The most famous works of Batiushkov. Konstantin Nikolaevich Batyushkov: biography, interesting facts, poems

Batyushkov Konstantin Nikolaevich (1787-1855), poet.

Born May 29, 1787 in Vologda in an old noble family. The poet's childhood was overshadowed by mental illness and the early death of his mother. He was educated at an Italian boarding school in St. Petersburg.

The first known poems by Batyushkov ("God", "Dream") date back to about 1803-1804, and he began publishing in 1805.

In 1807, Batyushkov began a grandiose work - translating a poem by an Italian poet of the 16th century. Torquato Tasso "Jerusalem Liberated". In 1812 he went to war with Napoleon I, where he was seriously wounded. Subsequently, Batyushkov then again entered military service (he participated in the Finnish campaign in 1809, the foreign campaigns of the Russian army in 1813-1814), then he served in the St. Petersburg Public Library, then he lived in retirement in the countryside.

In 1809 he became friends with V. A. Zhukovsky and P. A. Vyazemsky. In the years 1810-1812. the poems "Ghost", "False Fear", "Bacchante" and "My Penates" were written. Message to Zhukovsky and Vyazemsky. " To their contemporaries, they seemed filled with joy, glorifying the serene enjoyment of life.

The collision with the tragic reality of the Patriotic War of 1812 produced a complete revolution in the poet's mind. “The terrible deeds ... of the French in Moscow and its suburbs ... completely upset my little philosophy and quarreled me with humanity,” he admitted in one of his letters.

The cycle of Batiushkov's elegies in 1815 opens with a bitter complaint: “I feel my gift in poetry has died out ...”; "No no! life is a burden to me! What's in it without hope? .. "(" Memoirs "). The poet either hopelessly grieves over the loss of his beloved ("Awakening"), then recalls her appearance ("My genius"), then dreams of how he could hide with her in idyllic solitude ("Taurida").

At the same time, he seeks consolation in faith, believing that beyond the grave he will certainly await a "better world" ("Hope", "To a friend"). This confidence, however, did not relieve anxiety. Batyushkov now perceives the fate of any poet as tragic.

Batyushkov was tormented by illness (the consequences of old wounds), and economic affairs went out of hand. In 1819, after much trouble, the poet was appointed to the diplomatic service in Naples. He hoped that the Italian climate would benefit him, and that the impressions of his beloved country from childhood would inspire him. None of this came true. The climate turned out to be harmful for Batyushkov, the poet wrote little in Italy and destroyed almost everything he wrote.

From the end of 1820 a severe nervous breakdown began to appear. Batyushkov was treated in Germany, then returned to Russia, but this did not help either: the nervous disease turned into a mental one. Attempts at treatment have yielded nothing. In 1824 the poet fell into complete unconsciousness and spent about 30 years in it. Towards the end of his life, his condition improved somewhat, but his sanity did not return.

Batyushkov Konstantin Nikolaevich - one of the largest Russian poets, born. 1787, d. 1855. Belonged to one of the old noble families of the Novgorod and Vologda provinces. His father, Nikolai Lvovich Batyushkov, having suffered failures in military service, had to retire and settle permanently in the village. This caused him discontent with life and a morbidly developed suspicion. The poet's mother, Alexandra Grigorievna, nee Berdyaeva, soon after the birth of Konstantin lost her mind, she had to be removed from her family and in 1795 she died when her son, who had no idea about her, was not even 8 years old.

Konstantin Nikolaevich was born in Vologda on May 18, 1787, but spent his childhood in the village of Danilovskoye, Bezhetsk district, Novgorod province. At the 10th year of his life he was placed in the St. Petersburg boarding school of the Frenchman Jacquino, and after 4 years he was transferred to the boarding school of the teacher of the Tripoli naval corps, where Batyushkov stayed for 2 years. In both boarding schools, the course of science was the most elementary. Batiushkov owed his education in boarding schools only a thorough knowledge of French and Italian. At the age of 14, Batyushkov acquired a passion for reading; at the 16th, he found a leader in a friend and comrade in the service of his father, Mikhail Nikitich Muravyov, with whom the young poet lived after leaving the boarding house. Muravyov was one of the most educated people of his time. Unfortunately, he died when Batyushkov was not yet 20 years old. Muravyov's wife, a woman of an outstanding mind, who took care of him like a mother, also had a wonderful influence on Konstantin Nikolaevich. Under the influence of Muravyov, Batyushkov thoroughly studied the Latin language and met in the original with the Roman classics. Most of all he liked Horace and Tibullus. Muravyov, assistant minister of public education, in 1802 appointed Batyushkov as an official to his office. At the service and in the house of Muravyov, he became close to such people as Derzhavin, Lvov, Kapnist, Muravyov-Apostol, Nilova, Kvashnina-Samarina, Pnin (journalist), Yazykov, Radishchev, Gnedich.

