Friendly messages of poets of the 19th century. How to write a friendly letter. II. We compose ourselves

- one of the most common in the first third XIX in. lyric genres. It is a variation of the ancient genre of the epistle.

The main feature of any poetic message is the presence of the addressee, that is, the person to whom the poet is addressing. The importance of this feature is due to the fact that the content and style of the message directly depend on the social status and character of the person to whom the poem is addressed.

The addressee of the message can be a generalized person, even if he has a real "prototype". In this case, it is important for the poet not that his message “reaches” a specific person, but the very addressing of the poetic text. The addressee sets the topics of reflection and himself becomes an imaginary participant in the dialogue, because the poet takes into account his possible reaction: approval or disagreement, objections. The message in this case turns from a lyrical monologue into a dialogue, an argument with an invisible interlocutor. In such poems, thoughts and assessments concerning a wide variety of social, philosophical, and literary problems can be expressed. Sometimes the presence of the addressee seems to push the poet

to an extensive monologue in which he expresses his ideas about life.

For example, Pushkin, in addition to numerous poetic messages to friends (I.I. Pushchin, P.Ya. Chaadaev, P.P. Kaverin, F.F. Yuryev, etc.), has messages whose meaning is wider than an appeal to a specific person . These are the "Message to the Censor", "Second Message to the Censor", the message "To the nobleman". The message is the poem "My ruddy critic, fat-bellied mocker ...". The content and tone of these messages depend on the recipients. But each of these works is essentially a program performance of the poet. Their meaning goes beyond the social status or literary position of the addressees.

Poets could also refer to gods, heroes, historical figures of the past. Animals sometimes became “addressees” (“Kachalov’s Dog” by S.A. Yesenin) and inanimate objects(for example, Pushkin has a message "To my inkwell"). In these cases, the addressee turned into a convention, became simply an occasion for expressing the thoughts and feelings of the poet.

From other types of messages, friendly poetic messages are distinguished by a number of features. First of all, they are addressed to friends, which determines their "home" character. In the era of romanticism, this genre was close to friendly writing. Poetic messages linked poetry and everyday life. They themselves easily became facts of life, integral part friendly communication, relaxed, free from conventions and rules. Many messages were read among friends, at friendly feasts, in literary circles. There were reciprocal messages, sometimes there was a whole friendly correspondence in verse.

There are many everyday details, jokes, hints in friendly messages, which are quite understandable to the addressees of these poems and require commentary for outside readers. The genre of a friendly poetic message was part of the literary life, circle communication of poets. Messages were exchanged by many "friends of the same muses" in the 1810s - 1830s

years: A.S. Pushkin, P.A. Vyazemsky, A.A. Delvig, N.M. Yazykov, E.A. Baratynsky. This genre turned out to be relevant for poets as well. silver age"- Symbolists and Acmeists.

Friendly message is a free, non-canonical genre. It easily accommodates the most varied content - from friendly banter to serious reflections on social or philosophical topics (Pushkin's letters to Chaadaev). A friendly message often became a genre form for an elegy, a drinking song, a light edification, a playful panegyric or an ironic parable.

The intimacy, even some "encryption" of friendly messages that were not intended for the general public, suggested freedom from linguistic canons. In poems addressed to close friends, the words "non-poetic", colloquial and even rude, inconvenient for printing, were often used. In this respect, the messages are close to everyday wit.

Style world of friendly messages created by Russian poets, rich and varied. This genre in the 1810s - 1820s can be considered a kind of "laboratory of verse" for many poets, especially for Pushkin. It was one of the main genres of romantic lyrics. But especially important role played friendly messages in the formation of realistic lyrics, free from genre canons and stylistic restrictions.

