No, all of me will not die
No, all of me will not die
From the poem “I erected a monument to myself not made by hands” (1836) by A. S. Pushkin (1799-1837):
No, all of me will not die - the soul is in the treasured lyre
My ashes will survive and decay will escape...
The original source of the phrase is the 30th ode of the 3rd book of odes of the Roman poet Horace (Quintus Horace Flaccus, 65-8 BC).
In 1795, four years before the birth of Pushkin, Gavrila Romanovich Derzhavin (1743-1816) wrote his “Monument”, in imitation of Horace. He has lines similar to Pushkin’s:
So! - all of me will not die, but part of me is big,
Having escaped from decay, after death he will live...
It is obvious that when composing his “Monument”, A.S. Pushkin was inspired by both the lines of Horace and Derzhavin, and the latter to a greater extent.
Encyclopedic Dictionary of winged words and expressions. - M.: “Locked-Press”. Vadim Serov. 2003.
See what “No, I won’t die” in other dictionaries:
Wed. No! all of me will not die: the soul in the treasured lyre will survive my ashes and escape decay. A.S. Pushkin. Monument. Wed. Derzhavin. Monument. Wed. Non omnis moriar. Hor. Od. 3, 30, 6 (about myself). See the good die (their deeds live) ... Michelson's Large Explanatory and Phraseological Dictionary
I. particle. 1. Usage as a negative answer to a question or as an expression of disagreement (can act as a proposal; opposite: yes). Will you eat? No. Will you go to the symposium? No. Sit down please. No, no, thanks. // Inside speech... ... encyclopedic Dictionary
Ushakov's Explanatory Dictionary
1. ALL1, all, everything, kind. all, all, all, many. all, all, places. 1. Whole, complete, without removal. All day. The whole world. All Moscow. All people are mortal. Got my whole coat dirty. All hands are scratched. From here to the city it’s 35 kilometers, or even 40. || Entering... ... Ushakov's Explanatory Dictionary
1. without in meaning tale, who what. Out of stock, out of stock; opposite there is 2. He came to the post with timidity and timidly inquired if His Excellency was there: they answered that no, and would not be. Dostoevsky, Weak Heart. [Sonya:] U... ... Small academic dictionary
No- 1. particle. 1) a) used. as a negative answer to a question or as an expression of disagreement (can act as a proposal; opposite: yes) Will you eat? No. Will you go to the symposium? No. Sit down please. No, no, thanks. b) from... ... Dictionary of many expressions
- - born on May 26, 1799 in Moscow, on Nemetskaya Street in Skvortsov’s house; died January 29, 1837 in St. Petersburg. On his father’s side, Pushkin belonged to an old noble family, descended, according to genealogies, from a descendant “from ... ... Large biographical encyclopedia
I, Wed. Action and state by value. verb smolder. No, all of me will not die, my soul in the treasured lyre. My ashes will survive and will escape decay. Pushkin, I erected a monument to myself, not made by hands... Small academic dictionary
Landmark Monument to Alexander Pushkin Monument to Alexander Pushkin ... Wikipedia
dust- a, m. 1. Dust; ashes (trad. poet.). Riders flash through the fields, raising black dust in the distance. // Pushkin. Ruslan and Ludmila //; The people howled, overwhelmed with fear (covering their heads) with ash and dust, and the Almighty king listened to them. // Pushkin. Poems... ... Dictionary of forgotten and difficult words from works of Russian literature of the 18th-19th centuries
Compare verse Monument to Pushkin, Derzhavin, Horace
PUSHKIN'S VERSE
I erected a monument to myself, not made by hands,
The people's path to him will not be overgrown,
He ascended higher with his rebellious head
Alexandrian Pillar.
No, all of me will not die - the soul is in the treasured lyre
My ashes will survive and decay will escape -
And I will be glorious as long as I am in the sublunary world
At least one piit will be alive.
Rumors about me will spread throughout Great Rus',
And every tongue that is in it will call me,
And the proud grandson of the Slavs, and the Finn, and now wild
Tungus, and friend of the steppes Kalmyk.
And for a long time I will be so kind to the people,
That I awakened good feelings with my lyre,
That in my cruel age I glorified Freedom
And he called for mercy for the fallen.
By the command of God, O muse, be obedient,
Without fear of insult, without demanding a crown,
Praise and slander were accepted indifferently
And don't argue with a fool.