Konstantin Nikolaevich Batyushkov. Portrait by an unknown artist, 1810

Batyushkov was little interested in the service. From 1803 he began his literary career with the poem "Dreams". By this time, Batyushkov met Olenin, president of the Academy of Arts and director of the Public Library. All talented people of that time gathered at Olenin's, especially those belonging to the new literary movement created by Karamzin. From the very first years of his literary activity, Batyushkov was one of the most zealous participants in the struggle of the "Free Society of Lovers of Literature, Sciences and Arts" against Shishkov and his followers. In 1805, Batyushkov became an employee of many magazines. In 1807 (February 22) he entered the military service as a centenary, and in the St. Petersburg militia on May 24, 25 and 29 of the same year he participated in the battles in Prussia. On May 29, in the battle of Heidelberg, Batyushkov was dangerously wounded in the leg. He was taken to Jurburg, where the sanitary conditions were very poor, and from there he was soon transported to Riga and placed in the house of the wealthy merchant Mugel. Konstantin Nikolaevich was carried away by his daughter. Upon recovery, he went to Danilovskoye to his father, but soon returned from there due to a strong disagreement with his parent due to his second marriage. In the same year, Batyushkov suffered another heavy blow - the loss of Muravyov, who died on July 22. All these losses, in connection with the impressions of the just endured war, caused a severe illness, which almost prematurely carried off the young poet. Only Olenin's solicitude supported him.

Having recovered, Batyushkov collaborates in the "Dramaticheskiy Vestnik". There he placed his famous fable "The Shepherd and the Nightingale" and "works from the field of Italian literature." In the spring of 1808, in the ranks of the Life Guards Jaeger Regiment (the transfer took place in September 1807), he takes part in russian-Swedish War 1808-09... Several of his best poems date back to this time. Here Batyushkov met the war hero, his classmate, Petyin. In July 1809, the poet went to his sisters in Khatovo (Novgorod province). From this time on, he begins to manifest a terrible hereditary illness. Batyushkov has hallucinations, and he writes to Gnedich: "If I live another 10 years, I will probably go crazy." Nevertheless, the heyday of his talent belongs to this time. After living for 5 months in the village, Batyushkov leaves for Moscow to go into civil service. But almost all the time until 1812 he spent without any service, now in Moscow, then in Khanty. Here the poet became close to V. A. Pushkin, V. A. Zhukovsky, Vyazemsky, Karamzin. Many of his works belong to these years, among other things "Vision on the Shores of Lethe" (playfully satirical).

Konstantin Batyushkov. Video

In 1812, Batyushkov, who had just entered the service of the Imperial Public Library, again hurries to the war - the Patriotic War. First of all, he had to escort Ms. Muravyova from Moscow to Nizhny Novgorod, where he was struck by the complete lack of self-awareness and national pride: “I hear sighs everywhere,” he writes, “I see tears and everywhere stupidity. Everyone complains and scolds the French in French, and patriotism is in the words "point de paix." 1813 Batyushkov serves as adjutant to Bakhmetyev and General Raevsky. Together with him on March 19, 1814, he entered the conquered Paris. The poet was present in battle of Leipzig, while Raevsky was wounded. In the same battle, Batyushkov lost his friend, the 26-year-old hero Petin. Together they made the Finnish campaign, together they spent the winter of 1810-11 in Moscow. Batiushkov's poem "The Shadow of a Friend" is dedicated to Petin.

Abroad, Konstantin Nikolaevich was interested in everything: nature, literature, politics. All this prompted him, like other officers, to new thoughts that gave the first impetus to the development of the Decembrist movement. At this time, the young poet wrote a quatrain to Emperor Alexander, where he said that after the end of the war, having liberated Europe, the sovereign was called by providence to complete his glory and immortalize his reign by liberating the Russian people. "

Upon his return to Russia, in June 1814, apathy seized the poet. He had to live in Kamenets-Podolsk as an adjutant of the commander of the Rylsky infantry regiment, General Bakhmetyev. The poet's unhappy love for Olenin's relative, Anna Fedorovna Furman, dates back to this time. All this had a harmful effect on the poet's already upset health. Excitement during the war mixed with a painful blues. In January 1816 Batiushkov retired for the second time and moved to Moscow, where he finally joined the literary society "Arzamas". Despite his disordered health, in 1816-17. he writes a lot. Then articles in prose "Evening at Cantemir's", "Speech about light poetry" and the elegy "Dying Tass" were written, which appeared in October 1817 in the first collection of poetry and prose of Batyushkov. In 1817, Batyushkov went to the Crimea to improve his health with Muravyov-Apostol.

