And the pine tree reaches the star, which trope. Studying the poetry of Osip Mandelstam

Paths: Comparison is a figurative expression in which one phenomenon, object, person is likened to another. Comparisons are expressed in different ways: in the instrumental case (“goes away in smoke”); various conjunctions (as if, exactly, as if, etc.) lexically (using the words similar, similar)

Periphrasis is a descriptive phrase. An expression that descriptively conveys the meaning of another expression or word. City on the Neva (instead of St. Petersburg) An oxymoron is a trope that consists of combining words that name mutually exclusive concepts. Dead Souls (N.V. Gogol); look, it’s fun for her to be sad (A.A. Akhmatova)

Epithet An artistic definition that paints a picture or conveys an attitude towards what is being described is called an epithet (from the Greek epiton - application): mirror surface. Epithets are most often adjectives, but often nouns also act as epithets (“sorceress-winter”); adverbs (“stands alone”). In folk poetry there are constant epithets: the sun is red, the wind is violent.

N.V.Gogol

Slide 2

Trails:

Comparison is a figurative expression in which one phenomenon, object, person is likened to another.

Comparisons are expressed in different ways:

• instrumental case (“goes away in smoke”);
• various conjunctions (as if, exactly, as if, etc.)
• lexically (using the words similar, similar)

Slide 3

Metaphor and personification are built on the basis of comparison.

• Metaphor - (Greek transfer) - transferring the name of one object to another based on their similarity. Book of life, branches of hands, circle of love

Slide 4

Personification is a type of metaphor. Transferring human feelings, thoughts and speech to inanimate objects and phenomena, as well as when describing animals.

A drop of rain slid down a rough currant leaf.

Slide 5

Metonymy - (from Greek - renaming) - transfer of a name from one object to another, adjacent to it, that is, close to it.

The whole camp is sleeping (A.S. Pushkin)

Slide 6

Periphrasis is a descriptive phrase. An expression that descriptively conveys the meaning of another expression or word.

• City on the Neva (instead of St. Petersburg)

An oxymoron is a trope that consists of combining words that name mutually exclusive concepts.

• Dead Souls (N.V. Gogol); look, it’s fun for her to be sad (A.A. Akhmatova)

Slide 7

Hyperbole and litotes

• Paths with the help of which a sign, property, quality is either strengthened or weakened.
• Hyperbole: and the pine tree reaches the star (O. Mandelstam)
• Litota: a small man (A. Nekrasov)

Slide 8

Epithet

• An artistic definition that paints a picture or conveys an attitude towards what is being described is called an epithet (from the Greek epiton - application): mirror surface.
• Epithets are most often adjectives, but often nouns also act as epithets (“winter sorceress”); adverbs (“stands alone”).
• In folk poetry there are constant epithets: the sun is red, the wind is violent.

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Poetics Mandelstam It is beautiful in that frozen words and sentences, under the influence of his pen, turn into living and enchanting visual images filled with music. It was said about him that in his poetry the “concert descents of Chopin’s mazurkas” and “Mozart’s curtained parks”, “Schubert’s musical vineyard” and “low-growing bushes of Beethoven’s sonatas”, Handel’s “turtles” and “Bach’s militant pages” come to life, and violin musicians the orchestra became entangled with “branches, roots and bows.”

Graceful combinations of sounds and consonances are woven into an elegant and subtle melody that shimmers invisibly in the air. Mandelstam is characterized by a cult of creative impulse and an amazing style of writing. “I alone write from my voice,” the poet said about himself. It was the visual images that initially appeared in Mandelstam’s head, and he began to silently pronounce them. The movement of the lips gave birth to a spontaneous metric, overgrown with clusters of words. Many of Mandelstam's poems were written "from the voice."

Joseph Emilievich Mandelstam was born on January 15, 1891 in Warsaw into a Jewish family of a merchant, glove maker, Emilia Mandelstam, and a musician, Flora Werblowska. In 1897, the Mandelstam family moved to St. Petersburg, where little Osip was sent to the Russian forge of “cultural personnel” of the early twentieth century - the Tenishev School. After graduating from college in 1908, the young man went to study at the Sorbonne, where he actively studied French poetry - Villon, Baudelaire, Verlaine. There he met and became friends with Nikolai Gumilyov. At the same time, Osip attended lectures at the University of Heidelberg. Coming to St. Petersburg, he attended lectures on versification in the famous “tower” by Vyacheslav Ivanov. However, the Mandelstam family gradually began to go bankrupt, and in 1911 they had to leave their studies in Europe and enter St. Petersburg University. At that time, there was an admission quota for Jews, so they had to be baptized by a Methodist pastor. On September 10, 1911, Osip Mandelstam became a student in the Romance-Germanic department of the Faculty of History and Philology of St. Petersburg University. However, he was not a diligent student: he missed a lot, took breaks from his studies, and without completing the course, he left the university in 1917.

