Konstantin Balmont ~ I am the sophistication of Russian slow speech .... Analysis of Balmont's poem “I am the sophistication of Russian slow speech Konstantin balmont I am the sophistication of Russian

So, let's turn to the analysis of the poem. The topic is suggested by the title of the poem (“I am the sophistication of Russian slow speech…”): the state of mind of the lyrical hero who perceives himself globally and uniquely. This hero is a poet. The first line helps to understand the degree of admiration for the lyrical hero. He is a poet, and therefore his nature is subtle, vulnerable, enthusiastic, impressionable. The poet characterizes himself as "exquisite verse", and then in the fourth stanza calls himself "forever young, like a dream." Metaphor, epithet, comparison are heterogeneous figurative means that belong to different semantic groups, but here they are appropriate, as they expand our understanding of the poet. The composition of the whole work is not closed, open. Four stanzas, each of which expands the reader's perception of the poet, gives him new characteristics. A significant role in the embodiment of the composition in the poem is played by the repetition of the pronoun “I” and the epithets that characterize the hero through a detailed metaphor that constantly undergoes metamorphoses: “kink” - “thunder” - “stream” (“sudden”, “playing”, “ transparent"). These repetitions testify that the impressions overwhelm, “overwhelm” the lyrical hero. These epithets characterize the lyrical hero as a person who loves himself. This is necessary in order to show how the understanding and perception of art and oneself as a poet is transmitted in unity. In addition, from the point of view of the reader and listener, the lyrical hero is an outstanding person, a proud person who feels himself superior to others, because he is given to see all art and everything connected with it from above. And he not only sees around him (for example, “multi-foam splash”), but sees under him (for example, “precious stones of the original land”). With the words “before me there are other poets – forerunners” he shows 42 that he is higher than others, that art is indebted to him, since he “for the first time discovered in this speech deviations, repetitive, angry, tender ringing”. The sound is already embedded in the very rhythm of the poem: stanzas 1 and 3 are written in four-foot anapaest, and the three-syllable meter in itself implies a certain “slowness”, which the poet declares as “Russian speech”, the “refinement” of which he is; The 2nd and 4th stanzas are written in a fast rhythm - this is a two-foot anapaest with an additional emphasis on the pronoun - the anaphora "I". Rhythm emphasizes the heterogeneity of the manifestations of the lyrical hero and his ability to cover all spheres of life. But the most interesting, in our opinion, are the color-sound synesthesias present in the poem (cases of intersensory transfers). The verse is inseparable from the lyrical self, it is its connection with the world, its place in nature; maybe his excuse. The self of the poet showed itself in this case only by making the verse exquisitely beautiful. The poet's verse may not be clear to you, since the poet does not have to cope with the degree of your aesthetic development. But the verse must be "transparent" since it is fluid, "like a stream." It is “nobody’s” because it serves no one and nothing, because primordially, by the very airiness of its nature, verse is free, and also because it is a thought that does not belong to anyone and is created by everyone, but it it is not hiding from anyone: “it is for everyone”, who wants to read it, sing it, teach it, scold it or make fun of it - it doesn’t matter. The new verse is strong in its “love both for oneself and for others”, and narcissism appears here, as it were, to replace the poets’ classical pride in their merits. But the verse is also in love with others, that is, it wants to merge with everything that is of the same nature with it, that is fluid, light and resonant. He will understand everything and is even ready to take everything away from others. “Eternally young, like a dream”, in all its overflows, splashes and rehashes it retains only its insubordination and “refinement”. This latter means that the verse not only does not impose anything on us, but also does not give us anything, because its beauty, like a treasure, must be discovered, found. Thus, an analysis of the lexical, phonetic and rhythmic levels, as well as the composition of this poem, leads us to the conclusion that all the means used in them contribute to the disclosure by Balmont of the theme and idea that are associated with his understanding of the poet's place in world as a lone creator, striving to incarnate into the living, into nature, to get closer to its world, to be in tune with it - thereby helping people become part of the natural world, always bright and sonorous. The color-sound synesthesia used in the poem confirms this idea. Victoria Firsova, supervisor N M.Basalaeva FROM THE LIVES OF POETS TO THE FATES OF THEIR HEROINES (ON THE EXAMPLE OF T.G.SHEVCHENKO'S "TOPOL" AND V.A.ZHUKOVSKY'S "ALINA AND ALSIM" BALLADS) Abstracts for research work on literature maybe people are now trying to divide, separate, separate the Slavic peoples: Russians, Ukrainians, Belarusians, but our history and culture are inextricably linked. And these connections were revealed to me in an interesting analogy: when reading the ballads of the Russian poet V.A. Zhukovsky and the Ukrainian poet T.G. Shevchenko. 44 V.A. Zhukovsky is the founder of romanticism in Russian literature. An important feature of romanticism was the appeal to folk traditions and legends, to fantasy, which is so characteristic of folklore. In European literatures of the second half of the 18th – early 19th centuries, the ballad, a genre that goes back to the folk poetic tradition, becomes very widespread. This is usually a poetic story about terrible, irresistible events in a person's life, about his struggle with fate, otherworldly forces or the evil will of the ruler, which ends tragically. Both Zhukovsky and Shevchenko mastered this genre in their work. Comparing the fates of the heroines of two little-known ballads, I will try to find out how the life positions of the poets influenced the creation of these images. V.A.Zhukovsky helped T.G.Shevchenko to free himself from serfdom. Painted by the famous painter Bryullov, the portrait of Zhukovsky, at the request of the poet, was played in the lottery; For the 2,500 rubles he received, Shevchenko was redeemed from serfdom. In Zhukovsky's letters to the influential general Yu.F. Baranova has a number of his drawings (Zhukovsky was a gifted draftsman) depicting him, a venerable poet and courtier, dancing with joy along with the liberated Shevchenko. I began to read poems by a previously unknown author, learned the facts of his life and was struck by the tragic fate of the Ukrainian poet, reflected in them, moral stamina, his unchanging faith in himself and his long-suffering people, and most importantly - inescapable, indelible sensible, endured from the very heart - a proud, free spirit. Shevchenko's early work, the results of which were summed up by the appearance of the Kobzar, developed in line with romanticism. In ballads and poems, reality is closely intertwined with the fantasy of folk legends and traditions; The plots are based on unhappy, tragically doomed love. Over time, the theme of love and women's lot acquires greater historical certainty in Shevchenko's work. Zhukovsky also did not spoil life. He is the natural son of the landowner A.I. Bunin and his serf, the Turkish woman Salha. The name and nobility were given to him by A. G. Zhukovsky from Bunin. In childhood, any participation seemed to Vasily Andreevich a favor, in his youth, during his years of study at the Moscow University noble boarding school, he mastered the philosophy of moral self-improvement and philanthropic ideals with a touch of mysticism. In 1803, his best friend Andrei Turgenev dies, and soon a new misfortune befalls: the mother of Masha Protasova forever denies Zhukovsky the right to even see her daughter. But he began to transform his thirst for happiness with his beloved girl into deeds for her family. When reading Shevchenko's ballad "Topol" in the translation of A. Bezymensky, I joined the fate of a suffering, lonely, but not submitted to her mother girl, ready to die, but not to marry, though rich, but not beloved, and was shocked by her decisiveness. “I won’t go for this, I won’t go, mom! It’s better to put your own daughter in the pit…” she says to her mother, rising to an open protest that has become a hymn of love and fidelity. The heroine Shevchenko is ready for active action: she not only contradicts her mother, but also goes to the “old fortune teller” so that “Do not set foot in her own hut”, because “the rich man with matchmakers is waiting there”, and her “longing is strangling”. The use of a ring composition creates the effect of doom, hopelessness, but the content that is contained in the ballad carries a life-affirming pathos: Shevchenko's heroine is a match for his male characters, and even for the author himself - she did not bow her head before the circumstances, she defeated them (even if by magic, metamorphosis - but she won!). Unlike her, another heroine - V. A. Zhukovsky - from the ballad "Alina and Alsim": finding herself in a similar situation (being separated from her mother's beloved will, believing her lies), Alina obeys the decision made for her, and marries without love. She is not happy with “diamonds, dresses, necklaces” that her “mother gives”, she spends “her days humbly”, and her soul is “sad… full”. Alina suffers, but she betrayed her love, betrayed her, which is why she cannot share happiness with her beloved when he returns to her. Alina and Alsima urges them to come to terms with the circumstances. This ballad is a translation of a poem by the French poet F.