At the end of 1818, friends, mainly Karamzin and A.I. Turgenev, managed to attach Batyushkov to the Russian mission in Naples. At first, life in Italy, which he always aspired to visit, had a wonderful effect on Batyushkov's health. His letters to his sister are even of an enthusiastic character: “I am in that Italy, where they speak the language in which the inspired Tass wrote his divine poems! What a land! She is above all descriptions for someone who loves poetry, history and nature! " In Konstantin Nikolaevich, an interest in all the phenomena of life again appeared, but this excitement did not last long. On February 4, 1821, Turgenev writes: "Batyushkov, according to the latest news, is not recovering in Italy." In the spring of 1821, Batyushkov went to Dresden to treat his nerves. Part of the reason for the bad influence of Italy was troubles in the service with Count Stackelberg, which even forced him to transfer from Naples to Rome. The last poem "The Testament of Melchisidek" was written in Dresden. Here Batiushkov burned everything created in Naples, retired from people and clearly suffered from a persecution mania.

In the spring of 1823, the patient was brought to St. Petersburg, and in 1824 the poet's sister A.N., with funds granted by the Emperor Alexander, took her brother to Saxony, to the Zonnenstein psychiatric institution. He stayed there for 3 years, and finally it turned out that Batyushkov's illness was incurable. He was brought back to St. Petersburg, taken to the Crimea and the Caucasus, but in Crimea, Batyushkov attempted suicide three times. The unfortunate sister of the poet, a year later after returning from Saxony, herself became mad. Convinced of the uselessness and even harm of new impressions for the patient, he was placed in Moscow in the hospital of Dr. Kiliani. Here the madness took on a calmer form.

In 1833, Batyushkov was finally dismissed from service with a life pension of 2,000 rubles. In the same year he was taken to Vologda to see his nephew, the head of the specific office, Grenvis. In Vologda, violent seizures were repeated only at first. In his illness, Batyushkov prayed a lot, wrote and painted. He often recited Tass, Dante, Derzhavin, described the battles near Heidelberg and Leipzig, recalled General Raevsky, Denis Davydov, as well as Karamzin, Zhukovsky, Turgenev, etc. He loved children and flowers, read newspapers and, in his own way, followed politics. He died on June 7, 1855 from typhoid fever, which lasted 2 days. Batyushkov was buried 5 versts from Vologda, in the Spaso-Prilutsky monastery.

119 poems were written, of which 26 translations and 6 imitations. His most popular original poems: "Recovery", "Merry Hour", "My Penates", "To D. V. Dashkov", "Crossing the Rhine", "Shadow of a Friend", "On the Ruins of a Swedish Castle", "Taurida" , "Parting", "Awakening", "Memories", "My Genius", "Hope", "Dying Tass", "Bacchante", "From the Greek Anthology".

There are 27 prose works by Batyushkov (from 1809 to 1816), differing in stylistic merit. The main ones are: "An excerpt from the letters of a Russian officer from Finland", "Praise to sleep", "A walk in Moscow", "On the poet and poetry", "A walk through the Academy of Arts", "Speech on the influence of light poetry on the language" ( to which he attached great importance), "On the writings of Muravyov", "Evening at Cantemir", "Something about morality based on philosophy and religion." It is impossible not to mention the "notebook of Batyushkov entitled:" Alien is my treasure. " This book contains a lot of translations, but also various memories, sketches, independent thoughts, not devoid of interest.

Konstantin Nikolaevich Batyushkov. Portrait by an unknown artist, 1810

The correspondence between Batyushkov and his friends, especially with Gnedich, to whom 85 letters were written, has almost the same significance. Of the comic works of Batyushkov, the most famous are "Vision on the Shores of Leta" and "A Singer in the Camp of the Slavic Russians". Both are dedicated to ridicule of the "Conversation" party with Shishkov in charge of.

