Analysis of the poem “Everything is Around”
Analysis of the lyrical work “Everything is Around” by Z. Gippius
Terrible, rough, sticky, dirty, a Hardly dull, always ugly, a Slowly tearing, petty dishonest, b Slippery, shameful, low, cramped, b Obviously contented, secretly lascivious , a Flatly funny and sickeningly cowardly, a Viscous, swampy and muddy stagnant, b Equally unworthy of Life and death, b Slave, boorish, purulent, black, a Occasionally gray, persistent in gray, a Eternally lying, devilishly inert, b Stupid, dry, sleepy, malicious, b Corpse-cold, pitifully insignificant, a Unbearable, false, false! a But there is no need to complain. What joy is there in crying? b We know, we know: everything will be different. b
At first, I must admit, I decided to take a futurist’s poem. It’s not surprising, because the futurists are original in everything - from their appearance to their innovation in poetry. But after thinking a little, I decided that the Symbolists are much closer to me in spirit. Thus, the choice fell on the bright representative of symbolism - Zinaida Gippius. The poem “Everything is Around” was written in 1904. Having studied the chronology of events in Russia this year, I found out that there was nothing special except the beginning of the Russo-Japanese War. Since Gippius’s poetry is still historical, one could assume that the writing of the poem was somehow connected with the conflict. But I think the meaning of the verse is much broader. The title “All Around” is immense. It literally includes everything! Relations between people, between ordinary people and the authorities, living conditions of these people, social inequality, etc. Everyone will find something of their own in it. This poem evokes a storm of emotions in me. I think this is a very powerful piece. Bright, mostly disgusting pictures, caused by the abundance of “unflattering” adjectives, instantly pop up in your head. A hurricane of random colors and emotions. Most likely, the author was in a very emotional state and, wanting to let her outrage out, wrote this work. The poem can be divided into two semantic parts. The first is a very emotional, rather colorful and slightly crazy mixture of definitions. Several occasionalisms immediately catch the eye: petty-dishonest, obviously-pleased, secretly lascivious, flatly funny, sickening-cowardly, etc. Gippius, for even greater expressiveness, combined two definitions that are usually used separately. The first part is built exclusively on adjectives and adverbs. The second, unlike the first, is imbued with boundless faith in a bright future:
But there is no need to complain. What joy is there in crying? We know, we know: everything will be different.
But, I don’t know why, I see some irony. Perhaps she is actually present here, or perhaps this feeling causes a sharp contrast between the parts. I can't judge for sure. The poem, according to various sources, has either one or two stanzas. I still decided that there are two of them and they are divided in the same way as the semantic parts. The first stanza has 14 lines, the second only 2. The rhyme here is adjacent. The poem uses two meters - dactyl (in the first stanza) and amphibrachium (in the second):
Scary, rough, sticky, dirty _ _ _ l _ _ _ l _ _ _ l _ _ _ (dactyl)
But there is no need to complain. What joy is there in crying? _ _ _ l _ _ _ l _ _ _ l _ _ _ (amphibrachium)
It has already been mentioned that the first stanza uses dactyl. And in dactyl, as you know, the emphasis falls on the first part. From this we can build a rather interesting theory. The first stanza, in it the dactyl (with emphasis on the first part) is the beginning of the story. The second stanza is like the middle of the story, and it contains amphibrachs (with emphasis on the second part). The ending, unfortunately, is unknown, but I think it would have been written using an anapest.
The poem has a slightly harsh sound, in my opinion. I think this is caused by single words. In the work, among the parts of speech used, adjectives and adverbs are most often found. With the help of this slightly unusual technique, a very interesting atmosphere of the poem as a whole is achieved. The author also uses the refrain twice:
Unbearable, false, false! And We know, we know: everything will be different.
The first refrain emphasizes the particular falsity of what he writes about. And with the help of the second, most likely, she is trying to convince herself that in the end everything will change for the better. We must admit that not everyone likes this poem. Do not understand why. In my opinion, it is simply amazing, as it evokes many emotions. The work represents some innovation. I have never seen anywhere else where most of the verse consisted only of definitions. As Sergei Makovsky wrote about Gippius: “She was all “on the contrary,” defiantly, not like everyone else.” And this is fully confirmed in this poem.