-O. Paradis de Montcrief "The true love of Alice and Alexei." The choice of the poet is not accidental. It was this story that could attract his attention: after all, here, just as in the life of Zhukovsky, the lovers were not destined to join their destinies. Shevchenko's early ballad is based on the widespread in Ukrainian folklore motif of the reincarnation of a girl who died from unhappy love into a viburnum, willow, poplar. In Ukrainian, the word "poplar" is feminine and sounds very gentle - "poplars". T. G. Shevchenko, of course, gave the traditional motive a social sound: after all, his heroine dies not just from unhappy love, but because they decided to pass her off forcibly as a rich unloved man. The elegiac, passive romanticism of Zhukovsky is a necessary stage in Russian literature for introducing the reader to feeling. Creativity T. G. Shevchenko in its orientation is close to another kind of romanticism - active, revolutionary. And although the life paths and creative positions of the two poets, Ukrainian and Russian, are so different, the point of intersection of their destinies on one of the old spring days is significant. This is a sign of the combination of two elements: stormy, impulsive, explosive - Shevchenko and immensely deep, mysteriously enchanting - Zhukovsky. One fed the other with her energy of feelings and compassion, and that spilled over into a creative impulse: Shevchenko dedicated the poem “Katerina”, where, just like in the ballad “Poplar”, the image of a proud girl who does not bow her head under the blows of fate is presented, “V. A. Zhukovsky in memory of April 22, 1838”, capturing in his work the date when he was redeemed from the landowner Engelhardt with the participation of the Russian poet. Thus, we can conclude that the positions of the poets Zhukovsky and Shevchenko influenced - initially - on their choice of creative direction: passive (for Zhukovsky) and active (for Shevchenko) romanticism, and then on the fate of the heroines their ballads, which reflected humility before life circumstances and disobedience, the desire to fight in defending their choice - up to death. Alena Kazaeva, leaders: Yu V Arnst, NM Basalaeva LANGUAGE TRANSFORMATIONS IN THE TRANSLATION OF J. LONDON «LOVE OF LIFE» Abstracts for research work on literature A literary work is closely related to the language system in which it is created. When translating, we are talking about the transfer of a literary work not only from one language system, but also from one mental sphere to another, where all relationships and connections, all poetic origins are not the same as in the first. To translate means to create a work anew, in another language. The act of translation is a creative act, albeit a secondary, subordinate one. What emerges as a result is a new creation. According to the linguist A.V. Fedorov, who proposed in his writings a coherent and clear system of knowledge on the science (or art) of translation, only a translation can be considered complete, in which: - the semantic capacity of a literary text is preserved; - the national coloring of the original has been preserved, while the familiarity of linguistic means; - the language of the translation is correlated with the time of the creation of the original. The need to comply with the cultural features of the target language complicates the already difficult life of a practicing translator, forcing him to look for a way out of the current situation, when he is torn between the need to most fully reflect the texture of the original and the desire to create a worthy example of belles-lettres in his native language. . And lexical and grammatical transformations are capable of helping him in this, without which the work of any translator of fiction is unthinkable, namely: 1) complete replacement of a lexical unit expressing the specifics of the original (especially if it is impossible to use original metaphors); 2) partial replacement (with a synonym that functions organically in the target language); 3) generalization (or generalization); 4) concretization; 49 5) slide. So, when comparing the original (respectively, the interlinear) of the story “Love of Life” by J. London and the Daruzes translation, the following observations were made. 1. The translator excluded the adjective “rough” and used the word “placer”, probably in a special (geological) interpretation: in the Modern Explanatory Dictionary of the Russian Language, this meaning is given under number 5 - “Accumulation of stone blocks of various sizes and shapes, formed during weathering of rocks. This is a partial replacement of a lexical unit with a synonym. 2. The description of the luggage is reduced to the keywords “bales, “belts”, which does not give a complete figurative idea of ​​this burden, since the original indicates another way of fastening the bag with straps - through the forehead. Consequently, here the translator resorted to generalization, i.e. generalization. 3. Inappropriately, in our opinion, the epithet “sluggish” was used in the translation in addition to the original, because the adjective “sluggish”, from which this adverb is derived, means “slow due to fatigue, weakness, laziness”, and our hero will overcome many more obstacles, which means he will defeat his fatigue. 4. The syntactic construction with a subordinate degree to express the physical state of the characters has been preserved, in addition, the translator used the comparison “like ice”, replacing the epithet “ice” from the original with it. This is an example of a partial replacement of a lexical item. When describing the parts of the legs, the concretization was used: “the toes are numb”. 5. The comparison from the original has been retained, but the phrase “stretched ... his hand” was replaced by the following: 50 “waved ... his hand”, which, in our opinion, does not correspond to the physical condition of the hero indicated in fragment 3 of this analysis, which means that it distorts the fact character's actions. Thus, the technique of complete replacement of a lexical unit was used. 6. The comparison from the original is saved, only a different union is used - “as if”. 7. The translator appropriately used the complete replacement of the lexical unit “staggering” with another one – “hobbled”, because the first word in its meaning is more comparable with inanimate nouns, and the second word means “To go lame, crouching on the leg waddle or with difficulty” and is colloquial. This is how adaptation to the target language is carried out. At the same time, there is a discrepancy between the facts in this fragment: in London, the hero turns to Bill when he has already “got out of the water”, while in the translation the request sounds when Bill is still walking “on milky white water”. 8. Strengthened comparison by comparative turnover. The word “longing” is introduced, which characterizes the state of the hero - thus, concretization is used. 9. "Weave" - ​​RAZG. “Walk slowly, tiredly, moving your legs with difficulty.” This word replaced the author's "limping" - a complete replacement of the lexical unit was applied. 10. When translating, a phraseological unit was used, i.e. a partial replacement of a lexical unit was applied. 11. The fact of reflecting the psychological state of the hero is distorted by the use of a complete replacement of the lexical unit “slightly” by “strongly”, since he is a courageous person and knows how to restrain his emotions, as evidenced by the adverb “slightly” in this fragment. 12. Inappropriate concretization, since the verb “lick”, “lick” with the lexical meaning “Spend 51