Batyushkov's main merit is the development of the verse; he completely mastered his harmony and realized that it was necessary to learn it from the Italian poets, whose passionate admirer he had always been. Permanent models for translations were: Casti, Petrarch, Tibull, Guys, Tasso, but Ariosto was Batyushkov's ideal. "Take the soul of Virgil, he writes, the imagination of Tass, the mind of Homer, the wit of Voltaire, the good nature of La Fontaine, the flexibility of Ovid - here is Ariost." Belinsky wrote about Batyushkov: “Such poems are excellent in our time, at their first appearance they should have generated general attention, as a harbinger of an imminent revolution in Russian poetry. These are not yet Pushkin's poems, but after them one should have expected not some others, but Pushkin's. " He "prepared the way" for Pushkin, whose first works are imitations of Batyushkov. The young man Pushkin found dissonance in Zhukovsky's poetry and, striving for perfection, imitated Batyushkov.

KONSTANTIN BATYUSHKOV. "Hope". Biblical plot. Video

We must not forget that if Karamzin had such predecessors as Fonvizin and Derzhavin, then Batyushkov did not have anyone and completely independently worked out the harmony of verse His poetry is distinguished by extraordinary sincerity. "Live as you write (he says) and write as you live: otherwise all the echoes of your lyre will be false." Batiushkov remained faithful to this ideal throughout his life.

His poetry is partly non-Russian in nature, cut off from his native soil. The influence of Italian poets affected the Epicurean direction of Batyushkov's lyre. The fight against the Shishkovists, who deeply outraged the poet, contributed to the removal from the motives more characteristic of Russian nature. “The fatherland must love; whoever does not love him is a monster. But is it possible to love ignorance? Is it possible to love manners and customs from which we have been distant for centuries and, what is even more, for a whole century of enlightenment? "

Batyushkov's poetry, distinguished by its sincerity, was in close connection with his personal life. As his life up to joining the militia, poetry was empty. After he survived the war, traveled abroad, his poetry received a more serious direction (“

BATYUSHKOV Konstantin Nikolaevich, Russian poet.

Childhood and youth. Service start

Born into an old but impoverished noble family. Batyushkov's childhood was overshadowed by the death of his mother (1795) from a hereditary mental illness. In 1797-1802 he studied at private boarding schools in St. Petersburg. From the end of 1802, Batyushkov served in the Ministry of Public Education under the leadership of MN Muravyov, a poet and thinker who had a profound influence on him. When he declared war with Napoleon, Batyushkov joined the militia (1807) and took part in the campaign against Prussia (he was seriously wounded near Heilsberg). In 1808 he took part in the Swedish campaign. In 1809 he retired and settled in his estate, Khantonovo, Novgorod province.

The beginning of literary activity

Batyushkov's literary activity began in 1805-1806 with the publication of a number of poems in the journals of the Free Society of Lovers of Literature, Sciences and Arts. At the same time, he became closer to writers and artists who grouped around A. N. Olenin (N. I. Gnedich, I. A. Krylov, O. A. Kiprensky, etc.). The Olenin circle, which set itself the task of resurrecting the ancient ideal of beauty on the basis of the newest sensibility, opposed itself both to the Slavic archaism of the Shishkovists (see A.V. Shishkov) and to the French orientation and the cult of trinkets widespread among Karamzinists. Batyushkov's satire "Vision on the Shores of Leta" (1809), directed against both camps, became the circle's literary manifesto. In the same years, he began to translate T. Tasso's poem "Jerusalem Liberated", entering into a kind of creative competition with Gnedich, who translated Homer's Iliad.

"Russian Guys"

Batyushkov's literary position underwent some changes in 1809-1810, when he approached the circle of junior Karamzinists in Moscow (P. A. Vyazemsky, V. A. Zhukovsky), met N. M. Karamzin himself. The poems of 1809-1812, including translations and imitations of E. Parni, Tibullus, a cycle of friendly messages (“My Penates”, “To Zhukovsky”) form the image of the “Russian Guy”, an epicure poet, a singer, which determines Batyushkov's future reputation laziness and lust. In 1813 he wrote (with the participation of A. Ye. Izmailov) one of the most famous literary and polemic works of Karamzinism, "Singer or Singers in the Conversation of the Slavic Russians", directed against the "Conversations of Lovers of the Russian Word."

In April 1812, Batiushkov entered the St. Petersburg Public Library as an assistant curator of manuscripts. However, the outbreak of war with Napoleon prompts him to return to military service. In the spring of 1813, he went to Germany in the army and reached Paris. In 1816 he retired.