Message

1. A poetic letter or appeal of a philosophical-theoretical, didactic-journalistic, love or friendly nature is a popular literary genre in ancient and European literature until about the 30s. 19th century Its initiator should be considered the Roman poet Horace (see), in his P. to the Pisons ("De arte poetica") who gave theoretical basis poetics. The Russian poet Sumarokov (see) in his Epistle on Poetry (epistola - in Latin - message, letter), continuing the traditions of Horace and the French theorist Boileau (see) with his L'art poetique, outlined the foundations of the poetics of classicism. Philosophical character differ four P. English. poet P. Pop (see) - "Experience about a person." As an example didactic P. can point to the message of Lomonosov (see) to Shuvalov "On the benefits of glass."
The painting genre reached its peak in France during the Renaissance (Clément Marot) and classicism (Voltaire). In the XVIII century. this genre was widely spread in Russian literature, then passing by inheritance in the first decades of the 19th century. We find the best examples of it in various genres in the work of Pushkin and his pleiades. P. is a typically aristocratic genre in European literature, predominantly noble, designed for a close circle of socially privileged readers, for whom the poet's addressees, as people of the same environment with him, are quite well-known, often acquaintances. With the weakening of the traditions of the nobility in the literature, the genre of P. gradually disappears, and starting from the second half of XIX in. it occurs only as an exception or deliberate stylization.

2. Prose writing of church-religious or journalistic content, which in its meaning and purpose goes beyond the limits of exclusively personal appeal, is a genre that, by the way, is widespread in ancient and medieval Russian literature (for example, P. Prince A. Kurbsky and Ivan the Terrible to each other, numerous P. archpriest Avvakum and others). epistolary literature.

Literary encyclopedia. - In 11 tons; M .: publishing house of the Communist Academy, Soviet Encyclopedia, Fiction. Edited by V. M. Friche, A. V. Lunacharsky. 1929-1939 .

Message

Letter in verse. Originated in ancient poetry Horace(e.g. Epistle to the Pisos, "The Science of Poetry"). Reached its heyday in the era classicism(N. Boileau, Voltaire, A.D. Sumarokov). In the era romanticism a message from a letter to a specific person turns into a letter to a generalized addressee (for example, “Message to the Censor” by A.S. Pushkin).

Literature and language. Modern illustrated encyclopedia. - M.: Rosman. Under the editorship of prof. Gorkina A.P. 2006 .

Message

MESSAGE. - writing in verse. Even Horace gave examples of such messages, which he had either a very private character, or touching on topics of general importance. Especially famous is his letter De arte poëtica (on the art of poetry). Ovid wrote letters to his wife, daughter, friends, Augustus, from his place of exile near the Black Sea ("Ex Ponto" also "Tristia"). In modern times, messages were especially common in France. The first to draw attention here to this kind of poem was Marot. His playful and gallant messages from prison to his friend and to the king are known. Behind him stood out a number of writers of epistles (Scarron and others), but especially Boileau (at the end of the 17th century), who gave twelve epistles, written under the strong influence of Horace. In the 18th century, the epistles of Voltaire became famous, distinguished by the brilliance of grace and wit. He wrote them to Frederick II, Catherine the Great, to his friends and enemies, even to things (to the ship) and the dead (to Boileau, to Horace). The messages of J. B. Rousseau, M. J. Chenier, Lebrun and others were also known. In the 19th century, messages were written by P. Delavigne, Lamartine, Hugo and others.

In England, the four messages of Pope (early 18th century) are famous, which make up his "Experience on a Man", and the correspondence of Abelard and Eloise processed by him in verse. In Germany, messages were written by Wieland, Schiller, Goethe, Rückert and many others. etc. In Italy, the messages of Chiabrera, who introduced this form into poetry, and Frugoni (18th century) are known.

