perfect time to see the true reality. The strange, violet-blue, mother-of-pearl world, captured by Bryusov's gaze, is the real world, accessible only to the elite. Similar to this world human consciousness: just as unsteady, fluid and changeable. From the depths of the subconscious - or from the highest reality - from an inexplicable, strange, primordial existence, sounds, words, images rise, embodied in verses and returning back to the eternal and eternal superexistence. 05/10/2004

Shadow of Uncreated Creatures

Swaying in a dream

Like blades of patching

On the enamel wall.

purple hands

On the enamel wall

Sleepily draw sounds

In resounding silence.

And transparent stalls

In the resounding silence

Grow like glitter

Under the azure moon.

The naked moon rises

Under the azure moon...

The sound hovers half asleep,

Sounds caress me.

Secrets of the created creatures

caress me with affection,

And the shadow of patching trembles

On the enamel wall.

V. Ya. Bryusov wrote his poem on March 1, 1895. This poem was included in his first collection of lyrics.

Reading the poem "Creativity", one involuntarily thinks: "Who could write these lines? A madman, whose place is only in psychiatric hospital". Many contemporaries of the author of these lines thought so too. Indeed, everything in the poem is unusual, does not fit into the framework of consciousness. "Violet hands" that "draw sounds", "naked moon", "sounds caress" ... Nonsense, absurd !

But if you look at the paintings of Marc Chagall, the cubic faces of Picasso, we will see that the art of that time itself was absurd, but not without meaning. All this is explained by the fact that the era of the turn of the century required new forms in art.

It must also be remembered that one hundred Bryusov is "the father of Russian symbolism." It is to him that the words belong that "symbolism is the poetry of allusions"

Valery Bryusov burst into the world of poetry at the end of the nineteenth century as a representative of the "young", new poetry(symbolism), created by him following the example of the French Verlaine, Malarmé and Rimbaud. But not only symbolism interested the young poet at that time. Somehow he puzzled the audience with his shocking monostiche about pale legs, thereby declaring the artist's right to unlimited creative freedom. Fortunately for connoisseurs of poetry, Bryusov did not limit himself only to experiments: he developed his poetic talent, filling the works historical events and images from own life. Often the heroes of his poems he made strong personalities, characters of history or myths, being influenced by the philosophy of Nietzsche. The appearance of more and more new collections was an illustration of how the poetic skill Bryusov. But the poet valued freedom above all else. In his early poem called "Creativity" there is no specific hero, or rather, he is a contemplator. And the reader sees what is happening through his eyes. But the analysis of Bryusov's poem "Creativity", like any other work, must begin with an indication of the day and year of its creation. It was written on March 1, 1895 and was included in the collection of "young" poems "Masterpieces". An analysis of Bryusov's poem once again confirms the author's main idea that the artist is free to choose

themes, and even the mystical process of creation can become it. A lot says that the work belongs to symbolism. For example, the vocabulary that the author uses to depict strange, unusual images: the blades of patching (leaves spread out in the form of five), like purple bizarre hands on the enamel wall, draw not lines, but sounds, without disturbing the “vociferous silence”. The reader is presented with a strange fantasy world: transparent pavilions (“kiosks”) appear from nowhere, “uncreated” creatures, shining in the light of two moons, or rather, the azure moon and the “naked” (without clouds) month. And this whole process is shrouded in secrets and dreams. Analysis of Bryusov's poem revealed the use of such means of expression like color painting and sound painting. The text seems to contain purple and azure colors, and for some reason, the enamel wall is associated with white, although, apparently, it meant the quality of its surface - smoothness. The sonority of the frequently repeated "l", "r", "m" and "n" is designed to create a feeling of slowness, smoothness of movements, as if everything is happening under water. The music of this poem is mesmerizing! Compositionally, it is built in an original way: the last line of the quatrain becomes the second in the next four lines. An analysis of Bryusov's poem shows that the lines, repeating themselves, interlock with each other, creating a continuous stream of fantastic consciousness and feelings. Bryusov unfolds the poem "Creativity" slowly, as if to say that nothing is created immediately, you can never know anything for sure. The images are unsteady, fuzzy, they are gradually guessed by the lyrical hero. Perhaps this painful process of searching for the essence is called the “torment of creativity”? All Bryusov's poems dedicated to the process of creation are united by one main idea: creativity is infinite and free, it cannot be comprehended, it is afraid of clarity and loudness. As soon as an illusory image appears in a bright light under the gaze of an inquisitive critic, it immediately crumbles, giving no opportunity to study it closely and carefully. Such is its airy and fragile nature!