I am the sophistication of Russian slow speech, Before me are other poets - forerunners, For the first time I discovered deviations in this speech, Repetitive, angry, tender ringing. I am a sudden break, I am a playing thunder, I am a transparent stream, I am for everyone and no one. Multi-foam splash, torn-fused, Semi-precious stones of the original land, Forest green May roll calls - I will understand everything, I will take everything, taking it away from others. Eternally young, like a dream, Strong in that I am in love Both with myself and with others, I am an exquisite verse.

3. Make a sentence diagram, explain. punctuation marks. "The idea of ​​transience, the desire to capture the passing moments, the variability of moods, increased attention to the poetics of verse (passion for sound writing, musicality) - these are the distinguishing features of K. Balmont's early books." M. Stakhov

1. "Let's be like the sun!" - says the poet and names the book of his poems. 2. Call to people - "Let's be like the sun!" - unreasonable desire. 3. But the exorbitance of desires - this is the poet K. Balmont ... 4. "I came to this world to see the Sun" - the poet repeats the prophetic words of Anaxagoras ... 5. The call "we will be like the sun" is justified by the fact that it - according to the word the poet is young. 6. And the poet refers to youth ... 7. In everything, it was important for Balmont to feel the obvious or hidden presence of the sun. 8. I do not believe in a black beginning, Let the foremother of our life be the night, Only the heart answered the sun And always runs away from the shadow. 9. The theme of the Sun in his victory over Darkness went through all of Balmont's work ... 10. Together with Balmont was Bely: "For the sun, for the sun, loving freedom, let's rush into the blue expanse!" ... 11. In the book "We will be like the sun!" the poet rightly places the Sun, the source of light and conscience, in the center of the world, in the literal and allegorical sense of the word ...
I do not know wisdom suitable for others. Only transiences I put into verse. In every evanescence I see worlds Full of changeable iridescent play. Do not curse, wise ones. What do you care about me? I'm just a cloud full of fire. I'm just a cloud. See, I'm floating. And I call the dreamers... I don't call you.