In Russian literature of the 18th century, epistles were also in use, as imitations of French ones. They were written by Kantemir, Tredyakovsky, Petrov, Knyazhnin, Kostrov, Sumarokov, Lomonosov (the famous letter in verse to Shuvalov: “On the Benefits of Glass”), Kapnist, Fonvizin (“To My Servants”), Derzhavin and many others. etc. In the first half of the 19th century, messages were also distributed. "My penates" (1812) by Batyushkov (to Zhukovsky and Vyazemsky) evoked Zhukovsky's answer: "To Batyushkov", and then (in 1814) Pushkin's imitation of "Gorodok". Batyushkov's messages are also remarkable: "To D-vu", "To N.", "To Zhukovsky". Of the messages of Zhukovsky, the most remarkable: to Philalet, to him: A. I. Turgenev, Maria Fedorovna (“report on the moon” - two messages), Vyazemsky, Voeikov, Perovsky, Obolenskaya, Samoilova, etc. In many of these messages, Zhukovsky rises to the pinnacle of your creativity. Pushkin's numerous letters are famous: to Zhukovsky, Chaadaev, Yazykov, Yusupov (to the Grandee), Kozlov, "To Siberia" Decembrists, a number of love letters; also - "To Ovid". Lermontov has messages: Khomutova, "Valerik", etc. Kozlov has one of best poems: messages to Zhukovsky, Khomutova (“To a friend of my spring ...”) and some. etc. Further messages were written by Baratynsky, Tyutchev (mainly from the department of political poems), A. Tolstoy (to I. Aksakov and a number of humorous ones), Maikov, Fet, Polonsky, Nekrasov, Nadson.

After the Pushkin era, epistles cease to be a favorite form of poetry, and now, if occasionally found, then as imitations of the style of that era (Vyach. Ivanov and some others).

Joseph Eiges. Literary encyclopedia: Dictionary of literary terms: In 2 volumes / Edited by N. Brodsky, A. Lavretsky, E. Lunin, V. Lvov-Rogachevsky, M. Rozanov, V. Cheshikhin-Vetrinsky. - M.; L.: Publishing house L. D. Frenkel, 1925

Synonyms:

See what "Message" is in other dictionaries:

MESSAGE, epistles, cf. (book). 1. A written appeal to someone, a letter. "Message full of poison." A.K. Tolstoy. "I received your message." Lermontov. Love message. 2. Literary work in the form of an author's appeal to someone ... Dictionary Ushakov

MESSAGE, a poetic or journalistic work in the form of a letter to a real or fictitious person. The poetic message, as a genre, existed from antiquity (Horace's Science of Poetry) until the middle of the 19th century. (Message to the Censor A.S. Pushkin); later... Modern Encyclopedia

Cm … Synonym dictionary

Message- MESSAGE, a poetic or journalistic work in the form of a letter to a real or fictitious person. The poetic message, as a genre, existed from antiquity (“The Science of Poetry” by Horace) until the middle of the 19th century. (“Message to the Censor” by A.S. Pushkin); ... ... Illustrated Encyclopedic Dictionary

In church literature, a written appeal by an authoritative theologian to a certain group of people or to all of humanity, clarifying certain religious issues. In Christianity, the epistles of the apostles form a significant part of the New ... Wikipedia

A poetic or journalistic work in the form of a letter to a real or fictitious person. Poetic messages as a genre existed from antiquity (Horace, Science of Poetry) to the middle. 19th century (A. S. Pushkin); later single poems (V. V. ... ... Big Encyclopedic Dictionary

MESSAGE, I, cf. 1. Written appeal of a statesman (or public organization) to another statesman(or to a public organization) according to what n. important public and political issue. P. President ... ... Explanatory dictionary of Ozhegov

- (epitre, Epistel) literary form, almost out of use: writing in verse. Back in the first half of the 19th century. P. was a very common genre. Its content is very diverse from philosophical reflections to satirical paintings and ... ... Encyclopedia of Brockhaus and Efron

friendly message- a work of poetry written in the form of a letter or appeal to a person.

Anacreon- an ancient Greek poet who sang in his poems love, wine, friendship, the joy of life. A light direction of poetry in honor of Anacreon and his followers was called anacreontics. Epicureanism accompanies the Anacreontic motif of Pushkin's early lyrics

Epicureanism, Epicureanism(named after the ancient Greek philosopher Epicurus) - enjoyment of life, the ability to find harmony between the physical and spiritual in life.

cross-cutting theme- what is about in question in a work of art, the subject of the image.

The evolution of the theme- the development of a theme in a work of art.

Oh yeah- genre of lyric poetry; solemn, pathetic, glorifying work. Types of ode: laudatory, festive, deplorable.

Elegy- a genre of lyric poetry in which the sad thoughts, feelings and thoughts of the poet are clothed in poetic form.

Pathos- (strong, passionate feeling) - emotional animation, passion that permeates the entire work as a whole; a deep and historically truthful assessment of the characters depicted, generated by their objective national significance; high inspiration of the author by comprehending the essence of the depicted life.