The military upheavals, as well as the unhappy love experienced in these years for the Olenin's pupil A.F. Furman, lead to a deep change in Batyushkov's outlook. The place of the "little philosophy" of epicureanism and everyday pleasures is taken by the conviction in the tragedy of life, which finds its only resolution in the poet's faith in the afterlife and the providential meaning of history, acquired by the poet. A new complex of moods permeates many of Batyushkov's poems of these years ("Hope", "To a Friend", "Shadow of a Friend") and a number of prosaic experiments. At the same time, his best love elegies, dedicated to Furman, were created - "My genius", "Separation", "Tavrida", "Awakening". In 1815, Batyushkov was admitted to "Arzamas" (under the name Achilles, associated with his past merits in the fight against the archaists; the nickname often turned into a pun, playing on Batyushkov's frequent illnesses: "Ah, heal"), but disappointed in literary polemics, the poet did not played a significant role in the activities of the society.

"Experiments in poetry and prose". Translations

In 1817, Batyushkov completed a cycle of translations "From the Greek Anthology". In the same year, a two-volume edition of "Experiments in Verse and Prose" was published, which collected the most significant works of Batyushkov, including the monumental historical elegies "Heziod and Omir, rivals" (a remake of S. Milvois's elegy) and "Dying Tass ”, As well as prose works: literary and artistic criticism, travel essays, moralizing articles. Experiments ... strengthened Batyushkov's reputation as one of the leading Russian poets. The reviews noted the classical harmony of the poetry of Batyushkov, who made Russian poetry related to the muse of the south of Europe, primarily Italy and Greco-Roman antiquity. Batyushkov also owns one of the first Russian translations by J. Byron (1820).

Mental crisis. Last verses

In 1818 Batyushkov was appointed to the Russian diplomatic mission in Naples. A trip to Italy was the poet's long-term dream, but the hard impressions of the Neapolitan revolution, office conflicts, and a feeling of loneliness lead him to a growing mental crisis. At the end of 1820, he achieves a transfer to Rome, and in 1821 goes to the waters to Bohemia and Germany. The works of these years - the cycle "Imitation of the Ancients", the poem "You wake up, O Bahia, from the tomb ...", the translation of a fragment from "The Messinian Bride" by F. Schiller are marked by increasing pessimism, the conviction of the doom of beauty in the face of death and the ultimate unjustification of the earthly existence. These motives culminated in a kind of poetic testament of Batyushkov - the poem "Do you know what you said / saying goodbye to life, gray-haired Melchizedek?" (1824).

At the end of 1821, Batyushkov developed symptoms of a hereditary mental illness. In 1822 he went to the Crimea, where the disease was aggravated. After several attempted suicide, he was placed in a psychiatric hospital in the German city of Sonnestein, from where he was discharged for complete incurability (1828). In 1828-1833 he lived in Moscow, then until his death in Vologda under the supervision of his nephew GA Grevens.

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Lecture

CreationK.N. Batiushkovand

K.N. Batiushkov is one of the most talented poets of the first quarter of the 19th century, in whose work romanticism began to take shape very successfully, although this process was not completed.

The first period of creativity (1802-1812) is the time of the creation of "light poetry". Batyushkov was also its theoretician. "Easy poetry" turned out to be a link connecting the middle genres of classicism with pre-romanticism. The article "Speech on the Influence of Light Poetry on Language" was written in 1816, but the author summarized in it the experience of various poets, including his own. He separated "light poetry" from "important genres" - epic, tragedy, solemn ode and similar genres of classicism. The poet included "small genera" of poetry in "light poetry" and called them "erotic". The need for an intimate lyric, conveying in an elegant form ("politely", "noble" and "beautifully") a person's personal experiences, he connected with the social needs of the enlightened age. The theoretical premises revealed in the article on "light poetry" were significantly enriched by the poet's artistic practice.

His "light poetry" is "sociable" (the poet used this word characteristic of him). Creativity for him is inspired literary communication with loved ones. Hence the main genres for him are the message and the dedication close to him; the addressees are N.I. Gnedich, V.A. Zhukovsky, P.A. Vyazemsky, A.I. Turgenev (brother of the Decembrist), I.M. Muravyov-Apostol, V.L. Pushkin, S.S. Uvarov, P.I. Shalikov, just friends, often poems are dedicated to women with conventional names - Felisa, Malvina, Liza, Masha. The poet loves to talk in poetry with friends and loved ones. The dialogic beginning is also significant in his fables, to which the poet also had a great inclination. The stamp of improvisations, impromptu lies in small genres - inscriptions, epigrams, various poetic jokes. Elegies, having appeared already at the beginning of the poet's career, will become the leading genre in further work.

