All the great poets and writers without a feeling of sublime love for a woman could neither live, nor breathe, nor create. She played a tragic and often fatal role in their lives. There is a lot of romantic lyrics in the work of the poet Lermontov, but if Pushkin almost always wrote about love with enthusiasm and inspiration, then Lermontov, in anticipation of disappointment and unrealizability, wrote about it with sadness and longing. But still, he also had rare moments of happiness. Lermontov's love lyrics received inspiration from many women. Let's look at his most striking novels.
Lyrical hero
He wants to love sacrificially and selflessly, sincerely and devotedly. But the prevailing disharmony of life always violated beauty and ideals, which, passing through the prism of intrigue and gossip of secular society, became vulgar and desecrated, denigrated and trampled. Therefore, in his poem “Why,” dedicated to Natalya Ivanova, M. Lermontov’s love lyrics at that time are expressed in the lines:
“I’m sad because I love you...”
For him, love is always inseparable from sadness.
Natalia Ivanova
Lermontov's love lyrics included the so-called “Ivanovo cycle” (1830-1832), which consisted of about 40 poems. Natalya Fedorovna Ivanova is the recipient of Lermontov’s youthful poems. She was the daughter of the Moscow writer F. F. Ivanov. At seventeen, she became the object of desire for sixteen-year-old Lermontov. Among the poems one can highlight “I will not humiliate myself before you”, “Time for the heart to be at peace”, “When there are only memories” and others. Their relationship was complicated. At first Lermontov met with affection and attention, but then they abruptly changed to coldness and misunderstanding. Their relationship was immediately severed. At these moments, Lermontov felt insulted and humiliated and even wished for death. He would later call her an "unfeeling, cold deity."
Essay: The theme of love in the lyrics of M.Yu. Lermontov
(371 words) One of the outstanding poets of the golden 19th century of Russian literature is Mikhail Yuryevich Lermontov. There were many different themes in his work. One of them was the theme of love - eternal, not losing its relevance and significance after years and centuries.
Like any other feeling, love is multifaceted - it is not just one emotion. And this property of love is certainly reflected in the lyrics of M.Yu. Lermontov. However, among other facets in his poems, the tragedy of love prevails - an unrequited, fleeting, often painful feeling. “Both we hate and we love by chance,” writes the poet. It is noteworthy that the lovers in the works of Mikhail Yuryevich are not abstract images of random girls. They are endowed with specific individual traits.
Love from M.Yu. Lermontov is the meaning of life. Otherwise, if the feelings are not reciprocated, the lyrical hero will face separation, loneliness, melancholy, sadness, and disappointment. Most often this is what happens to the hero of Mikhail Yuryevich - he is deceived, suffers from unrequited love. For example, in the poem “No, it’s not you I love so passionately” by M.Yu. Lermontov writes:
Not knowing the insidious betrayal, I gave my soul to you <...>
Probably, such a tragic perception of love was influenced by the fate of the poet. Relationships with girls ended in breakup and coldness. Many poems on the theme of love are dedicated to Varvara Lopukhina, Mikhail Yuryevich’s beloved. Varvara married another man.
At the same time, M.Yu. Lermontov perceives love as something pure, sincere, incredibly important and protected. This only increases the melancholy and disappointment that this value is suddenly destroyed - by irresponsibility, betrayal, indifference. The infinitely lonely lyrical hero of Mikhail Yuryevich feels alienated in this world without mutual and true love:
I live - like the ruler of the sky - In a beautiful world - but alone.
Love in the lyrics of M.Yu. Lermontov is always torment, doubt, uncertainty, uncertainty about the feelings of his beloved. And all this worries the lyrical hero, he deeply experiences this pain. In the poem “Beggar” the reader finds the following lines:
So I prayed for your love With bitter tears, with longing; So my best feelings are deceived forever by you!
At the same time, the lyrical hero loves selflessly, ardently, sincerely:
And the whole world hated me so that I could love you more. (“I will not humiliate myself before you...”)
Thus, love in the lyrics of M.Yu. Lermontov is an extremely significant topic. It is perceived by the poet as a necessary, important feeling. But Mikhail Yuryevich’s love is filled with tragedy - it is unrequited, and the lyrical hero is rejected or deceived, disappointed. However, this does not change the poet’s attitude towards love in general - it is holy, significant, it is the meaning of life.
Author: Maria Serbina
Varenka Lopukhina
During his student years, in 1832, Lermontov was introduced to the Russian noblewoman Varvara Aleksandrovna Lopukhina. The young people fell in love with each other, and Lermontov carefully kept the image of the girl in his heart until his death. Their feelings at that time were mutual, but the girl’s parents decided to marry her off in 1935, having found an advantageous match - the wealthy landowner N.F. Bakhmetev, who was much older than her. Perhaps the marriage was influenced by rumors about Michel's courtship with Ekaterina Sushkova.