At this time, Mandelstam was interested in something other than the study of history, and its name was Poetry. Gumilyov, who returned to St. Petersburg, constantly invited the young man to visit, where in 1911 he met Anna Akhmatova. Friendship with the poetic couple became “one of the main successes” in the life of the young poet, according to his memoirs. Later he met other poets: Marina Tsvetaeva. In 1912, Mandelstam joined the Acmeist group and regularly attended meetings of the Workshop of Poets.

The first known publication took place in 1910 in the magazine Apollo, when the aspiring poet was 19 years old. Later he was published in the magazines "Hyperborea", "New Satyricon" and others. Mandelstam's debut book of poems was published in 1913. "Stone", then reprinted in 1916 and 1922. Mandelstam was at the center of the cultural and poetic life of those years, regularly visited the haven of the creative bohemia of those years, the art cafe "Stray Dog", communicated with many poets and writers. However, the beautiful and mysterious flair of that era of “timelessness” was soon to dissipate with the outbreak of the First World War, and then with the advent of the October Revolution. After it, Mandelstam’s life was unpredictable: he could no longer feel safe. There were periods when he lived on the rise: at the beginning of the revolutionary period he worked in newspapers, in the People's Commissariat for Education, traveled around the country, published articles, and spoke poetry. In 1919, in the Kiev cafe "H.L.A.M" he met his future wife, a young artist, Nadezhda Yakovlevna Khazina, with whom he married in 1922. At the same time, a second book of poems was published "Tristia"(“Sorrowful Elegies”) (1922), which included works from the time of the First World War and the Revolution. In 1923 - “The Second Book”, dedicated to his wife. These poems reflect the anxiety of this anxious and unstable time, when the civil war raged, and the poet and his wife wandered around the cities of Russia, Ukraine, Georgia, and his successes were replaced by failures: hunger, poverty, arrests.

To earn a living, Mandelstam was engaged in literary translations. He did not abandon poetry either; moreover, he began to try himself in prose. “The Noise of Time” was published in 1923, “The Egyptian Stamp” in 1927, and a collection of articles “On Poetry” in 1928. At the same time, in 1928, the collection “Poems” was released, which became the last lifetime collection of poetry. Difficult years lay ahead for the writer. At first, Mandelstam was saved by the intercession of Nikolai Bukharin. The politician advocated Mandelstam’s business trip to the Caucasus (Armenia, Sukhum, Tiflis), but “Travel to Armenia,” published in 1933 based on the trip, was met with devastating articles in Literary Gazette, Pravda and Zvezda.

“The Beginning of the End” begins after the desperate Mandelstam wrote in 1933 the anti-Stalin epigram “We live without feeling the country beneath us...”, which he reads out to the public. Among them is someone who denounces the poet. The act, called “suicide” by B. Pasternak, leads to the arrest and exile of the poet and his wife to Cherdyn (Perm region), where Mandelstam, brought to an extreme degree of emotional exhaustion, is thrown out of the window, but is rescued in time. Only thanks to Nadezhda Mandelstam’s desperate attempts to achieve justice and her numerous letters to various authorities, the spouses are allowed to choose a place to settle. The Mandelstams choose Voronezh.

The Voronezh years of the couple are joyless: poverty is their constant friend, Osip Emilievich cannot find a job and feels unnecessary in a new hostile world. Rare earnings in the local newspaper, theater and the feasible help of loyal friends, including Akhmatova, allow him to somehow put up with hardships. Mandelstam writes a lot in Voronezh, but no one intends to publish it. "Voronezh Notebooks", published after his death, are one of the peaks of his poetic creativity.

However, representatives of the Soviet Union of Writers had a different opinion on this matter. In one of the statements, the poems of the great poet were called “obscene and slanderous.” Mandelstam, unexpectedly released to Moscow in 1937, was again arrested and sent to hard work in a camp in the Far East. There, the poet’s health, shaken by mental trauma, finally deteriorated, and on December 27, 1938, he died of typhus in the Second River camp in Vladivostok.

Buried in a mass grave, forgotten and deprived of all literary merits, he seems to have foreseen his fate back in 1921:

When I fall to die under a fence in some hole,
And there will be nowhere for the soul to escape from the cast-iron cold -
I will politely leave quietly. I'll blend in with the shadows imperceptibly.
And the dogs will take pity on me, kissing me under the dilapidated fence.
There will be no procession. Violets will not decorate me,
And the maidens will not scatter flowers over the black grave...