Batyushkov is characterized by a high idea of \u200b\u200bfriendship, a pre-romantic cult of "kinship of souls", "spiritual sympathy", "sensitive friendship".

Six poetic letters from Batyushkov to Gnedich were created in the period from 1805 to 1811, they largely clarify the originality of his work at the first stage. The conventions of the genre did not at all deprive Batyushkov's message of its autobiography. The poet in verse conveyed his moods, dreams, philosophical conclusions. The lyrical "I" of the author himself turns out to be central in the messages. In the first letters, the lyric "I" is by no means a disappointed person with a chilled heart. On the contrary, this is a person who acts in an atmosphere of jokes, games, carelessness and dreams. In accordance with the aesthetics of pre-romanticism, the lyrical "I" of the messages is immersed in the world of chimeras, the poet is "happy with dreams", his dream "gilded everything in the world", "the dream is a shield for us". The poet is like a "madman", like a child who loves fairy tales. And yet his dream is not those romantic dreams, full of mysterious wonders and terrible riddles, sad ghosts or prophetic visions that romantics will plunge into. The dream world of the lyrical subject Batyushkov is joking. The voice of a poet is not the voice of a prophet, but ... of a "chatterbox".

In "light poetry" a full of charm was created the image of youth "red", "blossoming like a rose", like a May day, like "laughing fields" and "merry meadows". The world of youth is subject to the "goddess of beauty", Chloe, Lilete, Lisa, Zaphne, Delia, and an attractive female image constantly appears next to the lyrical "I". As a rule, this is not an individualized image (only individual moments of individualization are outlined in the image of the actress Semenova, to whom a special poem is dedicated), but a generalized image of the "ideal of beauty": "And golden curls, // And blue eyes ..."; "And the curls are loose // Howl over the shoulders ...". The ideal maiden in the artistic world of Batyushkov is always a faithful friend, the embodiment of earthly beauty and the charm of youth. This ideal, constantly present in the poet's imagination, is artistically embodied in the elegy "Tavrida" (1815): "Blush and fresh, like a field rose, // You share work, cares and lunch with me ...".

The poetic messages artistically realized the motive of the home, revealing the individual appearance of Batyushkov and the characteristic feature of Russian pre-romanticism. Both in his letters and in his poems, the call of the soul is repeated to the native land or laras, to the "hospitable shadow of the fatherly home." And this poetic image opposes the later expressed in verse romantic restlessness and vagrancy. Batyushkov loves "home chests", his father's house.

The artistic world of Batyushkov is colored with bright, precious colors ("gold", "silver", "beaded"); all nature, and man, and his heart in motion, in a fit, feelings overwhelm the soul. The lyrical subject of Batyushkov's "light poetry" 1802-1812 - a predominantly enthusiastic person, although at times his enthusiasm is replaced by melancholy. The poet conveyed the emotion of delight in visible, plastically expressive images-emblems, poetic allegories. He was looking for "emblems of virtue." In "light poetry" four emblematic images stand out and are repeated many times: roses, wings, bowls and canoes, which reveal the essence of his poetic worldview.

Images of flowers, especially roses, are Batiushkov's favorite, they give his poems a festivity, the image of a rose is a leitmotif, multifunctional. She is the exponent of the idea of \u200b\u200bbeauty; a fragrant, pink, young flower is associated with ancient times - the childhood of the human race: roses - Cupid - Eros - Cypria - Anakreon, the singer of love and pleasure - this is the line of associations. But the image of a rose also receives a semantic extent, it passes into the area of \u200b\u200bcomparisons: a beloved, generally a young woman is compared with a rose as a standard of beauty.

Also, other images-emblems - wings, bowls - reflected the cult of graceful pleasure, the needs of a person who is aware of their right to happiness.

The conventional language of Batyushkov's poetry incorporates the names of writers who also become signs, signals of certain ethical and aesthetic predilections: Sappho - love and poetry, Tass - greatness, Guys - the grace of love interests, and the name of the hero of Cervantes Don Kishota (as in Batyushkov) - a sign of submission to real actions of non-life and funny reverie.

A fable beginning was included in Batyushkov's "light poetry". Not only Gnedich, but also Krylov was a friend of the poet. Images close to Krylov's fables and his satirical stories, especially "Kaibu", appear in Batyushkov's messages and in his other genres. In poetic messages, the images of animals do not always create an allegorical scene. Usually they turn out to be just an artistic detail, a fable type of comparison, designed to express the discrepancy between what is necessary and what is: "He who is used to being a wolf, will not forget how to do it // Like a wolf and walk and bark forever."