Idyll- genre form of bucolic poetry; a small lyrical or epic work depicting an eternally beautiful nature, a peaceful, virtuous life in the bosom of nature, sometimes in contrast with a restless and vicious person.

Freedom-loving lyrics- poetic works about the will, spiritual freedom of the individual.

Sonnet- a lyrical poem, consisting of fourteen lines, divided into two quatrains (quatrain) and two three-line (tercet); in quatrains only two rhymes are repeated, in terzets - two or three.

Epigraph- a short text (quotation, saying, proverb) placed by the author before the text of the entire work of art or part of it.

Landscape (country, locality)- depiction of pictures of nature in a work of art.

Psychological landscape- the transfer of the state of mind of the lyrical hero through the state of nature

social landscape- is inextricably linked with a person, helps to better understand the hardships of his daily life.

Sentimentalism- an artistic method, in the center of the image of which is the everyday life of a simple person, his personal emotional experiences, his feelings and moods.

Romanticism – literary direction, artistic method. Appeared at the turn of the 18-19 centuries.

Main features:

1. Doubt about the truth and expediency of modern civilization.

2. Appeal to eternal ideals (love, beauty) discord in reality, the flight of a romantic hero into an ideal world.

3. Affirmation of the self-worth of an individual, uniqueness human soul

4. Depicting an exceptional hero in exceptional circumstances

5. The struggle against the rules of classicism for the freedom of creative expression of the writer, interest in folk art.

6. Colorful language.

Functions of artistic and expressive means (tropes):

Characteristics of an object or phenomenon;

Transfer of emotional and expressive assessment of the depicted

This event (expulsion to the Belarusian regiment as a punishment for writing political fables), which sadly reflected on the entire subsequent military career Denis Davydov, nevertheless played a huge role in the development of his poetic talent. In the regiment, Davydov met A.P. Burtsov, a man not particularly educated (who could not even read Davydov's messages). This meeting in itself is insignificant. But in Burtsovo, Davydov was able to see the features of a "real hussar", a kind of "model" of a freedom-loving, careless and brave hussars. With the poetization of this "model" was associated the birth of original Davydov's verse. From now on, Davydov finds his own poetic theme and the genre that allows him to reflect it most fully and vividly - friendly message.

Having reached an unprecedented flowering in the poetry of the late XVIII - early XIX century, this genre contributed primarily to the aggravation of interest in the individual, in his spiritual world. The genre of the message allowed itself a plot, usually not characteristic of lyrics, and thus was a kind of predecessor of a poetic story and even a novel in verse. The palette of the message was enriched with everyday details, and the addressee himself gradually acquired specific real features. A friendly message is the discovery of a new world in literature. It created a completely new type of hero - a free man who does not care about rank and wealth, living far from noisy cities.

The messages of Denis Davydov are inextricably linked with the main trend in the development of this genre and, at the same time, introduce "features of an unforgettable style" into this genre. Show the life of a Russian warrior, find poetry in his everyday activities, reveal his spiritual world, the richness of his nature and in Everyday life, and in the smoke of battles, to show a man in the war, to find a role model for young soldiers - all this Davydov succeeded in his "hussar" messages. Davydov is “a poet at heart,” one of the first critics of his poetic works, V.G., rightly noted. Belinsky, - for him life was poetry, and poetry was life, he poeticized everything he touched.

“Terrible punch glasses”, “tashki and dolmans” - the whole deliberately poor environment of the hussar household under the pen of Davydov is filled with life.

The hero of Denis Davydov is not just a well-trodden fellow, a dashing rider and an unrestrained reveler. The hussar feast, where "daring fun" and "brotherly willfulness" reigns, in Davydov's poetry opposes those secular festivities, "where frankness is in shackles, where body and soul are under pressure." It is no coincidence that in his "Hussar Confession" (1832), Denis Davydov says:

I feel stuffy at feasts without will and plowing.

Give me a gypsy choir! Give me an argument and laughter

And a column of smoke from the pipe tightening!

I'm running the age of the gathering, where life is in one leg,

Where favors are conveyed by weight...