Lermontov's love lyrics take a new turn. Modern literary scholars are sure that Lermontov dedicated many of his works, poems and the poem “The Demon” to Varenka. She, Lopukhina, became the prototype of Vera in the story “A Hero of Our Time,” which Pechorin, who was similar to the author himself, loved. In the drama “Two Brothers,” the genius also speaks out about unequal marriages of convenience, hinting at Varvara’s family.
Perhaps Varenka was a faithful and submissive wife, but she did not have the chance to become happy - her husband was jealous and did not allow her to even remember Lermontov. But she could not forget the poet.
Lermontov dedicated the poem “She is not proud of her beauty” to her.
After exile to the Caucasus, in 1838, Lermontov met with Lopukhina-Bakhmeteva. By that time she was already sick, and her appearance was a little depressing.
Lermontov dedicated his poem “To a Child” to her. During this period, Lermontov's love lyrics were beautiful and tender. The poems touch to the core.
In 1841, when Lermontov died, Varvara’s nerves completely gave way, she did not want to regain her strength either in Moscow or abroad, then she became very weak and in 1851, when she was only 36 years old, she died. The story of this love is captured in Lermontov’s novel “Tales of the Golden Age.”
Essay on the peculiarities of Lermontov's love lyrics
TABLE OF CONTENTS
INTRODUCTION Chapter 1. Features of creativity M.Yu.
Lermontov .1. Poetic tradition in the works of M.Yu. Lermontov .2. Reflection of Pushkin's lyrics in the works of Lermontov Chapter 2. The theme of love in Lermontov's lyrics .1. Love lyrics by M.Yu. Lermontov .2. A cycle of poems to N.F.I. CONCLUSION REFERENCES USED INTRODUCTION Love
.
The inexhaustibility of this topic is obvious. At all times, judging by the tales and traditions of different peoples that have reached us, it has excited the hearts and minds of people. Love is the most complex, mysterious and paradoxical reality that a person faces. And not because, as is usually believed, there is only one step from love to hate, but because love cannot be “calculated or calculated”! In love, it is impossible to be petty and mediocre - it requires generosity and talent, vigilance of the heart, breadth of soul, a kind, subtle mind and much, much more that nature has endowed us with in abundance, and that we foolishly waste and dull in our vain life. Poets and writers, philosophers and mystics, artists and composers of different eras turned to this eternal theme, trying to use the means of their genre to express the charm, harmony, drama of love, and to comprehend its mystery. Today, humanity has colossal historical and literary material for understanding the phenomenon of love. M.Yu. Lermontov is a very complex phenomenon in the history of Russian literary life. The poet, who lived only 26.5 years and left a relatively small literary legacy, still remains an unsolved and not fully understood personality. In the literary criticism of Lermontov’s work, from his lifetime publications to the present day, one can observe a sharp struggle of opinions, sometimes completely opposite, artificial straightening, ideological obscurations and the inevitable manifestation of historical limitations - features that reflected the course of development of Russian history and Russian culture with all its contradictions. Gogol, according to Zhukovsky, defined the essence of Lermontov’s poetry with the word “charmlessness.” People of different eras, different mental systems, mental powers, religious aspirations agreed on a general “disenchantment” of Lermontov. In his article on Russian poetry, Gogol devoted less space to Lermontov than to Yazykov. Pletnev, a connoisseur and friend of Zhukovsky, Pushkin, and Gogol, gave the following assessment of Lermontov: “This was a magician after Byron and Pushkin, who with his grimaces knew how to remind the crowd of his predecessors. The time will come, and they will forget about Lermontov.” This opinion was shared by almost the majority of people who knew Lermontov. Ivan Aksakov: “Lermontov’s poetry is the melancholy of the soul, sick from its own emptiness due to unbelief and lack of ideals.” Dostoevsky expressed himself about his Stavrogin: “progress came out of anger even against Lermontov.” V.G. Belinsky, who at first also belonged to this camp, subsequently changed his opinion about Lermontov. Actually, the study of Lermontov’s work in literary terms began with his works. Very important in revealing Lermontov's creativity are articles about him by Apollo Grigoriev, who fought with Lermontov, gravitated towards him and in many ways deeply comprehended him. Just like Shevyrev, he struggled with the “pride of spirit” brought from the West. At the turn of the 19th and 20th centuries, attempts were made to find transcendental grounds for judgments about the poet, who never ceased to confuse and disturb Russian critics. The movement in this direction was clearly outlined, for example, in an essay by S.A. Andreevsky “M.Yu. Lermontov" (1890). The