The first period of Batyushkov's work was the formation of pre-romanticism, when the poet retains a connection with classicism ("middle" genres and "middle" style). His "sociable" pre-romanticism in his favorite genre of a message to friends was marked, first of all, by the bright dreaminess and playfulness of a young soul thirsting for earthly happiness.

The second period of creativity. Participation in the events of the Fatherlandnnoah war of 1812. Formation of Batyushkov's historical thinking.

1812-1813 and the spring of 1814 stand apart as an independent period in the poet's work, who has experienced a genuine turning point, a complete rejection of the epicureanism of his youth; at this time, the formation of historical thinking of Batyushkov takes place. Batiushkov poet romanticism

Taking part in the events of the Patriotic War, he associated his historical mission of an eyewitness, a witness to outstanding achievements with writing. His letters of those years, especially to N.I. Gnedich, P.A. Vyazemsky, E.G. Pushkina, D.P. Severin, at the same time conveyed the course of historical events and the inner world of a person of that time, a citizen, a patriot, a very receptive, sensitive personality.

In the letters of the second half of 1812 - confusion, concern for relatives and friends, indignation against the "vandals" of the French, strengthening of patriotic and civic sentiments. Batyushkov's sense of history develops and develops in the code of the Patriotic War. He more and more realizes himself not just a spectator of events ("everything happens before my eyes"), but an active participant in them: "So, my dear friend, we crossed the Rhine, we are in France. This is how it happened ..."; "We entered Paris<...> an amazing city. "The historical significance of what is happening is clear:" Here is a day, then an era. "

The idea of \u200b\u200bthe relativity of values \u200b\u200bin the light of history enters into letters and poems - and a central philosophical question arises, raised in the vicissitudes of time: "What is eternal, pure, blameless?" And just as in his letters he stated that historical vicissitudes "surpass any concept" and everything seems as irrational as a dream, so in verse the reflecting poet does not find an answer to questions about the meaning of history. And yet he is not abandoned by the desire to understand its laws.

The third period of creativity. Romantic rejection of reality. Poetics of Elegies.

The third period of Batyushkov's creative development - from the middle of 1814 to 1821. The pre-romantic artistic world of the poet is changing, enriching itself with purely romantic elements and tendencies. At a new stage of spiritual development, a new understanding of a person, of the values \u200b\u200bof life appears, an interest in history is sharpening. "Graceful Epicureanism" does not satisfy him now, he criticizes the ideas of the "Epicurean school". For him, more and more important is not just human sensitivity, but philosophical, namely ethical, as well as social, civic position of a person.

The lyrical "I" of his poems and his lyrical heroes not only dream and feel the fullness of happiness, but plunge into reflections on life. Batyushkov's philosophical interests and occupations were reflected in the genre of elegies, which now took center stage in his poetry. In the elegies - the poet's lyrical meditation about human life, about historical being.

Batyushkov's romantic rejection of reality intensified. The poet saw a strange antinomy: "the suffering of all mankind in the entire enlightened world."

The poet's programmatic poem, in which he proclaimed new ideological and artistic attitudes, "Towards Dashkov" (1813), reveals his patriotic and civic consciousness. He refuses to sing love, joy, carelessness, happiness and peace among the graves of friends "lost in the field of glory"; let talent and lyre perish, if friendship and suffering homeland are forgotten:

While with a wounded hero

Who knows the path to glory

I won't put my chest three times.

Before enemies in close formation, -

My friend, until then I will

All are alien to muses and charites,

Wreaths, by the hand of love of the suite,

And noisy joy in wine!

Batiushkov's pre-romanticism received a civic content. The elegiac message "To Dashkov" was followed by original historical elegies. They reveal the first trends of romantic historicism.

In his historical elegies ("The crossing of the Russian troops across the Niemen on January 1, 1813", "The crossing over the Rhine", the "Shadow of a friend" adjoins them, the elegy "On the ruins of a castle in Sweden" is written in the same style of the "northern elegies") there are elements that anticipate the historicism of the civil romanticism of the Decembrists. The poet praises the heroic military feat. Moreover, not only outstanding historical personalities occupy his imagination - "the old leader" (Kutuzov) and the "young tsar" (Alexander I), but above all unknown heroes: "warriors", "warriors", "heroes", "regiments" , "Slavs".