Homework 1. Learn the poem: “I am the sophistication of Russian slow speech ...”, answer in writing the questions “How do you imagine Balmont? What did he write about? How did you write?” (using different syntactic constructions) 2. How does syntax work to reveal the meaning in the poem “I do not know wisdom suitable for others…” (in writing)

Sections: Russian language

Class: 8

• Educational: repeat and summarize what has been learned on the topic “Syntax of a simple sentence” on the work of K.D. Balmont, preparation for the GIA
• Educational: to cultivate an understanding of the value of every moment in a person's life
• Developing: developing text analysis skills, expanding horizons in the field of cultural studies

Equipment: portraits of different years of Balmont

Musical arrangement: music by Debussy, Stravinsky.

Artistic design: works by Claude Monet.

During the classes

I. Teacher's word

Hello guys! Today we have a lesson in Russian literature "I am the sophistication of Russian slow speech ...". The Russian language and literature will be closely intertwined with each other, they will be equal, they will help each other, complement, enrich.

We will repeat and generalize the knowledge gained in the Russian language on the topic “Simple Sentence Syntax”, and by repeating this knowledge we will take steps towards the upcoming GIA, which is waiting for you in grade 9. What topics did we cover? (Student answers.)

I came to the lesson with the poet of the Silver Age Constanti Mr. Dmitrievich Balmont.

- What representatives of the Silver Age do you know?

- When did we have a silver age?

The Silver Age is 20th century, the era of the revival of spirituality and culture, creative freedom, a constellation of bright individuals, the birth of brilliant discoveries. Akhmatova, Tsvetaeva, Blok, Pasternak, Mandelstam are contemporaries of Pasternak. And he himself was the idol of reading Russia in those years. As Valery Bryusov noted, “for a decade, Balmont reigned indivisibly over the Russian position.”

Slide 1: Let him introduce himself to you with his poems: verse-e “I am the sophistication of Russian slow speech ...” (teacher reading)

I am the sophistication of Russian slow speech,
Before me are other poets - forerunners,
I first discovered in this speech deviations,
Perepevnye, angry, gentle ringing.

I am a sudden break
I am the playing thunder
I am a clear stream
I am for everyone and no one.

The splash is multi-foam, torn-fused,
Semi-precious stones of the original land,
Forest green May roll calls -
I will understand everything, I will take everything, taking it away from others.

Forever young as a dream
Strong in love
Both in yourself and in others,
I am an exquisite verse.

Slide 2: And now I bring to your attention a few statements about him by his contemporaries, and complete tasks for them (cards with suggestions and tasks are distributed). (The teacher reads.)

Cards with suggested tasks are distributed. Run them.

1. “Who is Balmont in Russian poetry? The first lyric poet? Forerunner? Ancestor? This cannot be answered. It cannot be compared. He is all exception. You can only love him." ( M. Voloshin)	Specify the types of one-part sentences.
2. "Balmont took possession of everyone's thoughts and made everyone fall in love with his sonorous verse." ( V. Bryusov)	Highlight s / s synth. connections.
3. "The idea of ​​transience, the desire to capture the passing moments, the variability of moods, increased attention to the poetics of verse (passion for sound writing, musicality) - these are the distinguishing features of K. Balmont's early books." ( M. Stakhov)	Make a sentence diagram, explain. punctuation marks.
4. "He had one precious virtue - the spontaneity and original freshness of the lyrical feeling." ( Vl. Orlov)	Explain the punctuation mark - dash.
5. "Having studied sixteen languages, he probably spoke a special seventeenth, Balmontov." ( M. Tsvetaeva)	Syntactic parsing of a sentence.
6. "The creative method and poetic manner of Balmont are characterized by the word - impressionism." ( Ap. Grigoriev)	What part of the sentence is the word "impressionism"?

- Underline key words. Let us pay attention to the words "forerunner," impressionism ".
What do you understand from these statements?
- What was the poet K. Balmont, in the opinion of his contemporaries?

Slides with paintings by Claude Monet. Teacher comment:

Impressionism - Impressionist artists work in small strokes, applying pure, unmixed colors side by side, without smooth transitions and shades, so that many objects were just outlined, and the outlines of light and shadows, crushing and crumbling, passed one into another. (Pablo Picasso, Van Gogh, Claude Monet, Renoir). The ideologist of the new direction was Claude Monet. He was the only one who always remained true to his ideas. By the way, thanks to him, or rather his picture, the very term "impressionism" appeared, which comes from the French "impression" - impression.

Drawing, which was the basis of all foundations for centuries, starting from the Renaissance, was banished. Painting is color. Spots of colors piled on top of each other. From now on, even the shadow has color. Only black paint had no place on their canvases. The world has become a set of colors on a palette. Color and light are the main characters of their paintings. They wrote only what they saw. They didn't just do sketches. They started and finished the painting in one session, keeping the first impression fresh and immediacy. The details weren't important. The place of the dark canvases of the masters of academic painting was taken by their canvases sparkling with all conceivable colors and shades.

The Impressionists left their workshops for the streets of Montmartre to paint life. Modern life. They were looking for their heroes not in ancient history and myths, the gods of Greece and Rome (at least at that time) did not interest them. They searched for and met their heroes on the Parisian boulevards, in the cafes, just next door among the inhabitants of the attics of Montmartre. They wrote not an eternity, a moment.