author immediately raised the question of the meaning and significance of Lermontov’s work beyond the boundaries of social history in general. The critic saw the reason that gave rise to the poet’s discord with the surrounding world in an insurmountable contempt for all earthly existence, and the source of this contempt was found in Lermontov’s attraction to the supersensible sphere, in his constant consciousness of his real connection with the otherworldly. Accordingly, the significance of Lermontov’s works was no longer associated with opposition to political “timelessness” and not with a turn to the people’s “soil”, but with comprehension of the mystery of the universe, with the possibility of a “cosmic point of view” on modernity, with the godless position of Lermontov’s heroes and his own, with the mystical an understanding of love that reveals in it the manifestation of the Eternal Femininity. Finally, the significance of Lermontov was associated with the “divine greatness of the spirit,” which was revealed in the fearless and proud Lermontov pessimism, also “cosmic and transtemporal.” All these motifs were developed by pre-symbolist, symbolist and near-symbolist criticism; during the first decade of the 20th century they developed into a stable system. Over time, the basis of the system became the principle proclaimed by A.A. Blok (“Pedant about the Poet”, 1906). Blok considered the only path leading to understanding Lermontov to be “creative providence,” unraveling the mystery of Lermontov’s image, which is “dark, distant and creepy” for every sensitive reader. For the Symbolists, the mood that possessed Lermontov was not a poetic pose (even if supported by strong emotions), but a truly mystical experience. They persistently repeated the idea of the contradiction between the “unearthly” Lermontov soul with its “prophetic longing” and the limitations of Lermontov’s consciousness, not prepared for the prophetic mission. In this context, the idea of the catastrophism of Lermontov’s fate immediately acquired the features of a cosmic mystery: the failed prophet turned out to be a victim of his own unrealizable, given purpose from other spheres; it was about his doom to painful duality and ultimate death (sometimes in the religious sense of the word). And, of course, the idea of fulfilling a strictly poetic purpose was excluded: in Lermontov’s poetry they found elemental magical power capable of enchanting, but did not discover transformative, theurgic power. This whole complex of ideas was harmoniously embodied, for example, in the articles of A. Bely from 1903-1911, in the sketch of V.V. Rozanova “M.Yu. Lermontov: (On the 60th anniversary of his death)” (1901), in an article by B.A. Sadovsky “The Tragedy of Lermontov” (1911), in the article by V.Ya. Bryusov “M.Yu. Lermontov" (1914). Echoes of the same ideas are noticeable in the work of P.N. Sakulina “Earth and Heaven in Lermontov’s Poetry.” However, the main event in the development of symbolist interpretations of Lermontov was the polemic of D.S. Merezhkovsky with Vl.S. Soloviev. In Solovyov’s lecture “Lermontov’s Fate,” first given in 1899 and later published as an article under the title “Lermontov,” a sharp condemnation of the poet’s personality and work was justified by an extensive philosophical concept. The initial thesis of this concept subsequently became the basis for all Symbolist judgments about Lermontov. According to Solovyov’s thoughts, Lermontov possessed spiritual capabilities that were divine in their exclusivity. Their owner could become a prophet, equal in magnitude to the biblical prophets. All the more significant was the fact that Lermontov did not become a prophet. The philosopher explained the discovered contradiction by the fact that Lermontov had chosen a false path for himself, predetermined by the immorality of his consciousness. Divine talent obliged him to follow the path of “true superhumanity,” the ideal embodiment of which was the path of Christ, and to overcome the limitations of sinful, mortal human nature. Instead, Lermontov justified and aestheticized evil (i.e. sin), thereby allowing it to take possession of his soul. No less important, Soloviev believed that sin captured the souls of other people, captivated by the incredible beauty of the aestheticization of evil in Lermontov’s poems and poems. Finding a living religious feeling in Lermontov’s soul and poetry, the philosopher, however, did not find any saving power in this feeling itself. The reason was seen that religious feeling did not lead Lermontov to humility. And religiosity, alien to humility, Solovyov believed, inevitably acquired the character of litigation with God and ultimately only aggravated Lermontov’s demonism, Lermontov’s discord with the world. Analyzing Lermontov's drama, Soloviev recognized only two possible options for resolving it. Or, in fact, become a true superman, having overcome evil and the limitations associated with it. Or renounce all claims to exclusivity, once and for all recognizing oneself