The poetics of elegies testifies to the significant evolution of Batyushkov's style. In the elegy "The passage of the Russian troops across the Neman on January 1, 1813," a spectacular picture is created, which is based on a combination of contrasts: the darkness of the night is opposed by burning bonfires, throwing a crimson glow to the sky. Other contrasts are also expressive: the absence of people in the foreground of the picture (an empty coast covered with corpses is drawn) and the movement of regiments in the distance, a forest of spears, raised banners; a dying fugitive with "dead legs" and mighty armed warriors; the young tsar "And the old leader-leader before him, shining with gray hair // And the beauty abused in old age." The poet's aesthetic ideal has changed significantly: the author admires not the beauty of Liza, like a rose, but the courageous and "abusive" beauty of the hero-warrior - the old man Kutuzov.

The best elegy associated with the Russian "Ossian style" is "The Shadow of a Friend". True, in the work of Batyushkov, only echoes of this style are noticeable, expressed in the paintings of the harsh North he created, as well as in memories of ancient skalds, of the "wild" and brave warriors of Scandinavia, of Scandinavian myths ("On the ruins of a castle in Sweden"). In the elegy "The Shadow of a Friend" the poet not so much follows the literary tradition as conveys a deeply personal experience: longing for a friend who died in the war. The elegiac idea of \u200b\u200bthe inevitability of the loss of a dear and dear person, of life's transience ("Or it was all a dream, a dream ...") was achieved by the poet himself.

Batyushkov's "Southern Elegies" - "Elegy from Tibullus. Free Translation", "Tavrida", "Dying Tass", the ballad "Geziod and Omir - rivals" is adjacent to them. Antiquity for Batyushkov is, first of all, the color of the place, expressed in the names: "Feakia", "Eastern shores", "Taurida", "Ancient Greece", "Tiber", "Capitol", "Rome", in the exoticism of the south: " Under the sweet midday sky of the country "," azure seas "," fragrant herbs are full of felts all around "," ... priceless carpets and scarlet cloths are spread among laurels and flowers "; the peaceful life of people and animals flows: "a stout ox wandered freely in the meadows", "into the vessels with a plentiful stream of milk // Lilos from the nipples feeding the sheep ..." - "sacred places." The external attributes of life, the picturesque appearance of antiquity are very significant for the poet, but nevertheless the historicism of his elegies is by no means reduced to exotic picturesqueness. The poet feels the movement of time. In his translations, he retains the signs of the world outlook and psychology of ancient man (worship of gods, sacrifices, fear of fate), but still those elements of antiquity that are associated with modernity are especially important for him.

Strong romantic beginnings in the Dying Tass elegy. An epigraph in Italian from Tasso's tragedy "Torrismondo" proclaimed the insecurity of fame: after a triumph, sadness, complaints, tearful songs remain; both friendship and love are classified as unreliable goods. Batyushkov made the famous Italian poet with a tragic fate, Torquato Tasso, the lyrical hero of the elegy. Tasso's hobby, like Dante, belongs to the first trends of romanticism in Russia. In Batiushkov's image, two principles are combined - greatness and tragedy. In the personality of the great poet, whose work has passed through the centuries, like the work of Tibullus, Batyushkov discovered the embodiment of the most important and eternal, according to the poet, historical regularity: the invalidity of genius by his contemporaries, the tragedy of his fate; his gift receives "late payment."

The historical elegy affirmed the moral idea of \u200b\u200bthe need for human gratitude ("the memory of the heart") to the great people-martyrs who gave their genius to others. At the same time, moralizing is noticeable in the elegy - the story in the person of Tass gives a lesson to posterity.

Creativity Batyushkov - the pinnacle of Russian pre-romanticism.

Batiushkov's lyrics have outlived their time and have not lost their charm even today. Its aesthetic value lies in the pathos of "community", in the poetic experience of youth and happiness, the fullness of life and spiritual inspiration from a dream. But the poet's historical elegies retain their poetic appeal both by their humane moral tendency and by the vivid painting of lyric-historical paintings.

Literatura

1. Batyushkov K.N. Works (any edition)

2. Fridman N.V. Poetry of Batyushkov. - M., 1971.

3. Grigorian K.N. Batyushkov // K.N. Grigoryan. Pushkin's elegy: national origins, predecessors, evolution. - L., 1999.

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The most famous works of Batiushkov. Konstantin Nikolaevich Batyushkov: biography, interesting facts, poems

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