1869—1945
Z. Gippius <1903>
Zinaida Nikolaevna Gippius stood at the origins of Russian symbolism and became one of its leaders. Together with Merezhkovsky and Minsky, Gippius belonged to the religious wing of this movement: they connected the renewal of art with God-seeking tasks. Possessing a keen critical mind, Gippius did not receive a systematic education in her youth due to her family’s frequent moves. “Books—and my own endless, almost always secret writings—that was the only thing that primarily occupied me,” she recalled about her adolescence and youth in her autobiography. In 1888, in Borjomi, she met Merezhkovsky, soon married him and moved to St. Petersburg. His poetic debut took place in 1888 in the magazine Severny Vestnik. Gippius considered “the most striking “external” events” of her life, as she admitted, “the organization of the first Religious and Philosophical meetings (1901-1902), then the publication of the magazine “New Way” (1902-1904), the internal experience of the events of 1905” and joint stay in Paris with Merezhkovsky and D.V. Filosofov in 1906-1908. At the beginning of the century, the Merezhkovsky salon (its third permanent participant was Philosophers) in the Muruzi house on Liteiny Prospekt in St. Petersburg attracted adherents of “neo-Christianity” and mystical-minded young writers; It was through the Merezhkovskys that the young Blok entered the circle of symbolists and began publishing in their magazine “New Way”; Andrei Bely’s first articles appeared there. Gippius considered literary and social activities the most important for herself, and regularly acted as a critic and publicist (usually under the pseudonym Anton Krainy), collaborating initially primarily in symbolist and later in general liberal organs. Gippius’s work became especially diverse after 1908, when two collections of her stories (“Black and White,” 1908 and “Moon Ants,” 1912), a book of critical articles “Literary Diary” (1908), and a novel duology (“Devil’s Doll”) were published "1911 and "Roman Tsarevich" 1912), plays. Gippius did not publish poetry often and, according to her admission, “wrote rarely and little - only when she could not help but write” (Autobiography). Over more than thirty years of her literary activity in Russia, three small collections were published: “Collection of verses. 1889-1903" (M., 1904), "Collected poems. Book two (1903-1909)” (M., 1910) and, after October. "Last verses. 1914-1918" (Pg., 1918). Gippius did not have a period of “apprenticeship”: her early poetic experiments “under Nadson” did not appear in print, and her first published poems were already distinguished not only by new motifs for Russian poetry, but also by mature skill, stylistic and rhythmic sophistication, with outward modesty and lack of effects.
The thematic complex of Z. Gippius’s early poems includes all the most important motifs for the “senior” symbolists: escape from the boredom of everyday life into the world of fantasy and irrational premonitions (“I am a slave to my mysterious, extraordinary dreams”), the cult of loneliness, the consciousness of one’s own chosenness, aestheticization decline (“I love my immense despair”), etc. But at the same time, its own note sounded: the desire to overcome decadence on the paths of faith, and sometimes disappointment in it, the fear of the “empty desert” of heaven. Bryusov about Gippius “write aphoristically, enclose your thoughts in short, expressive, easy-to-remember formulas.” Poetic journalism was much worse for her: attempts at religious preaching in verse ended in failure. The pinnacle of her skill were short poems of the 1910s, thematically anticipating the tragic phantasmagoria of Western prose of the 20th century. (“Tolerate that everything is in a machine? In a cogwheel?”).
187
Having welcomed the February Revolution as a guarantee of the democratic reorganization of Russian life, Gippius took a sharply irreconcilable position towards the Bolsheviks after October. In “Last Poems,” she again turned to the genre of poetic—and now political—journalism, declaring her understanding of the October Revolution as the death of democracy in Russia. Having emigrated in 1920 along with Merezhkovsky and Filosofov, until her death she remained in fierce opposition to the USSR, rejecting the attempts of other emigrants to be more loyal to Soviet power; During the Great Patriotic War, this led to the gradual isolation of Gippius in emigrant circles. In Paris she continued her journalistic activities and published memoirs. Her last book of poems, “Radiance,” was published there in 1938.
Publisher: Gippius Z.N.
Works: poems, prose. L., 1991.