as an ordinary mortal. The third option can only be death. It was this option that Lermontov chose for himself, according to Solovyov. The philosopher considered the death of the poet, and his entire fate, to be death in the most serious - mystical - sense of the word “death” (this is how another motive was born, which later became one of the key judgments of the symbolists about Lermontov). The reservations made by Solovyov did not change the essence of his position: this was a typical position of the accuser for many interpreters of Lermontov. Several years passed, and a sharp polemical rebuke from the defender was heard. Objections came from D.S. Merezhkovsky. In 1909 they were published three times, with different versions of the same title: “M.Yu. Lermontov: Poet of Superhumanity." Merezhkovsky readily recognized Lermontov's insubordination and demonism, but, unlike his predecessor-opponent, he found valuable content in them. According to Merezhkovsky, the humility that Vl. preached. Solovyov and all Russian religious thought faithful to traditional Christianity, in fact, was and remains servile humility. The path to true religious humility, Merezhkovsky believed, leads through insubordination and rebellion. Merezhkovsky went further to the topic of “holy fight against God,” which, in his opinion, has been lost by traditional Christianity, while it is necessary for true religiosity. Merezhkovsky convinced his readers that Lermontov’s spiritual drama outlines the path leading precisely to “holy fight against God.” Or, to use Vl.’s terminology. Solovyov, leads to the path of “true superhumanity.” In the end, it all came down to the antinomy of two truths - earthly and heavenly. Their absolute opposition destroyed, according to Merezhkovsky, the Christian doctrine: religion became lifeless, and life became irreligious. Merezhkovsky saw a way out in a new religion, which should replace the Christian one. In this context, his dispute with Lermontov’s assessment in Solovyov’s lecture-article took on meaning. Merezhkovsky was confident that Lermontov’s spiritual experience pointed the way to saving religious renewal. It was about moving past Christ - towards the religion of the Mother. And this latter was interpreted (not without the influence of Joachim of Flora) as the religion of the Holy Spirit, or the Third Testament. With the whole meaning of his spiritual aspirations, Merezhkovsky argued, Lermontov protested against the suppression of any of the two great truths opposed by Christianity and with the whole meaning of his creativity appealed for their unimaginable reunification for Christianity. A detailed study of Lermontov in the spirit of old academic science began mainly in the last decades of the 19th century and was continued in our century. Supporters of this view saw in Lermontov an extreme individualist, an exponent of a “purely negative view,” a skeptical romantic who doubted all human values and relied on foreign - domestic and Western European - models in which such a worldview seemed artistically fixed. Works about the life and work of Lermontov by representatives of this science A.N. Pynina, P.A. Viskovatova, V.D. Spasovich, D.I. Abramovich, N.A. Kotlyarevsky, I.L. Andronikova, V.E. Watsuro, D.E. Maksimova, B.T. Udodova and others mark a new stage in the study of the poet. Among various topics and developments, the question of the poet’s religiosity and his Byronism and demonism is also considered. The problem of Lermontov's religious education in the house of his grandmother E.A. is also touched upon. Arsenyeva. Through the works of the above-mentioned scientists (especially the works of Viskovaty), a large material of facts and observations was accumulated and partially, to the best of our ability, generalized, without which our knowledge of Lermontov and the general understanding of him would be much poorer. Over the past ten years, quite a large number of works have been published examining the connection between the Christian tradition and the work of such writers as A.S. Pushkin, N.V. Gogol, F.M. Dostoevsky. M.Yu. did not remain aloof from this process. Lermontov, which was marked by the publication of a book about M.Yu. in the “Pro et contra” series. Lermontov. The purpose of this work is to analyze the features of the disclosure of the theme of love in the lyrics of M.Yu. Lermontov. To achieve this goal, the following tasks are set and solved in the work: 1. To give a periodization of Lermontov’s creativity. 2. Show the disclosure of the theme of love in Lermontov’s lyrics, the role of the ideal and memory in the understanding of M.Yu. Lermontov love. Chapter 1. Features of creativity M.Yu. Lermontov 1.1 Poetic tradition in the works of M.Yu.
Lermontov Researchers noted that Lermontov was perhaps the first major Russian poet in whose work antiquity almost completely disappeared, and not only as a pan-European arsenal of poetic imagery, but also as a cultural tradition, a measure on which European art was habitually oriented for several years. centuries.