And I hasten to my hussar family ...

Luxuriate, cheerful crowd,

In living and fraternal willfulness!

And this desire for will and independence, freedom and self-will of the hero Davydov, for whom the “rank for parades” and “George for advice” are the real intrigues of Fortune, made him in the eyes of many generations the ideal of a true freedom-loving, desperate, courageous and dashing hussar.

Denis Davydov knew no equal in creating stray messages and "bahic" songs. He was so original that it was impossible to imitate him. True, it should be noted that Davydov's military love lyrics caused several attempts. So, K.N. tried himself in this area. Batyushkov, writing his own: “A hussar leaning on a saber,” but Pushkin, who loved his poetry so much, reacted negatively to this poem: “Zirlich-manirlich. There is no need to argue with D. Davydov.”

Denis Davydov wrote by inspiration and wherever necessary - in hospitals, while on duty, and even in squadron stables. And although critics noted in his works "negligence in decoration" (A. Bestuzhev-Marlinsky), but accuracy, brightness, accuracy, sharpness of expressions, complete sincerity of feeling - these features distinguish Davydov's poetry, and his "hussarism", and his elegies.

“Your mighty verse will not die,

Memorably alive

Amazing, ebullient

And militantly flying

And recklessly daring "

This is how N.M. addresses Davydov. languages.

The originality of Davydov's poetry is, first of all, his style, "fast, picturesque, sudden" (A.A. Bestuzhev-Marlinsky):

... it's not time to walk!

To the horses, brother, and a foot in the stirrup,

Saber out - and in the battle!

"Burtsov", 1804

Denis Davydov's transition from one rhythm to another is just as quick and unexpected:

The horse boils under the rider,

The saber whistles, the enemy falls...

The battle was silent, and in the evening

The bowl is moving again.

"The Song of the Old Hussar", 1817

It was, of course, difficult for a reader of the 19th century, brought up on the poetry of sentimentalists, to immediately understand and accept the new lyrical hero - the dashing hussar, and the language itself - the language of "despicable", everyday life; vernacular, which so easily entered the poetic language of Davydov (“dying squinting” - and this is about a tragic hero; “throat was flogged”, etc.)

The language of Denis Davydov differed sharply from the poetic language of the two largest poets of that time, V.A. Zhukovsky and K.N. Batyushkov, who entered the literary field together with D. Davydov. Davydov's poetry ran counter to the principles of harmony established by the poetry of Zhukovsky and Batyushkov, and the external effect of the works of the hussar poet, as already noted by critics, often consisted precisely in the disharmony of the words and expressions standing next to each other: “And Dibich frightened people with beauty”, “And they are baptized witches, and the devils are sick"; "Give me a golden tub."

Using this technique, Denis Davydov creates one of his best poems "The Poetic Woman" (1816):

What is she? - rush, confusion,

And coldness, and delight,

And resistance, and passion

Laughter and tears, hell and god,

Dust of midday summer

Hurricane beauty...

And these verbal and intonational contrasts are rightfully considered by researchers to be the discovery of Denis Davydov.

Be, hussar, a century drunk and full! ..

In peaceful days, do not be discouraged

And in battles, swing and play!

Life flies: do not be ashamed,

Don't miss her flight...

"Hussar Feast", 1804

Davydov transfers these techniques to his other, later works.

Already in the early messages addressed to Burtsov, Davydov managed to create a vivid, concrete and at the same time generalized image of the “dashing hussar”, “era and bully”, a brave grunt on a “smart horse”, who despises servility and flattery, cowardice and weak-heartedness. Next to him is a "poet-hero", a poet-warrior to match the "dashing hussar", and he was so bright and autobiographical that for many generations of readers he was inseparable from D. Davydov himself. In numerous messages addressed to him, we see the same image of the “singer-hero” with stable portrait features (“black-moustached fellow”, “mustache”, “Borodino bearded man”, “black-haired fighter with a white curl on his forehead”, “with curly, swarthy beard, etc.).

But the "dashing hussar" and the "poet-hero" are united not only by personal courage, honesty and sincerity, they are fiery patriots:

Damn happy for you

Our Mother Russia!