Lesson Objectives:

• to acquaint students with the main features of symbolism on the example of the analysis of poems by V. Ya. Bryusov; to know the secrets of created creatures; lay the foundation for further acquaintance with personalities, individual poetic styles of the symbolists;
• develop the skills of analyzing a poetic work, the ability to find means of artistic expression, to determine their role in poems.

Forms: heuristic conversation with elements of a lecture, analysis of poetic works by V. Ya. Bryusov.

During the classes

I. Organizing moment

II. introduction teachers

I would like to start our lesson with the following lines:

Shadow of Uncreated Creatures
Swaying in a dream
Like blades of patching
On the enamel wall.
purple hands
On the enamel wall
Sleepily draw sounds
In the resounding silence...
And transparent stalls
In resounding silence
Grow like glitter
Under the azure moon.
The naked moon rises
Under the azure moon...
The sounds are half asleep
Sounds caress me.
Secrets of the created creatures
caress me with affection,
And the shadow of patching trembles
On the enamel wall.

Who could write these lines? "A madman whose place is only in a psychiatric hospital" - this was the opinion of many contemporaries of the author of these lines. And this poem was written by Valery Yakovlevich Bryusov, one of the most prominent representatives of the Silver Age.

I think you will agree that everything in the poem is unusual, does not fit into the usual framework. “Purple hands”, which “draw sounds”, “naked moon”, “sounds are caressing”… Nonsense, absurdity!!!

But, looking at the paintings of Marc Chagall (Appendix, slide No. 2), the cubic faces of Picasso (Appendix, slide No. 3), or the indefinite figures of Vrubel (Appendix, slide No. 4), we will see that art itself was so - absurd, delusional but not meaningless. This era of the turn of the century required new forms in art. And in literature, V. Ya. Bryusov finds his way - SYMBOLISM.

Who is Valery Bryusov? (Appendix, slide number 5), The first Russian symbolist, the personality is simply unique. “Dozens of lives will not be enough for me to express everything that is in my soul,” the poet wrote. An encyclopedically educated person, who could read from the age of three, at the age of 11, having a rare memory, could almost verbatim retell not only the favorite works of Edgar Allan Poe, Jules Verne, but also the philosophical reflections of Darwin, Laplace, Kant. Since 1921 - he headed the Higher Literary and Art Institute, created on his initiative, where he teaches the history of Greek, Roman, Russian literature, grammar Indo-European languages and ... the history of mathematics. The scale of his intellectual activity is gigantic. The thirst for creativity is unquenchable.

In 1894-1895. Bryusov publishes three collections "Russian Symbolists", which includes own translations French symbolists, his own poems and poems of beginning poets. It was from that time that he declared himself not only as a symbolist poet, but also as an organizer and propagandist of this movement.

So, the purpose of our lesson is to analyze poetic works V. Ya. Bryusov, to determine the main features of such a literary method as symbolism.

III. Analysis of signs of symbolism

1) Let us turn again to the previously read poem (the name of the poem is not announced to students)

Exercise: write a comment to this work try to understand what the author is trying to convey to the reader.

The poem outraged the readers of that time with its seeming senselessness. Philosopher and poet Vl. Solovyov wrote a parody where he ridiculed the "double moon". Sensible comments were published on this poem: “Shadows of domestic patched palms (blanks for bast shoes) are reflected in stove tiles shining like enamel, behind a large lantern in front of the window, resembling an azure moon, one can see the sky, where a real month is already rising.”

Everything, it would seem, is clear, but the poet gives a special name to the poem - "Creativity". This means that the author showed the process of creativity, revealed the secret of "created creatures."

Exercise: write down the words, phrases, denoting the path of creating creation.

"Uncreated Creatures"
"Swaying in a dream"
"Damn in a dream"
"Sound-sound"
"They Grow Like Glitter"
"Sounds are fading"
"Sounds roar"
"Created Creatures"

Exercise: write again a short comment, taking into account the analysis carried out together with the teacher.

(An exemplary comment: “In a dimly lit room, everything is changing in anticipation of inspiration. The creator-poet sees a different world beyond the ordinary surrounding world, the sound of future poems is heard, images vaguely float, making the world strange, not at all like the usual one.”)

“The creations of art,” Bryusov wrote, “are half-open doors to Eternity.” We have come to one of the main signs of symbolism - duality. The world is real, earthly, and the world is of other being, higher, perfect. A poetic creation is hardly perceptible, inspired by another, another world to the poet.

2) Having determined the ideological concept of the poem, let us turn to the figurative and expressive means by which the author creates artistic images.