This observation is significant: Lermontov is the heir to the Pushkin era, as if starting directly from the point to which Pushkin brought our poetry. It expresses the new position of literature, characteristic of the 19th century. Pushkin constantly correlates all life phenomena that came into the sphere of his attention with the experience of world culture: a picture of everyday estate life - “the Flemish school of motley litter”; the description of the statue by a Russian sculptor is traced back to antiquity by the very form of the verse and its distinct genre tradition; An anecdote from local life is compared with a textbook episode of ancient history (“Count Nulin”). Constant comparisons and cultural associations, sometimes humorous, sometimes serious, but always deep in meaning, overwhelm Pushkin’s works. Stylizations, translations and imitations, original creations that take European life as material - all this is a kind of cultural trade, and at the same time - a polemical device necessary for the aestheticization of national life, proof of the fundamental suitability for literature of any life material, the equality of everything in the face of poetry. Pushkin proved this, and his successor Lermontov was freed from such a task. If before Pushkin (and in many ways also for him) new literature was, as it were, an organ for the development of world cultural heritage, culture in general - this is what it is directed towards and thereby enriches national life - then, starting with Lermontov, poetry is addressed directly to the processing of life impressions, no mediation between soul and life. In this respect, Lermontov is more democratic than his predecessors and is closer to the commoners. Against the background of great commonality with Pushkin (cf. the impression of Lermontov’s poetry by the writers of Pushkin’s circle), Lermontov’s absence of these, relatively speaking, “translational” cultural colors is noticeable and meaningfully important. The almost unexplored problem “Lermontov and Russian poetry of the 18th century.” although it can be placed, it is unlikely that any direct contacts will be found here. Indirectly - through the civil lyricism of the Decembrists and Pushkin - Lermontov (his, in the words of B.M. Eikhenbaum, “oratorical lyricism”) is connected with the odic tradition of Russian classicism, through elegy - with sentimentalism (only in the earliest period - see “Autumn” , "Tsevnitsa"). Lermontov's poetry is the fruit of the 19th century, when in the works of the great Russian poets of the first third of the century - Zhukovsky, Griboedov, Pushkin - the European cultural tradition, instilled by Peter's reforms, merged with the national element, when a new man, a Russian man of European consciousness, found a language and voice in literature. Like all poets of the first half of the 19th century who entered the literature after Pushkin, the problem of the relationship between his poetic system and Pushkin’s was acute for Lermontov. With an invariably positive general attitude towards Pushkin’s legacy, Lermontov went through different stages of his creative development - from direct imitation and apprenticeship in youthful poems (“Circassians”, “Two Slaves”, “Prisoner of the Caucasus”) to ideological polemics (“Three Palms”, “ Prophet") and complex artistic self-determination in relation to the Pushkin canon. At the same time, authoritative researchers of Lermontov’s work (V.V. Vinogradov, D.E. Maksimov, A.N. Sokolov, U.R. Fokht) associate the emergence of a new stylistic trend in Lermontov’s late lyrics, characterized by a large simplicity and clarity, the development of conversational intonation and the inclusion of prosaisms in the high poetic structure of thought (“Valerick”, “Testament”, “Motherland”). However, the connection of these poems with Pushkin’s tradition should be understood in the most general terms - the originality of Lermontov’s poetic intonation here is absolutely indisputable. Pushkin's poetry is the mastery and habituation of speech and speaking in verse. Everything became worthy of poetry and accessible to it. Pushkin's poetry is a powerful flow of speech, the rapid conquest and subordination of ever new areas and spheres of life to verse. In this regard, Lermontov’s early lyrics, with their kind of “close verbosity,” sometimes thoughtful, sometimes pathetic, are a direct follow to Pushkin, a continuation of the same trend of a kind of expansion of poetic speech. The principle of late Lermontov’s lyrics is different. Here begins the rejection of the understanding of poetry as a stream that captures and draws in the entire surrounding world, and poetry is established as a series of flashes, as a fixation of an instant poetic experience. Lermontov refuses to try to develop and continue this experience. In the ongoing poetic tension, in the large verse mass, he seems to see the danger of falling into artificiality. Lermontov's reflection from the purely ideological sphere extends to the artistic. The inertia of the Pushkin canon, which became common place in the poetic culture of the 30s, begins to be overcome. XIX century and in the hands of imitators the danger of irresponsible rhetoric actually lurks. This is Lermontov’s radical poetic innovation. Along with the Pushkin tradition, it is necessary to note two more that had serious significance for Lermontov. The first is the poetry of the Decembrists. Her influence, along with that of Pushkin and Byron, is felt in Lermontov's early poems (see "The Last Son of Liberty"). On the other hand, Lermontov and some of his contemporaries (in particular, Slavophile poets) continued the traditions of Decembrist civil lyrics. The Decembrists created oratorical poetry, which uniquely refracted the traditions of high lyricism of classicism, deeply