Song. Dedication. Love is one. Inscription on the book. Smile. Instant. To the dregs. Spiders. Everything is all around. If. Water slide. From the cycle “Three Forms of Sonnet”: 3. “I don’t know where holiness is, where vice is...”. Feminine "no". Suddenly... December 14th. Platitudes. To him. Today on earth. “Talk about joyful things.” “He accepted the sorrow of the earthly path...” Scary. Fun. Now. December 14, 17. That's it.
SONG
My window is high above the earth, High above the earth. I see only the sky with the evening dawn, - With the evening dawn.
And the sky seems empty and pale, So empty and pale... It will not take pity on the poor heart, On my poor heart.
Alas, in insane sadness I am dying, I am dying, I am striving for what I do not know, I do not know.
And I don’t know where this desire came from. But the heart asks and wants a miracle, a miracle!
And let there be something that never happens, Never happens: The pale sky promises me miracles, It promises,
But I cry without tears about an incorrect vow, About an incorrect vow... I need something that is not in the world, Which is not in the world.
1893
188
DEDICATION
The skies are dull and low, But I know that my spirit is high. You and I are so strangely close, And each of us is lonely.
My road is merciless. She is leading me to death. But I love myself like God, - Love will save my soul.
If I get tired on the way, If I start to grumble cowardly, If I rebel against myself And dare to wish for happiness, -
Don't leave me without returning On foggy, difficult days. I beg you, comfort your weak brother, have pity, deceive him.
You and I are the only ones close, We are both going east. The heavens are gloating and low, But I believe that our spirit is high.
1894
LOVE IS ONE
Once the foam boils and the wave crumbles. The heart cannot live by betrayal, There is no betrayal: there is only one love.
We are indignant or we play, or we lie - but there is silence in our hearts. We never change: There is one soul - one love.
Monotonous and deserted, Monotony is strong, Life passes... And in a long life, Love is one, always one.
189
Only in the unchangeable is infinity, Only in the constant is depth. And the path continues, and eternity gets closer, And it becomes clearer: there is only one love.
We pay for love with our blood, But a faithful soul is faithful, And we love with one love... Love is one, like death is one.
1896
INSCRIPTION ON THE BOOK
I love the abstract: I create life for them... I love everything solitary, I love the implicit.
I am a slave to my mysterious, extraordinary dreams... But for the only speeches I don’t know the words here...
1896
SMILE
Believe me, I will not be tempted by the sorrows of the past, the path long passed. Alas! A submissive soul keeps Their bitter trace, not destroyed by anything.
Years go by, but the heart is always the same. Nothing will come back for us again. And now all my joys are dearer to me, My unrequited love.
There is no happiness in her, no fear, no shame. I don’t know where it leads me... And only in one thing my soul is firm: I change, but I don’t change.
1897
190
INSTANT
Through the window the high sky glows, the evening sky is quiet and clear. My lonely heart cries with happiness, It is glad that the sky is so beautiful. The quiet, pre-night light is burning, My joy comes from the light. And now there is no one in the world. There is only God, heaven and me in the world.
1898
TO THE DREGS
I greet you, my defeat, I love you and victory equally; At the bottom of my pride lies humility, and joy and pain are always the same.
Over the waters, which have calmed down in the serenity of a clear evening, fog still wanders; in the last cruelty there is the bottomlessness of tenderness and in God’s truth there is God’s deception.
I love my immense despair, we are given joy in the last drop. And here I know only one thing that is true: You must drink every cup to the bottom.
1901
SPIDERS
I am in a cramped cell - in this world. And the cell is cramped and low. And in the four corners there are four Tireless Spiders.
They are slick, fat and dirty. And everyone weaves, weaves, weaves... And their monotonous, incessant work is terrible.
191
They wove four webs into one huge one. I look - their backs are moving in the fetid, gloomy dust.
My eyes are under cobwebs. It is gray, soft, sticky. And four fat spiders are happy with the joy of the beast.
1903
EVERYTHING AROUND
Terrible, rough, sticky, dirty, Hardly stupid, always ugly, Slowly tearing, petty dishonest, Slippery, shameful, low, cramped, Obviously satisfied, secretly lascivious, Flatly funny and sickeningly cowardly, Viscous, swampy and muddy -stagnant, Equally unworthy of Life and Death, Slave, boorish, purulent, black, Occasionally gray, persistent in gray, Eternally lying, devilishly inert, Stupid, dry, sleepy, malicious, Corpse-cold, pitifully insignificant, Unbearable, false, false!