In her will, Nadezhda Yakovlevna Mandelstam actually denied Soviet Russia any right to publish Mandelstam’s poems. This refusal sounded like a curse on the Soviet state. Only with the beginning of perestroika did Mandelstam gradually begin to be published.

"Evening Moscow" offers a selection of beautiful poems by a wonderful poet:

***
I was given a body - what should I do with it?
So one and so mine?

For the joy of quiet breathing and living
Who, tell me, should I thank?

I am a gardener, I am also a flower,
In the dungeon of the world I am not alone.

Eternity has already fallen on the glass
My breath, my warmth.

A pattern will be imprinted on it,
Unrecognizable recently.

Let the dregs of the moment flow down -
The cute pattern cannot be crossed out.
<1909>

***
Thin decay is thinning -
purple tapestry,

To us - to the waters and forests -
The skies are falling.

Hesitant hand
These brought out the clouds.

And the sad one meets the gaze
Their pattern is blurred.

Dissatisfied, I stand and remain quiet,
I, the creator of my worlds, -

Where the skies are artificial
And the crystal dew sleeps.
<1909>

***
On pale blue enamel,
What is conceivable in April,
Birch trees raised their branches
And it was getting dark unnoticed.

The pattern is sharp and small,
A thin mesh froze,
Like on a porcelain plate
The drawing, drawn accurately, -

When his artist is cute
Displays on the glassy surface,
In the consciousness of momentary power,
In the oblivion of sad death.
<1909>

***
Unspeakable sadness
She opened two huge eyes,
Flower woke up vase
And she threw out her crystal.

The whole room is drunk
Exhaustion is a sweet medicine!
Such a small kingdom
So much was consumed by sleep.

A little red wine
A little sunny May -
And, breaking a thin biscuit,
The thinnest fingers are white.
<1909>

***
Silentium
She hasn't been born yet
She is both music and words.
And therefore all living things
Unbreakable connection.

Seas of breasts breathe calmly,
But the day is bright like crazy.
And pale lilac foam
In a cloudy azure vessel.

May my lips find
Initial muteness -
Like a crystal note
That she was pure from birth!

Remain foam, Aphrodite,
And return the word to music,
And be ashamed of your heart,
Merged from the fundamental principle of life!
< 1910>

***
Don't ask: you know
That tenderness is unaccountable,
And what do you call
My trepidation is all the same;

And why confession?
When irrevocably
My existence
Have you decided?

Give me your hand. What are passions?
Dancing snakes!
And the mystery of their power -
Killer magnet!

And the serpent's disturbing dance
Not daring to stop
I contemplate the gloss
Maiden's cheeks.
<1911>

***
I shiver from the cold -
I want to go numb!
And gold dances in the sky -
Orders me to sing.

Tomish, anxious musician,
Love, remember and cry,
And, thrown from a dim planet,
Pick up the easy ball!

So she's real
Connection with the mysterious world!
What aching melancholy,
What a disaster!

What if, having flinched wrongly,
Always flickering
With your rusty pin
Will the star get me?
<1912>

***
No, not the moon, but a light dial
Shines on me - and what is my fault,
What faint stars do I feel the milkiness?

And Batyushkova’s arrogance disgusts me:
What time is it, he was asked here,
And he answered the curious: eternity!
<1912>

***
Bach
Here the parishioners are children of the dust
And boards instead of images,
Where is the chalk - Sebastian Bach
Only numbers appear in the psalms.

Tall debater, really?
Playing my chorale to my grandchildren,
Support of the spirit indeed
Did you look for proof?

What's the sound? Sixteenths,
Organa polysyllabic cry -
Just your grumbling, nothing more,
Oh, intractable old man!

And a Lutheran preacher
On his black pulpit
With yours, angry interlocutor,
The sound of your speeches interferes.
<1913>

***
"Ice cream!" Sun. Airy sponge cake.
A transparent glass with ice water.
And into the world of chocolate with a ruddy dawn,
To the milky Alps, dreams fly.

But, clinking the spoon, it’s touching to look -
And in a cramped gazebo, among the dusty acacias,
Accept favorably from the bakery graces
In an intricate cup there is fragile food...

The barrel organ's friend will suddenly appear
The wandering glacier's motley cover -
And the boy looks with greedy attention
The chest is full in the wonderful cold.

And the gods do not know what he will take:
Diamond cream or stuffed waffle?
But it will quickly disappear under a thin splinter,
Sparkling in the sun, divine ice.
<1914>

***
Insomnia. Homer. Tight sails.
I read the list of ships to the middle:
This long brood, this crane train,
That once rose above Hellas.