(Exemplary analysis: uncreated creatures is an oxymoron;

swaying in a dream, fondling with caress, sounds roar - personification;

like blades of patching - comparison; purple hands, a naked moon, transparent stalls, the shadow of patching trembles - a metaphor;

in sonorous silence, azure moon - an epithet).

The poet-theurge through a mosaic of symbols: vivid metaphors, unusual comparisons, epithets, oxymorons - leads us into the unreal world, into the eternal, perfect world. In poetry, the Symbolists rooted not accessible to everyone, rather elitist, in the words of Innokenty Annensky, "a fluent language of hints and understatements." In the poetry of the Symbolists, whole nests of word-symbols, word-signals appear, which are given a special mystical meaning.

The second sign: Unusual content is clothed in an unusual form.

3) Question: Was the meaning of the poem clear at the beginning of the lesson? What allowed us to grasp the depth of the content of the poem? (analysis from different angles)

The third sign: Calculation for an elite (prepared) reader.

4) But not only an unusual mood, unusual symbolic forms attracted Bryusov's attention to symbolism.

Exercise: Determine the main idea of ​​the poem To the young poet”, Analyzing the “precepts” of the author:

“Do not live in the present, only the future is the domain of the poet”;
“Do not sympathize with anyone, love yourself infinitely”;
"Worship Art".

The first testament confirms the idea of ​​two worlds.

The second one shows adherence to the traditions of poetry of the 19th century: the definition of the special role of the poet's personality, its brightness, and primacy. “In poetry, in art, the very personality of the artist is in the first place, any communication with the soul of the artist is a pleasure,” writes V. Ya. Bryusov.

And the third shows that the Symbolists had great faith in art, in its supreme role, transforming earthly existence. They put art above life. And it is Bryusov who owns the words: "Art, perhaps, is the greatest power possessed by mankind."

IV. Conclusion. Summing up, the signs of symbolism can be arranged in the following logical scheme

(Appendix, slide number 6):

V. The results of the lesson.

D / z: compare the poems of V. Bryusov "Dagger" (1903) and K. Balmont "Fantasy" (1894), determine the features of the poet's poetic skill.

Shadow of Uncreated Creatures
Swaying in a dream
Like blades of patching
On the enamel wall.

purple hands
On the enamel wall
Sleepily draw sounds
In resounding silence.

And transparent stalls
In the resounding silence
Grow like glitter
Under the azure moon.

The naked moon rises
Under the azure moon...
The sound hovers half asleep,
Sounds caress me.

Secrets of the created creatures
caress me with affection,
And the shadow of patching trembles
On the enamel wall.

Analysis of the poem "Creativity" by Bryusov

The poems of Valery Yakovlevich Bryusov are largely filled with symbolism and imagery. They are not always clear to the reader from the first time, they need to delve into, re-read several times in order to fully understand and absorb their multifaceted meanings. For an unprepared reader, his work "Creativity" may seem like the delirium of an insane person.

"Creativity" was written in March 1985. It was included in the first collection of poems "Masterpieces". In this poem, the poet reflects the very process of creating something new, a creative process that is not entirely clear to the layman. It is this incomprehensibility, figurativeness that evokes a feeling of madness on the reader.

The poem has no clear lyrical hero, nor logically related phenomena. Everything represented - images, symbols, process. To some extent, creativity is opposed to logic, it is ephemeral, illogical, broken. creative path shrouded in mystery, darkness, blurry non-existent creatures and shadows. This secret is revealed only when the process is completed, when the creator achieves what he wants and reveals his work to the world.

Emphasizes the unusual and even some mysticism and composition of the poem: each last line in the quatrain is repeated in the second line of the next. This creates a certain cyclical, closed nature of creation. The images in the work are created with the help of a peculiar vocabulary - “purple hands on the enamel wall”, “patching blades”, “vociferous silence”.

Bryusov uses such techniques, uncharacteristic for literature, as color painting and sound painting. The entire text is permeated with violet and azure hues, the enamel wall creates a feeling of white, although it is not its color that is meant at all, but the texture. Alliteration creates the musicality of the work, despite the absence of any dynamics. Collectively, the poet represents a strange, fantastic world creative process, filled with color, sound and, oddly enough, sonorous silence.

The work is written in four-foot trochee, the foot is two-syllable with stress on the 1st syllable, the rhyme is crossed, with alternation of male and female. As literary devices epithets are used (“purple hands”, “on the enamel wall”), metaphors (“ringing silence”, “naked month”), personifications (“kiosks grow”, “sounds fawn”, “shadow trembles”).

Creativity is illusory and infinite, it cannot be fully comprehended. The illusory image will melt, crumble in a bright light under the gaze of a critic, not allowing itself to be seen by an outside eye, for such is its fragile nature.