But there is no need to complain: what joy is there in crying? We know, we know: everything will be different.
1904, St. Petersburg
.
IF
If you don't love snow, If there is no fire in the snow, - You don't love me either, If you don't love snow.
If you are not like me, We will not see the Face, He will not close us in a ring, If you are not like me.
If I’m not like you, I’ll fly into steam without a trace, Like noisy water, If I’m not like you.
192
If we are not in Him, Together, twisted into one, In one chain, link to link, If we are not in Him, -
This means that it is early, it is not given, It means that we are not destined, Having shone with His fire, On earth to rise in Him...
1905
DROP
A. A. Blok
My soul is gloomy, menacing, Lives in the shackles of words. I am black water, foamy frosty, Between the icy shores.
You, with poor human tenderness, do not come near me. The soul dreams of things with uncontrollability About snow fire.
And if in the darkness of the soul, in the needleness, you don’t see your own, then its boiling iciness doesn’t need anything from you.
1905
Powerlessness Poem by Zinaida Gippius
I look at the sea with greedy eyes, chained to the earth, on the shore. I’m standing above the abyss - above the heavens - And I can’t fly away to the azure. I don’t know whether to rebel or submit, I have no courage to die or live. God is close to me, but I can’t pray. I want love, but I can’t love. I stretch out my hands to the sun, to the sun And I see a canopy of pale clouds. It seems to me that I know the truth - And only for it I don’t know the words.
Zinaida Gippius. Poems. Paris: YMCA-Press, 1984.
Other poems by Zinaida Gippius
Option 2
The verse “Powerlessness” does not at all shine with cheerful feelings. Probably, the poetess’s argument was her powerlessness, lack of independence and similar feelings, since according to the plot of the work, the heroine is capable of doing anything, but she has no spiritual strength left, there is no opportunity to do it. The heroine also has the idea of succumbing to what is happening and not resisting it in any way, but she lacks the courage, the strength to resist, or even succumb. The poetess presents her own mood as crushed. There is no power, no desire, she lacks all such feelings. Unfortunately, perhaps even fortunately, this happens to creative people more than once in their lives.
This creation saw and surprised the world in 1894. Its composition is composed of three quatrains. And there is rhyme here, very pleasant and appropriate.
This poem evokes thoughts of loneliness. On the contrary, a person close to you will become your savior. In difficult moments of life, you will be supported and understood. Appreciate and do not push away your loved ones. Negative feelings will pass quickly, it is necessary and very important to understand this so as not to do anything stupid. There is often a second chance, people just don’t notice it.
The famous writer Zinaida Gippius, and in addition, her husband Dimitry Sergeevich Merezhkovsky, were domestic ideologists of symbolism, its colorful examples, and besides, simply magnificent fiction writers and poets. In addition to falling in love, they were united by working on the same topics, helping each other and sharing their creative thoughts. In general, Zinaida’s works stood out for their picturesqueness and relevant features.
With the help of her poems it is possible to find out quite a lot of new and fascinating things, for example, about falling in love, life and real emotions, although, as a rule, the writer wrote extremely regrettable, sad, depressing things, but even so, readers are very interested in her works, sometimes it’s even impossible to put it down. Usually she communicates about love, which inspires the creator to be creative, and she also pays a lot of attention to separation and the lack of native land. Moreover, the writer’s goal is to compose a poem in such a way that the person evaluating the work will understand everything and will not have to think for a long time about the meaning of certain words. For this reason, in some cases, an excellent publicist flies beyond the boundaries of the style in which she wrote. If only everyone would understand.
Analysis of the poem Powerlessness according to plan
Zinaida Gippius - I look at the sea with greedy eyes (Powerlessness)
Smotryu na more zhadnymi ochami, To the ground prikovanny, na beregu. Stoyu nad propastyu - nad nebesami, - I uletet k lazuri ne mogu.