transformed by their romantic poetics, but it was in their poems that they continued in the 19th century. live the intonation of the solemn iambic. In his lyrical poems, Lermontov often uses “odic” iambs, which are also found in Pushkin, but are especially characteristic of the Decembrists (“The Death of a Poet,” “Duma,” “Don’t Trust Yourself”). The poetic canon of “high” poems on a civil theme developed by Russian romantics throughout the 19th century. remained a kind of standard, a form in which several generations of Russian lyricists sought to express their credo. These poems express the views and feelings of people of different beliefs and different eras. And yet, these poems are somehow surprisingly similar to each other, stable in their general outlines, similar in intonation: “Citizen” by Ryleev, “Liberty” and “Village” by Pushkin, “Duma” and “Poet” by Lermontov, both poems “Russia” by Khomyakov, “Motherland” and “In Memory of Dobrolyubov” by Nekrasov, “Like a dear daughter to the slaughter” by Tyutchev, “Scythians” by Blok. Finally, his impression of Zhukovsky’s poetry was undeniably important in Lermontov’s work. The romantic worldview was historically most acutely expressed in the ballad and romantic poem. As already mentioned, among the Russian predecessors, the Decembrists and Pushkin had the greatest influence on Lermontov’s poetic work. The ballad in Russian literature is firmly associated with the name of Zhukovsky. The meaning and place of the ballad in Lermontov’s work cannot be understood if we limit ourselves to considering the canonical examples of the genre (there are few of them, and they are of a student or translation nature), but the influence of the ballad, its problematics, “color” and poetics is very noticeable in Lermontov’s lyrics. The most characteristic motive of the ballad - the motive of fate, a collision of a person with fate or the manifestation of power over people by some higher forces - is clearly close to Lermontov’s poetry, as is the inherent focus on the fate of the individual in the ballad, the refraction of philosophical, moral and socio-historical issues through it. The constructive features characteristic of a ballad - intense drama, a sharp conflict between characters, usually leading to a tragic outcome, an element of exoticism, a flavor of mystery - are akin to Lermontov’s artistic system. At the same time, at the time of Lermontov’s mature creativity, the ballad genre was largely exhausted. Lermontov artistically overcomes the inertia of the genre canon: the analytical moment intensifies, the lyricism of the ballad increases, the author himself seems to strive to become its hero. Hence the ballad nature of Lermontov’s lyrical world as a whole and the erosion and transformation of the ballad canon. A connection with the ballad tradition is also revealed by the quality of verse in Lermontov’s late lyrics. For all the proximity to their great predecessors, and above all to Pushkin, Lermontov, as a vivid exponent of the consciousness of the Russian intelligentsia of the 1830s, turned out to be, according to the well-known expression of Belinsky, the poet of “a completely different era”. Beginning an article about Lermontov's poems with a heartfelt and highly artistic characterization of the pathos of Lermontov and Pushkin's poetry, Belinsky accurately expressed the reader's impression of Lermontov's poetry as more dramatic, acutely conflicting, full of reflection and tragic contrasts between intense criticism, enormous spiritual activity and the consciousness of the practical powerlessness of modern man. Lermontov's youthful romantic maximalism turned out to be surprisingly adequate to the crisis era of Russian thought and colored all of his work. Although in recent years it has far from exhausted the character of his lyrics, this color turned out to be, so to speak, the most catchy, noticeable, so much so that in the minds of a person of Russian culture, such forced drama, intense conflict in poetry is perceived precisely as Lermontov’s tradition, Lermontov’s line in literature. The Lermontov literary era was a period of summing up in Russian and European romanticism, at the same time a new “big style” was formed in the literature - realism. All this, however, does not exclude the possibility of qualitative development and enrichment of romanticism. About this period we can say: the relevance of the affirmation of romanticism as a method has been exhausted, but the method itself has not yet exhausted its capabilities. The predominant part of Lermontov's artistic heritage is associated with the intra-romantic evolution of the poet. Comparison of Lermontov's lyrics with the main trends of romanticism of the 30s. shows that not only ideologically, but also in the sphere of artistic tasks, Lermontov expressed the progressive tendencies of literary development precisely in the form most characteristic of the time. If Pushkin is from the romanticism of the 20s. in the 30s moves to the creation of a realistic system, then all Russian literature is characterized by a slightly different path: through a new stage of romanticism, emerging in the 30s. The highest expression of precisely this line of literary development was the work of Lermontov. In the early period, Lermontov widely used the genres of philosophical monologue and romantic allegory, formed in the poetry of philosophical romanticism (Venevitinov, Shevyrev, K. Aksakov, Khomyakov). Based on the romantic allegory (“Cup of Life”), a new type of poem with a symbolic image (“Sail”, “Cliff”, “Clouds”) gradually takes shape in Lermontov’s poetry. A philosophical monologue is one of the most common forms in the early lyrics of Lermontov. However, his monologue differs from this genre of philosophical romantics in its clearly expressed personal character. Lermontov seeks not to state the thought (which is characteristic of the poets of philosophical romanticism), but to convey thought, that is, to convey the idea in formation, development, with an explicit print of consciousness that gave rise to it. Later, Lermontov does not apply this form in its pure form, however, using the experience of philosophical monologue in other genres. 1.2 The reflection of Pushkin’s lyrics in Lermontov’s work