The new rhythm of life, accelerating every year, has become the rhythm of their art. They did not run away from modernity like the Symbolists. They loved her, longed to open her to art. Industrial "monsters" that offended the eye of an aesthete, they learned to portray as beautiful. Or rather, not themselves. The play of light in the air around them. The play of colors on their surfaces. How many now can sincerely say that Monet's train stations are not beautiful? Having broken the traditional system of landmarks of the beautiful world, having taught both the audience and artists to look at the world and art in a new way, the Impressionists opened the way for contemporary art.

Claude Monet wanted to capture on canvas the living breath of nature: the rustle of leaves, the run of clouds, the subtly changing play of sunbeams on green grass.

Balmont also works - “Nature is a mosaic of flowers”, and his poems capture the moment.

Write by analogy 2–3 sentences characterizing Balmont using key words, compressing the text

II. Let's move on to Part 2 of our lesson.

Problematic situation.

"I came into this world to see the Sun."
In the center of the board, I placed the Sun, and this is not accidental. What do you think: how are the Sun and Balmont related to each other? What associations come to your mind related to the word "sun"? Let's place them in the rays of the sun: fire - warmth - joy - light - life - good mood - spring - beauty - youth, etc. How is this connected with the work of Balmont? (Children's answers.)

Slide with article : Carefully read the excerpt from Lev Ozerov's article "The Song of the Sun" and tell me if your statements were true? What associations have been added? (Conscience and freedom.)

Excerpt from Lev Ozerov's article "Song of the Sun"

(1) "Let's be like the sun!" - the poet says and names the book of his poems like that ...
(2) The call to people - "Let's be like the sun" - is an exorbitant desire.
(3) But the exorbitance of desires - this is the poet K. Balmont ...
(4) “I came to this world to see the sun,” the poet repeats the prophetic words of the Greek philosopher Anaxagoras.
(5) The call “we will be like the sun” is justified by the fact that it is - in the words of the poet - young.
(6) And the poet refers to youth.
(7) In everything, it was important for Balmont to feel the obvious or hidden presence of the sun.
(8) I do not believe in a black beginning,
May the foremother of our life be the night,
Only the sun answered the heart
And always runs away from the shadow.
(9) The theme of the Sun in his victory over darkness went through all of Balmont's work ...
(10) Together with Balmont was Bely: "For the sun, for the sun, loving freedom, let's rush off into the blue expanse!"
(11) In the book "Let's be like the sun!" the poet rightly places the Sun, the source of light and conscience, in the center of the world, in the literal and allegorical sense of the word ...

Article discussion:

Find a sentence that expresses the main idea of ​​the text. Are these words suitable as an epigraph?
- Prove that this is a text. Text type.
- Means of communication of sentences in the text. (parallel).
- Complete tasks for the text (from the exam) (Total 8-10 tasks).

(Cards with tasks).

The dots are the tiptoe marks of bygone words.

Slide : Tests with subsequent mutual verification to the music of Debussy "Prelude"

1) Indicate in which of sentences 2–4 the introductory word occurs
2) In sentences 1–3, indicate an inconsistent definition
3) Among sentences 9–11, indicate a sentence with a separate application (an application that has a causal value)
4) Find a sentence with a separate circumstance, expressed by a participial turnover.
5) Indicate the grammatical basis in 2 sentences
6) Replace the phrase exorbitance of desires(3 sentences), built on the basis of management, by a synonymous phrase with a connection, agreement
7) Among sentences 4–7, find a one-part sentence and indicate the type.
8) In sentence 7, indicate the type of predicate

Teacher's conclusion: Indeed, Balmont is also called the poet of the sun. The main image in the poet's work is the image of the Sun. He does not tire of singing hymns to Him:

Life giver
light creator,
Sun, I sing you!
Let at least unhappy
Do but passionate
hot and domineering
my soul.

The sun is the source of life. The fiery principle is the very essence of life. With the sun, Balmont connects the fulfillment of his dream, it is it that connects a person with the Universe, where eternal Goodness and Beauty reign. ( I. Brodsky)

I do not know wisdom suitable for others.

Only transience I put in a verse.
In each transience I see worlds (inversion)
Full of changeable rainbow play.
Do not curse, wise ones. What do you care about me?
I'm just a cloud full of fire.
I'm just a cloud. See, I'm floating.
And I call the dreamers... I don't call you.

• What would you say is the key word? (Fleeting.)
• What syntactic constructions are found? What does the poet see as the purpose of his poetry? (All sentences are simple. Some are incomplete. They convey a sense of transience, a moment. There are even sentences that are divided into separate words, segments.) Find them.

Parceling. The logical stress on each word gives them special power. Highlights these words.

• What other artistic and expressive means do you see?

1. Lexical repetition.
2. The epithet of the changeable rainbow game is to explain: transience is painted in all the colors of the rainbow. An expressive technique of syntax is emotionality.
3. A rhetorical question. He does not need an answer to this question, yes: he himself knows where and why he should sail.
4. Anaphora: 2 p. - enhanced logical selection, expressiveness of speech.
5. Comparison: compares himself to a cloud, why?
6. Is there a Sun in this poem: a cloud full of fire - as you understand: a cloud is soft, gentle, an oxymoron changes its shape; fire - emotional, hot, bright, fire inside.
7. Are there any contrasts here?

All questions have answers.
Wise - who know everything.
Rational mind.