Like a crane's wedge into foreign borders, -
On the heads of kings there is divine foam, -
Where are you going? Whenever Elena
What is Troy alone for you, Achaean men?

Both the sea and Homer - everything moves with love.
Who should I listen to? And now Homer is silent,
And the black sea, swirling, makes noise
And with a heavy roar he approaches the headboard.
<1915>

***
I don't know since when
This song has begun -
Isn't there a thief rustling along it?
Is the mosquito prince ringing?

I would like about nothing
Talk again
Rustle with a match, with your shoulder
To stir up the night, to wake up;

Scatter a haystack at the table,
A cap of air that languishes;
Rip, tear the bag,
In which cumin is sewn.

To the pink blood connection,
These dry herbs are ringing,
The stolen item was found
A century later, a hayloft, a dream.
<1922>

***
I returned to my city, familiar to tears,
To the veins, to the swollen glands of children.

You're back here, so swallow it quickly
Fish oil of Leningrad river lanterns,

Find out soon the December day,
Where the yolk is mixed with the ominous tar.

Petersburg! I don't want to die yet!
You have my phone numbers.

Petersburg! I still have addresses
By which I will find the voices of the dead.

I live on the black stairs, and to my temple
A bell torn out with meat hits me,

And all night long I wait for my dear guests,
Moving the shackles of the door chains.

<декабрь 1930>

***
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.

<март 1931>

***
Oh how we love to be hypocrites
And we forget easily
The fact that we are closer to death in childhood,
Than in our mature years.

More insults are being pulled from the saucer
Sleepy child
And I have no one to sulk at
And I am alone on all paths.

But I don’t want to fall asleep like a fish,
In the deep swoon of the waters,
And free choice is dear to me
My sufferings and worries.
<февраль 1932>

1922 - 1938.

Poems "I returned to my city, familiar to tears..." 1930,

"For the explosive valor of the coming centuries..." 1931, 1935.

OptionI.

Read the poem"I returned to my city, familiar to tears... " and complete tasks B8 - B12; C3 - C4.

AT 8. The ominous atmosphere of St. Petersburg in the poem is created through the use of a special kind of phrases (“pulled out with meat”, “all night long”). What are their names?

AT 9. What is the name for addressing an inanimate object (“Petersburg, I still have addresses”)?

AT 10 O'CLOCK. What stylistic figures are used in the poem to enhance emotional expressiveness in the following lines: “...so swallow quickly //... Find out soon...”?

AT 11. What means of artistic expression does the poet use in the line: “And all night long I wait for my dear guests”?

AT 12. What size is the poem written in?

C3. What images of the poem embody the lyrical hero’s idea of ​​St. Petersburg in the 30s?

C4. What poetic works of Russian poets are addressed to St. Petersburg, and what motives bring them closer to O.E. Mandelstam’s poem “I returned to my city, familiar to tears”?

C4. What poems by Russian poets touch on the theme of personal freedom, and what motives bring them closer to O.E. Mandelstam’s poem “I returned to my city, familiar to tears”?

OptionI.

Read the poem"For the explosive valor of the coming centuries..." and complete tasks B8 - B12; C3 - C4.

AT 8. What artistic device, based on the transfer of the properties of one phenomenon to another based on their similarity, does the author use in the line of the poem: “A wolfhound century is throwing itself on my shoulders...”?

AT 9. Name the method of artistic expression that the author uses in the poem to create a vivid picture: “And the pine tree reaches the star...”.

AT 10 O'CLOCK. What is the name of the figurative and expressive device used in the poem: “you better stuff me like a hat into your sleeve”?

AT 11. The solemn tone of the first verse in the poem is created with the help of sound writing: “For the explosive valor of the coming centuries...”. What is this type of sound recording called?

AT 12. What type of rhyme is used in the poem?

C3. What images of the poem embody the lyrical hero’s idea of ​​his time?

C4. In which poems by Russian poets does the theme of the purpose of the poet and poetry sound and how are they close to O.E. Mandelstam’s poem “For the explosive valor of the coming centuries...”?

Answers to test materials.

OptionI.

B8 phraseological units

B9 rhetorical

B10 parallelism, repeat

B11 irony

B12 anapaest

C4 A.S. Pushkin “The Bronze Horseman”; A.A. Akhmatova "Requiem"

C4 A.S. Pushkin “Anchar”, “To Chaadaev”; M.Yu.Lermontov "Mtsyri"

OptionII.

B8 metaphor

B9 hyperbole

B10 comparison

B11 alliteration

B12 cross

C4 A.S. Pushkin “Prophet”, “I erected a monument to myself not made by hands...”; M.Yu. Lermontov "Death of a Poet"; A.A.Blok "Stranger" and others.

“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.