DERZHAVINA'S VERSE
1Monument
I erected a wonderful, eternal monument to myself,
It is harder than metals and higher than the pyramids;
Neither a whirlwind nor a fleeting thunder will break it,
And time's flight will not crush it.
So! - all of me will not die, but part of me is big,
Having escaped from decay, he will live after death,
And my glory will increase without fading,
How long will the universe honor the Slavic race?
Rumors will spread about me from the White Waters to the Black Waters,
Where the Volga, Don, Neva, the Urals flow from Riphean;
Everyone will remember this among countless nations,
How from obscurity I became known,
That I was the first to dare in a funny Russian syllable
To proclaim Felitsa’s virtues,
Talk about God in simplicity of heart
And speak the truth to kings with a smile.
O muse! be proud of your just merit,
And whoever despises you, despise them yourself;
With a relaxed, unhurried hand
Crown your brow with the dawn of immortality.
VERSE HORACE
I erected a monument more eternal than durable copper
And royal buildings above the pyramids;
Neither the acrid rain nor midnight Aquilon,
Not a series of countless years will destroy.
No, I won’t all die, and I’ll have a better life
I will avoid funerals, and my glorious crown
Everything will be green until the Capitol
The high priest walks with the silent maiden.
And they will say that he was born where the talkative Aufid
Runs quickly, where among the waterless countries
From the throne Dawn judged the hardworking people,
That from nothingness I was chosen to glory
Buyan Island: Pushkin and Geography Trube Lev Ludvigovich
“And the Kalmyk, a friend of the steppes”
“And the Kalmyk, a friend of the steppes”
Every nation is unique. A. S. Pushkin tried to explain this by the influence of climate, the way of government, and faith, which gives “every people a special physiognomy, which is more or less reflected in the mirror of poetry.” “There is a way of thinking and feeling, there is a darkness of customs, beliefs and habits that belong exclusively to some people,” he wrote in the article “On Nationality in Literature.”
In Pushkin's works there are names of many peoples, both famous and little-known; Some of these peoples appear under names that still exist today, while others appear under old names that were in use in former times. And above all, these are the names of peoples, captured in his insightful “Monument”:
Rumors about me will spread throughout Great Rus',
And every tongue that is in it will call me,
And the proud grandson of the Slavs, and the Finn, and now wild
Tungus, and friend of the steppes Kalmyk.
The poet’s choice of the names of peoples given in the “Monument” is not accidental, as is the case with other poets for rhyme, but is deeply thought out. The four names of peoples essentially cover the entire vast territory of Russia. “The Proud Grandson of the Slavs” represents Russians, Ukrainians, and Belarusians; Finn - a representative of the peoples living in the vast territory of the north of the country; Tungus - the peoples of Siberia and Kalmyk - the south and southeast, Mongol-Turkic peoples. True, while working on this poem, the poet did not immediately identify the four indicated peoples. As the draft shows, only two names were indisputable for him, appearing in all versions of the poem - “Russian” and “Finn”. “Tungus” and “Kalmyk,” included in the initial version, were then replaced and the following options were outlined: “and Finn, Georgian, Kyrgyz,” and “Finn, Georgian and now wild Circassian.” As you can see, the poet focused on the names of the most representative peoples, more precisely, on the names of the peoples who inhabited the vast territory of the country - from the shores of the Baltic to the Sea of Okhotsk, from the Arctic Ocean to the Caspian Sea. This only emphasizes A. S. Pushkin’s awareness of issues of ethnic studies, his knowledge of the history of different peoples, and he knew the history of the Kalmyks well from the manuscript of N. Ya. Bichurin, which he wrote about in the notes to “The History of Pugachev”: “With gratitude we place what he reported (Bichurin. - L.T.) an excerpt from his still unpublished book about the Kalmyks.” At the same time, Pushkin, according to researcher A.I. Surzhok, “adheres to his own, completely independent concept regarding the tragic departure of the Kalmyks from Russia” 1: “driven out of patience by oppression, they decided to leave Russia...”. Only a part of the Kalmyks went to their ancestral homeland, Dzungaria. Having lost many fellow tribesmen on the way, they reached Dzungaria. “But the border chain of Chinese guards menacingly blocked their entry into their former fatherland, and the Kalmyks could only enter it with the loss of their independence” (notes to “The History of Pugachev”).