Ne vedayu, vosstat il pokoritsya, Net courage ni umeret, ni zhit. Mne blizok Bog - no ne mogu molitsya, Khochu lyubvi - i ne mogu lyubit.
Ya k solntsu, k solntsu ruki prostirayu, I vizhu polog blednykh oblakov. Mne kazhetsya, chto istinu ya znayu - I tolko dlya neye ne znayu slov.
Cvjnh/ yf vjht ;flysvb jxfvb, R ptvkt ghbrjdfyysq, yf ,thtue/// Cnj/ yfl ghjgfcnm/ — yfl yt,tcfvb, — B ektntnm r kfpehb yt vjue/
Yt dtlf/, djccnfnm bkm gjrjhbnmcz, Ytn cvtkjcnb yb evthtnm, yb ;bnm/// Vyt ,kbpjr ,ju — yj yt vjue vjkbnmcz, [jxe k/,db — b yt vjue k/,bnm/
Z r cjkywe, r cjkywe herb ghjcnbhf/, B db;e gjkju ,ktlys[ j,kfrjd/// Vyt rf;tncz, xnj bcnbye z pyf/ — B njkmrj lkz ytt yt pyf/ ckjd/
I need an analysis of the poem “December 14” by Zinaida Nikolaevna Gippius... thanks in advance.
Aquarium
Thinker (6119) 8 years ago
No problems. Where's the verse? I myself sometimes sin with poetry. Where is the competitor? Today a poem, in 24 hours analysis, if the poem fits in A4 format. What analysis is needed, positive or negative? I respect Pushkin very much, but I also found some faults with him. The question interested me.
I don’t want to do anything for anyone in other sciences. This is the first time I’ve seen a question like this here. I can take a volume of poetry and criticize the authors, but there is no enthusiasm. And I have never done this. And now I don’t mind trying
I shouldn't have taken this on. There is little meaning in the poem, there is nothing to analyze. The author had to attribute thoughts that he did not have. Here's what happened:
The poem was written in connection with the events of 1905, but dedicated to the Decembrists. The author tries to draw parallels between the events of 1825 and 1905. What both events have in common is the very fact of speaking out against the authorities. The Decembrist uprising looks more like an act of protest. The only real action was the murder of the hero of the Patriotic War of 1812, the governor of St. Petersburg, General Miloradovich. Nevertheless, the Decembrists were considered heroes by the people. This was the first organized protest against the ruling power, so the author gives it high praise: “With their young love, their feat is cutting-edge.” Decembrist officers did not shed their blood on the square; ordinary soldiers died there, who had no idea why they were brought to the square. Therefore, the lines “But the Liberation Fire was extinguished with their own blood” are not entirely fair. The author compares winter with the political situation in the country. That it was cold then, that it is now, nothing has changed “And we are all where you were. Look, firstborns of freedom: Frost on the banks of the Neva!” But these words can mean both the pre-revolutionary situation and after. Further, the author regrets the failed revolution: “At unjustified graves, We still writhe in the same torment.” The reaction is strangling the revolution “And every day there are fewer and fewer forces” and it has begun to decline. The unrest among the people has been suppressed; there are no reasons for new ones in the near future. Only something beyond natural can rouse the people to another uprising. “We call to the dear shadows. Descend into the mortal valleys, With your breath we will come to life.” The author writes that 80 years after the Decembrist uprising they were remembered, i.e. the reasons for dissatisfaction with the authorities have not been eliminated, so there will inevitably be a new uprising “And we will follow in your footsteps, And we will drink your wine.” The title of the poem is a little confusing: “DECEMBER 14, 1918.” In 1918 there was a civil war. Either the events of that time inspired the author, or in connection with the events the author decided to inspire his despondent fellow citizens. Here you need to know the date of the first publication of the poem, then you can draw a conclusion about the title of the poem.
Lyuda Dm.
Genius (67898) 8 years ago
This is a poem about the Decembrists. and about the attitude of Zinaida Gippius to the revolution. “Will pure heroes forgive? We did not protect their covenant. We have lost everything sacred: both the shame of the soul and the honor of the earth. » Zinaida Gippius. December 14, 1917.
in the search engine you can find about Gippius and her other contemporary poets who survived the revolution of '17. Try it yourself. read. understand these people. this is interesting.