Much is incomprehensible to him, a dreamer and he wants to discover new things.

Lesson summary:

Homework

1. Learn the poem: “I am the sophistication of Russian slow speech ...”, answer in writing the questions “How do you imagine Balmont? What did he write about? How did you write? (using different syntactic constructions).
2. How does syntax work to reveal the meaning in the poem "I do not know wisdom suitable for others ..." (in writing)

The beginning of the 20th century was marked by a very strange trend in Russian literature, which can be conditionally called posturing. Many famous and aspiring poets considered themselves geniuses, openly declaring this in their works. Konstantin Balmont did not escape this fate, who in 1903 published the poem “I am the sophistication of Russian slow speech”.

By this point, Balmont, who considered himself a symbolist, followed the example of Igor Severyanin and Velimir Khlebnikov, starting experiments with style and style. In the end, he convinced himself

Himself, that he achieved some success in this field, isolating a certain special syllable, distinguished by melodiousness and melodiousness. In a similar vein, several poems were created, and very soon Konstantin Balmont came to the conclusion that he had discovered a new path in the world of literature. It is for this reason that the author openly states: "Before me, other poets - forerunners."

He believes that he invented something that no one had ever thought of before, boasting that he gave the world “repeated, gentle, angry ringing”.

Balmont compares himself with thunder and a ringing stream, while emphasizing that there is no merit in such a discovery. The poet realizes that behind his creative experiments are the age-old traditions of Russian literature, which prompted him to make such discoveries. Therefore, he confesses: "I am for everyone and no one." In this phrase, the author emphasizes that his experiments are in the public domain, and they can be used by anyone who wishes.

But at the same time, Balmont notes that he will still rise above the crowd, which does not bother with literary searches and accepts only the finished result.

However, the poet himself does not deny that his fellow writers, who lived in past centuries, worked hard so that now he could afford to create poems in a special, melodious manner. In fact, Balmont admits to plagiarism, declaring: “I will understand everything, I will take everything, taking it away from others.” However, in this case, it is not about borrowing someone's ideas, but about the ability to analyze the information that, according to the poet, lies on the surface.

In addition, Balmont admits that without the inspiration that he draws from the beauty of the surrounding nature, admiring how the “gem-colored stones of the original land” shine around him, he would never create an exquisite verse “forever young, like soy”, filled with melody and magic.

(No Ratings Yet)

related posts:

1. It is believed that sleep is a kind of transitional state between wakefulness and death, when a person is simultaneously in two worlds at once. It is at this moment that the boundaries of the universe are pushed apart and certain secrets are revealed. The boundary line between the two worlds is very fragile, so people can not always remember what they saw in a dream. But it was this state that I loved so much [...] ...
2. Konstantin Balmont came to literature as a fully formed poet and self-sufficient person. His debut in poetry took place in 1890, when the author of a small collection was 23 years old. By that time, Balmont had already been in exile, unsuccessfully married and even attempted suicide. He became disillusioned with life and tried to find solace in his work. That is why […]...
3. Each person from time to time turns to symbols that help him not only to formulate his thoughts more clearly, but also to draw a parallel between various phenomena. Konstantin Balmont, as one of the brightest representatives of symbolism, quite often resorted to a technique that enabled him to convey his feelings and moods with the help of images. One of the iconic works of this […]
4. A rebel by nature and a potential revolutionary, Konstantin Balmont realized quite early that the path he had chosen in life was utopian. Public sentiments, so close to the poet, at some point appeared for him in a completely different perspective. Balmont suddenly realized that building a new society without destroying the old foundations is simply impossible. And this means that without victims [...] ...
5. One of the methods of symbolism is the animation of inanimate objects, as well as drawing a parallel between them and a person. The poet Konstantin Balmont resorted to it in his poem “Wind”, which was written in 1903, when the author was in exile. The reason for the ban on entry to Moscow and St. Petersburg for a period of three years was the participation of Balmont in the actions [...] ...
6. The search for the meaning of life is one of the leitmotifs of the work of Konstantin Balmont, who in 1903 published a cycle of works called “The Four Tones of the Elements”. It included the poem “I came into this world to see the Sun…”, in which the author gives an answer to the question of what exactly is important and paramount for him. Of course, the young Balmont, who is fond of symbolism and […]
7. The image of Russian nature is present in the works of many poets, and in most cases, landscape lyrics are filled with beauty and peace. However, Konstantin Balmont sees the world around him far from being in such joyful and pure colors that we are all used to. The thing is that the poet is trying to compare what is revealed to his eyes with his inner feelings. AND […]...
8. The poet Konstantin Balmont is rightfully considered one of the first Russian symbolists, whose work became a role model among writers at the turn of the 19th and 20th centuries. Experimenting with styles, Balmont was fond of decadence and romanticism, but it was symbols that he attached great importance to in his work, believing that only with their help you can most fully and vividly express your […]...
9. Konstantin Balmont's attitude to the revolution was very contradictory. The poet anticipated it and at first was convinced that it was precisely such a shock that modern society needed, which was mired in lies, hypocrisy and feigned decency. In 1901, Balmont was even expelled from St. Petersburg due to the fact that he actively called on the masses to overthrow tsarism. The poet was not saved by his brilliant [...] ...
10. In 1905, the collection “Fairy Tales” saw the light of day, which Balmont addressed to his four-year-old daughter Nina (in the “Dedication” she is named Ninika). This book would never have happened if not for the happy childhood of the poet himself. He had a kind-hearted father - reasonable, calm, intelligent. Mother loved to read, tried to engage in literary creativity. Subsequently, Konstantin Nikolaevich admitted that [...] ...
11. In 1894, Balmont released the collection Under the Northern Sky. The moods typical of the generation of the 90s prevailed in the poems. The lyrical hero shared his romantic experiences, complained about the joylessness and dullness of his own existence. At the same time, literary critics praised the work of Konstantin Dmitrievich for its musicality and elegance of form. In addition, it was in this book that the decadent ideas that Balmont […] ...
12. Every person deep down believes in miracles, even if he has a pragmatic mindset. However, children's fairy tales and legends leave their imprint on all of us. What can we say about romantic and creative natures, to which, no doubt, the Russian poet Konstantin Balmont belonged? Therefore, it is not surprising that among his works one can find fairy tale poems, which for many are […]
13. Konstantin Balmont repeatedly made attempts to look beyond the boundaries of the universe and understand why they cannot be pushed apart by the mere effort of one's own consciousness. The poet was tormented by the question why in this vast world he feels so uncomfortable and cannot find a place in the whole Universe where he could be truly happy. He is burdened by the hustle and bustle of big cities, but in […]
14. The symbolism of Konstantin Balmont is very often painted in romantic tones. Even about serious things, this poet can speak with a certain degree of delight and sophistication. Similar tendencies appear in most of the works of this author, and the poem “I dreamed of catching the departing shadows ...”, written in 1895, is no exception. Meanwhile, this work is not at all […]
15. The poetic world of Konstantin Balmont is very rich and diverse. Being an adherent of symbolism, at the dawn of his work he very often experimented with images and created works united by a deep philosophical meaning. In 1895, the poet published the poetic cycle "Beyond the Limits", which included the poem "Reeds". Trying to expand the scope of consciousness, the author endowed swamp plants with feelings and intelligence, drawing a parallel [...] ...
16. Among the poets of the Silver Age it is difficult to find an author who would not be concerned about the questions of the universe. Each Russian writer independently interpreted for himself such concepts as “God” and “Devil”, associating them with the events of his own life or social phenomena. For Konstantin Balmont, these two mythical characters personify not only the concepts of good and evil. They are the key to the balance of the Universe, [...] ...
17. The path to literature for Konstantin Balmont was by no means strewn with roses. Despite the fact that the future poet composed his first poem at the age of 10, almost a quarter of a century passed before its author became truly famous. Blame the restless character of Balmont, who at heart was a true romantic, so he constantly fell into ridiculous stories. Some of them […]...
18. In the history of Russian literature, K. D. Balmont left a mark as a representative of the “older” symbolism. He enriched Russian versification in many ways, introduced new intonations and sound effects. Love, direct perception of nature, the ability to feel the “moment” of life - all this allows us to say that K. D. Balmont was a romantic poet, an artist of the neo-romantic direction in the art of the 19th - early 20th centuries. Poems by K. […]...
19. Popularity came to Konstantin Balmont in the late 90s of the 19th century. However, the poet understood that he was sorely lacking new life experiences that would inspire him to create poems sustained in the beloved spirit of symbolism. That is why, at the turn of the century, Balmont travels a lot, not stopping in one place for a long time. In a few years, he manages [...]
20. “Fantasy” outwardly represents a detailed description of a sleeping winter forest. The poet does not localize the position of the lyrical "observer" in any way, does not specify the psychological circumstances of his visions. Therefore, he uses the theme of winter nature only as an excuse to develop a boundless game of lyrical imagination. In fact, the content of the poem becomes a mosaic of fleeting images born of the poet's fantasy. The composition of the poem is amorphous: each [...] ...