And let them, like real hussars, in peacetime:

…Everything is dead

They drink and, bowing their foreheads,

Fall asleep well.

But as soon as the day passes,

Everyone flutters across the field:

Keaver brutally sideways,

Mentik plays with whirlwinds.

"The Song of the Old Hussar", 1817

But if the time of trials comes:

But if the enemy is fierce

We dare to oppose

My first duty, sacred duty -

Rise again for the motherland;

Your friend will appear in the field,

Another saber flashes

Or return in laurels,

Or fall dead on his laurels!

"Elegy IV", 1816

The patriotic theme of the struggle against the enemy, the struggle for the liberation of the motherland is sharply accentuated in Denis Davydov's "hussar" poems; and they go beyond the narrow framework of purely intimate lyrics, thereby expanding the meaning and meaning of "hussars".

The genre of the message in the lyrics of A.S. Pushkin

The genre of the message has been known since antiquity (Quintus, Horace, Ovid).

AT ancient Russian literature the epistle genre was used to address figures on political or public issues.

In Russian poetry of the early 19th century, a friendly message was a very common genre (messages by V.A. Zhukovsky, N.M. Karamzin, I.I. Dmitriev, K.N. Batyushkov, A.S. Pushkin, A.A. Fet) . Its popularity was largely due to the low canonization of the genre, its fundamental instability, and freedom of expression. A friendly message is reminiscent of a casual conversation, often a conversation “on an equal footing”. The addressee could be very different: a real person close to the author, a person with whom the author was not personally acquainted, an imaginary person.

The formal genre feature of the message is that it imitates writing to a greater or lesser extent, that is, the main feature of this genre is an appeal to a specific person, as well as the presence of such elements as wishes, requests, exhortations. From the original poetic size - hexameter - the authors of the messages soon abandoned. A friendly message is created with the aim of gaining a like-minded person and ally.

Pushkin attaches special importance to the genre of the epistle, since it opens the path of freedom to the poet. Literary influences and traditions are the least active in this genre. And so it was here that it was easiest for Pushkin to go his own way. Pushkin's message is not only a free genre, but also the most lyrical: it is full of sincere confessions - confessions of the soul. One of the examples of such confessions can be considered the message "To Chaadaev".

Pushkin more than once turned to Chaadaev with friendly messages: in 1821 - "In a country where I forgot the anxieties of previous years.", In 1824 - "Why cold doubts."

The years of confinement rushed by;

Not for long, peaceful friends,

We see the shelter of solitude

And Tsarskoye Selo fields.

Separation is waiting for us at the threshold,

Calls us distant light noise,

And everyone looks down the road

With the excitement of proud, young thoughts.

Another, hiding his mind under a shako,

Already in military attire

Hussar saber waved -

In the baptismal morning cool

It freezes beautifully at the parade,

And he goes to the guard to warm himself;

Another, born to be a noble,

Not honor, but loving honors,

At the noble rogue in the hallway

Sees himself as a submissive rogue;

Only I, obedient to fate in everything,

Happy laziness, faithful son,

Careless soul, indifferent,

I quietly dozed off alone.

Equal to me are clerks, lancers,

Equal laws, shako,

I'm not torn by my chest into captains

And I do not crawl into an assessor;

Friends! a little indulgence

Leave me a red hat

As long as it's for transgressions

I did not exchange for a shishak,

As long as it is possible for the lazy

Without fear of formidable troubles,

Another careless hand

Open your vest in July.

Looking sometime at this secret leaf,

Written by me,

For a while, fly away to the lyceum corner

Omnipotent, sweet dream.

Do you remember the quick minutes of the first days,

Peaceful captivity, six years of union,

Sorrows, joys, dreams of your soul,

The quarrels of friendship and the sweetness of reconciliation, -

What has been and will not be again.

And with quiet anguish tears

Do you remember your first love?

My friend, she passed. but with first friends

Your union is concluded not by a frisky dream;

Before formidable times, before formidable destinies,

Oh dear, he is eternal!

*To Pushchin's album(1817) - during the life of Pushkin was not published. Written shortly before graduating from the Lyceum. (see about I.I. Pushchin).