is known that Lermontov’s path to Pushkin was not straightforward. Starting in 1829-1830 with imitation of romantic poems and the free-loving lyrics of Pushkin, Lermontov in mid-1830 turned to Byron, to the poetic experiences of Russian love of philosophy, primarily Schelling. In accordance with the tasks facing him, V.G. Belinsky focused on the differences of Pushkin and Lermontov, thereby opposing the interpretation of Lermontov as the imitator of Pushkin and other poets. The critic also sought a new period of Russian literature not to connect with the name of Pushkin. These trends were further absolutized in many historical and literary works. The differences were exaggerated: Pushkin - a realist, a harmonic nature, an objective poet, his love poems are imbued with humanity; Lermontov is a romantic, subjectivist, poet of thought, painful nature, sometimes excessively cruel and evil in love lyrics. Lermontov’s literary positions became close to Pushkinsky, without losing their characteristics, their character of worldview. The more concentration on the inner world of personality, a new step in understanding a person in all his integrity - in his connection with history, society, nature and the Universe - only strengthened Lermontov’s connection with Pushkin’s poetry, developed many problems posed by his predecessors. Following Pushkin, Lermontov is a poet of fullness of life, with all its joys and suffering. It can be argued that Lermontov’s poetry is sad and dramatic. But weren't that many works of Pushkin of the 1830s were tragic? Pushkin’s attitude to love, his humanity, expressed, for example, in the poem “I loved you: love still, maybe ...”, is usually opposed by Lermontov’s love lyrics. Youth poems by Lermontov, addressed to E.A. Sushkova and especially to N.F. Ivanova were written in the years when Lermontov was fond of Byron's poetry, and have little in common with Pushkin. The poetry of romanticism put the image of the poet, his experiences, suffering and thoughts in the center. In the mature love lyrics, Lermontov follows Pushkin and takes a new step - he seeks to capture the image of a woman, her mental state, and inner world. The top in this regard is the image of Nina in the poem "Tale for children" by Lermontov. Poets are like -minded people in the main thing: love is the greatest life value. They created masterpieces of love lyrics in Russian and world poetry. Since love means so much, you can pay with life. This Pushkin’s motive of the “stone guest”, the monologue of Cleopatra in the “Egyptian nights” is peculiarly repeated by Lermontov in the Tamara ballad (Georgian version of Cleopatra). Both poets are close in another aspect of this topic: death is not powerful over love: “spell”, “for the shores of the Fatherland of the long -range” Pushkin; “The Love of the Dead”, the final line of the poem “Countess E.P. Rostopchina ”:“ ... and your eternal affection. ” The Lermontov “denial” of love: this is not a denial, but rather a manifestation of Lermontov maximalism, a dream of true (eternal) love. A model of high love lyrics remain monologues of the demon facing Tamara. The lyrical subtext is undeniable here. This confirms the initiation of the Caucasian version of the poem Varvara Aleksandrovna Lopukhina, Lermontov had a serious feeling for her until the end of his life. Lopukhina is connected with Lopukhina's last poem “No, I don’t love you so ardently”, the varying plot motive of Pushkin (poem “Doride”). The theme of fate, rock is constantly present in the work of Pushkin and Lermontov; She is in many ways similarly comprehended. Recognizing the power of fate over a person, both poets were not fatalists. A paradoxical conclusion was made: the inevitable course of circumstances should not interfere with the active actions of the heroes, their intervention in the course of life, the ability to conduct a struggle. Perhaps the most “Lermont” lines of Pushkin: there is a rack in battle and gloomy abyss on the edge. (T. 2, p. 39). In the poem “Sonnet”, the poet writes: “I live with memory with wilted dreams, the visions of the previous years are crowding before me, and your image between them, like a month at night, shines between the wandering clouds.” The poet is trying to contrast his ideal views with dull reality. This is the difference between Lermontov’s love lyrics and the love lyrics of Pushkin. Pushkin’s love, as a divine gift, is joyful and bright. He does not bring insoluble tragedy to his lyrical poems, his love is just a moment of beautiful, enchanting, exalted. He is more realistic and cheerful in his verses, although he sometimes has pessimistic notes. In Lermontov’s poems, love is high, bright, poetic, but always unrequited or lost. The “Hero of our time” ends with the “fatalist” - the only novel where Pechorin turns out to be a genuine hero: he disarms the killer, saving from the death of other people. Pechorin wrote in his diary that “I decided to experience fate”, and remarked: “... I always go ahead of the bolder when I don’t know what awaits me.” Everyone is obvious to the dependence of the “hero of our time” on “Eugene Onegin”. The burning question about the realization of his life, self -enforcement was posed by Lermontov even sharper than in Evgenia Onegin: the state of society is determined by the degree of disclosure of human capabilities.