21. The contradictory nature of the symbol of the sun is widely reflected in Balmont's work. The cross-cutting image is endowed by the poet with either creative or destructive power. The “giver of life”, the daylight “caresses” delicate flowers, but if it “wants”, it can easily kindle a fire in the steppe, becoming a source of “terrible burning light”. The majestic image is close to the divine principle. The author who capitalizes "The Sun" calls him "immortal" and […]...
22. Whole the earth and tirelessly, insatiably love, love everyone, look for this delight and frenzy. F. M. Dostoevsky. The poet took this epigraph to his poem “In the Vastness” by no means by chance. So, the conversation will be about super-love, in the understanding of worldly and true love, of an enthusiastic poet: I dreamed of catching the departing shadows, The departing shadows of the fading day, I climbed the tower, and […]...
23. The poem by K. D. Balmont “I do not know wisdom” was written in 1902. It is included in the collection “Only Love” (1903), which, along with other books (“Burning Buildings”, “We Will Be Like the Sun”), strengthened the authority of K. D. Balmont as one of the leading symbolist poets. The motives of rejection of the world, melancholy, sorrow predominate in the poet's poems, but he is characterized [...] ...
24. Amorous by nature, Mikhail Lermontov tried not to advertise his feelings and opened them only to his chosen ones. It is for this reason that numerous novels of the poet are still the subject of research by bibliographers who, using individual entries in diaries and poems, are trying to establish the addressees of the poet's poems. In 1838, Lermontov met Maria Solomirskaya, the wife of his fellow soldier. […]...
25. To a Russian woman In the poem "Russian woman" F. I. Tyutchev writes about the plight of a simple peasant woman. The anaphoric repetition in the first stanza emphasizes the monotony of a woman's life. Unfulfilled dreams, poverty of impressions, the insignificance of joys and blessings - all this contrasts sharply with the values ​​that the author lists at the beginning of the first stanza (light, art, love - everything that makes up, […]...
26. "In front of Greco's painting". K. Balmont saw the goal of his work in establishing a connection between the past and the future, emphasizing the continuity in creativity. The poet is always a rebel, a rebel who rejects already established ideas, who merges with other rebel artists of other times and at the same time is doomed to tragedy: A gloomy artist, an indignant angel, You wanted Heaven, you entered heaven, - And […]. ..
27. Know how to create from the smallest crumbs. Otherwise, why are you a wizard? Among the people you are the deity's vicegerent. So remember that God is in your words. K. Balmont Konstantin Dmitrievich Balmont is an extraordinary poet, bewitching with the beauty and melody of the verse, attracting to the skies. The very appearance of the poet evokes memories of the knightly era. It seems that Balmont only visits [...] ...
28. Konstantin Dmitrievich Balmont was born in 1867 on his father's estate not far from Ivanovo-Voznesensk - "Russian Manchester". He believed that his family came from Scotland. First, Balmont was expelled from the gymnasium for political reasons, then from Moscow University. Still, he managed to get a law degree in Yaroslavl. There, in 1890, he published the first book of poems [...] ...
29. Balmont was destined to become one of the significant representatives of the new symbolic art in Russia. However, he had his own position of understanding symbolism as poetry, which, in addition to a specific meaning, has a hidden content, expressed through hints, mood, and musical sound. Of all the symbolists, Balmont most consistently developed impressionism - the poetry of impressions. His poetic world is the world of the most subtle […]...
30. The poetry of K. D. Balmont absorbed both the traditions of the 19th century and the new trends of the 20th century. A change of mood in his work occurred at the turn of the century. In his new poems there is not a trace of the former hopelessness and despondency, they are full of joy, the pressure of violent forces. The collections “Burning Buildings” and “Let’s Be Like the Sun” together with the book “Only [...] ...
31. Date of birth: June fifteenth, 1867 Date of death: December twenty-third, 1942 Place of birth: Gumnishchi village, Vladimir province Balmont Konstantin Dmitrievich - symbolist poet, Balmont K. D. - translator. Childhood The parents of the future poet were noble and educated people. Father, Dmitry Konstantinovich, worked as a collegiate registrar, as well as a justice of the peace. He was the chairman of the zemstvo council. Mother, Vera […]
32. About "banter" and everything connected with it. Here is an example from the “Culture of Russian Speech” dictionary, which is cited as an illustration of such a phenomenon as banter, but in our case it will be appropriate as an illustration of “mixing everything with everything”: “In August of this year, as you know, exactly 20 years since of that mournful day, when Mr. […]
33. “Woe from Wit” as a monument of Russian artistic speech G. O. Vinokur ... “Woe from Wit” is a universally recognized high example of Russian artistic speech, one of the most remarkable achievements of Russian language skills. The starting point /…/ of the study should be a look at the language of “Woe from Wit” as the language of a dramatic work, and, moreover, a poetic one. Dramatic language in its construction is subordinate to […]
34. In the poem "Russian Woman" F. I. Tyutchev writes about the plight of a simple peasant woman. The anaphoric repetition in the first stanza emphasizes the monotony of a woman's life. Unfulfilled dreams, poverty of impressions, insignificance of joys and blessings - all this contrasts sharply with the values ​​that the author lists at the beginning of the first stanza (light, art, love - everything that, according to […]...
35. The fate of people, time, history, culture... All this looks wonderful thanks to the language, means of communication. What would happen if language did not exist? V. G. Rasputin in his works touches upon such an important topic as the development of civilization. All his characters talk about the problem of the development of society. Valentin Grigoryevich believes that we need to preserve our language, because this is our cultural [...] ...
36. The Russian language is unusually beautiful and rich. Many people remember M. V. Lomonosov’s inspirational statement about the Russian language: “Charles the Fifth, the Roman emperor, used to say that it is decent to speak Spanish with God, French with friends, German with enemies, Italian with women. But if he were skilled in the Russian language, then, of course, he would add to that, [...] ...
37. Konstantin Dmitrievich Balmont was widely known as a symbolist poet, translator, essayist and literary historian. In Russia, he enjoyed great popularity for the last 10 years of the 19th century, was the idol of young people. Balmont's work lasted more than 50 years and fully reflected the state of anxiety, fear of the future, the desire to withdraw into a fictional world. At the beginning of his career, Balmont wrote many […]
38. Tyutchev devoted these elegiac lines to the sad fate of Russian women. This topic in those days was, one might say, topical. It was touched upon by many writers and poets: we can recall, for example, the heroines of such works as the well-known novel in verse "Eugene Onegin" or Ostrovsky's plays "Thunderstorm" and "Dowry" recently passed by us. However, in them we encounter women [...] ...
39. Lermontov - the author of the work, in the genre of the poem "I do not love you ...". Mikhail Yuryevich Lermontov in 1830 once met with Ekaterina Sushkova. This girl was very beautiful, young and very flirtatious. She flirted and flirted with many, no wonder she had many admirers, and there is nothing unusual in the fact that Lermontov, when he was [...] ...
40. The Year of the Russian Language, celebrated in our country, posed the question to every teacher and citizen: what place does the Russian language occupy in the life of society and in the minds of each of us? In search of an answer to this question, the Vyatka Humanitarian Gymnasium, as a center for humanitarian education in the Kirov region and the city of Kirov, took the initiative to form public opinion about […]...

Analysis of Balmont's poem “I am the sophistication of Russian slow speech