Ekaterina Sushkova
Another love relationship connects Lermontov with an adult socialite Ekaterina Alexandrovna Sushkova. In 1830, he dedicated a whole series of his poems to her. Lermontov's love lyrics found themselves in a new suffering phase. But at first Sushkova did not accept Lermontov, who was in love with her, and, listening favorably to the dedication poems, did not hide her mocking attitude towards their author. And Lermontov could argue with her for hours until she cried, in order to prove that he was right.
One of the poems is “The Beggar,” another is “To Sushkova,” or “Call Hope with a Dream...”, etc. Everywhere he declares his love for her and is simply enchanted by her. Their romance lasted exactly a year, from 1830 to 1831. Sushkova was his Moscow acquaintance, whom he often saw at the estate of his relatives, the Stolypins, near Moscow. She did not consider him as a groom, but five years passed, and Lermontov appeared next to her as a gallant hussar. Having learned that she is going to marry his friend Lopukhin, he behaves so skillfully and cunningly that he captivates the beauty’s heart and thereby compromises her in the eyes of others. And then he confesses to her that he never loved her. In the end they say goodbye. Lermontov is glad that he took revenge for his love and ridicule. Most likely, this darkest page of his biography appeared due to his cadet upbringing and the desire to always be on a pedestal.
The history of their relationship is well depicted in the unfinished novel “Princess Ligovskaya” (1935), where Elizaveta Negurova is the prototype of Sushkova.
Ekaterina Bykhovets
Bykhovets Ekaterina Grigorievna was a distant relative of Lermontov. Most likely, he met her in the house of his aunt, M. E. Bykhovets, in the period from 1838 to 1841. According to Ekaterina Grigorievna, she reminded Lermontov of Lopukhin, which is apparently why he dedicated the poem “No, it’s not you that I love so passionately...” to her. Thus, Lermontov’s love lyrics gradually lose their power, his poems make him even more melancholy about lost feelings, and the life of the great genius comes to an end.
Bykhovets had many fans, especially from the poet’s circle. She had a dark complexion and brown eyes. She said that Lermontov did not like to dance, but was very cheerful. However, with her he was real and almost always sad. Most likely, this was a premonition of impending disaster. Ekaterina Grigorievna was with him on the day of the duel; the last minutes of the great poet passed before her eyes. Then Bykhovets wrote in her memoirs that in the morning they talked, and then went on a picnic with Lermontov and mutual friends.
The significance of love lyrics
Lermontov's love lyrics are distinguished by their unique beauty and depth. Throughout his entire creative career, the poet tenderly and carefully sings of love feelings. Many works and poems written by the poet are addressed to real prototypes of beauties, for whom the poet had an unquenchable feeling. In his poems, Mikhail Yuryevich not only reflected his joyful love, but also the suffering from unrequited feelings. Therefore, the theme of love lyrics was so important and significant for the poet. Many written works did not have a signature, which means that their heroines played an important role in the poet’s life.
Before the work of M. Yu. Lermontov, love in literature had some commonplace status. The creativity in the love sphere that the poet created filled love experiences with new sounds and colors. The poet wrote especially many works under the yoke of feelings of love disappointment and drama. And this is no coincidence. If you get acquainted with Lermontov’s biographical data, you can see many tragic and bitter moments, which are reflected in his work.
Lermontov's love works take a person to another world, filled with sensations of free love. In many romantic works, the author describes manifestations of mutual happiness, which he himself lacked so much in harsh reality. In his lyrical works, the poet describes not only the unique feeling of harmony with the world around him, but also the contradictions that arise in his soul against the injustice of society and the existing state structure.
Fatal love lyrics by M. Yu. Lermontov
The Odessa newspaper would later write that “on July 15, 1841, at 5 o’clock in the evening, a severe storm broke out with thunder and lightning.” It was at this time that Lermontov would be killed between the Beshtau and Mashuk mountains. A bullet from Martynov’s revolver will pass through the poet’s heart. One of the versions of the reasons for the duel is Lermontov’s ridicule of his friend Martynov and his sister Natalya Solomonovna, whom the poet allegedly caricatured in the famous work “Hero of Our Time.” And she was very passionate about him and thought that it was mutual. In this story, he seemed to predict his fate.