There is no need to say much about the “proud grandson of the Slavs”: the poet dedicated many lines to him in his works.
A.S. Pushkin was proud of his people, the Russian people, first of all the peasants who formed the basis of the Russian people. “Look at the Russian peasant,” he wrote, “is there a shadow of slavish humiliation in his behavior and speech? There is nothing to say about his courage and intelligence. Its variability is known. The agility and dexterity are amazing. A traveler travels from one region to another in Russia, not knowing a single word of Russian, and everywhere he is understood, his demands are fulfilled, and terms are concluded with him. You will never meet among our people what the French call un badaud; you will never notice in him either rude surprise or ignorant contempt for the things of others” (“Journey from Moscow to St. Petersburg”).
Finn A. S. Pushkin clearly has a collective name, that is, it refers not only to the Finns themselves (Suomi, as they call themselves), who make up the main population of Finland, but also to their related Karelians, Estonians and other peoples of the Finnish language group. Previously, in pre-revolutionary times, they were also called Chukhons (Finnish population surrounded by St. Petersburg):
Your little girl, hey,
Byron's Greek girls are cuter,
And your Zoil is a straight Chukhonian.
"To Baratynsky"
In our country, the peoples of the Finnish group (Karelians, Estonians, Maris, Mordovians, Udmurts, Komi) number more than 4 million people, and the area of the republics formed by these peoples is 1375 thousand square meters. kilometers, that is, over 1/4 of the European territory of the USSR.
Tungus , or, as they are now called by the self-name of the people, the Evenks, although they represent a small people (only 28 thousand people), forming an autonomous district within the Krasnoyarsk Territory, they are settled not only in the territory of the district, but also far beyond its borders - on most of Siberia, from the Ob to the Sea of Okhotsk. The widespread settlement of the Evenks since ancient times is evidenced, in particular, by numerous Evenki geographical names, primarily of a number of large rivers - the Yenisei, Lena, Yana, which are based on the Evenki word no, meaning "big river". Evenk is truly a representative of the peoples of all Siberia, and is no longer a “wild” representative of it, but no less enlightened than other peoples.
But in the pre-revolutionary past, the Evenks, like many other small peoples, did not have their own written language and were, one can directly say, completely illiterate, led a nomadic lifestyle, and conical tents in the camps served as their home.
WITH Kalmyks the poet communicated directly, was a guest of a Kalmyk family in a steppe tent, tasted national food, although he, accustomed to Russian cuisine, did not like it. This is how A. S. Pushkin describes his visit to a Kalmyk family on the way to the Caucasus in 1829: “The other day I visited a Kalmyk tent (a checkered fence covered with white felt). The whole family was getting ready to have breakfast; the cauldron was boiled in the middle, and the smoke came out into a hole made in the top of the wagon. A young Kalmyk woman, very good-looking, was sewing while smoking tobacco. I sat down next to her. "What is your name?" "***" - "How old are you?" - “Ten and eight.” - “What are you sewing?” - “Trouser.” - "To whom?" - "Myself". - She handed me her pipe and began to have breakfast. Tea was brewed in a cauldron with lamb fat and salt. She offered me her ladle. I didn’t want to refuse and took a sip, trying not to take a breath... I asked to eat it with something. They gave me a piece of dried mare's meat; I was glad about that too. Kalmyk coquetry frightened me; I quickly got out of the wagon and drove away from the steppe Circe” (“Journey to Arzrum”).
Judging by the rough recording, the end of this visit to the Kalmyk tent looked somewhat different. According to the original version of the recording, the poet swallowed the served piece of dried mare meat with great pleasure. “After this feat, I thought that I had the right to some reward. But my proud beauty hit me on the head with a musical instrument similar to our balalaika. Here is a message to her that will probably never reach her..."
Farewell, dear Kalmyk!
A little bit, in spite of my plans,
I have a commendable habit
Didn't captivate me among the steppes
Following your wagon.
Your eyes are, of course, narrow,
And the nose is flat and the forehead is wide,
You don't babble in French,
You don't squeeze your legs with silk,
In English in front of the samovar
You can't crumble bread with a pattern.
Don't admire Saint-Mars
You don't appreciate Shakespeare a little,
Don't fall into daydreaming
When there is no thought in your head,
Don’t you sing: Ma dov’?,
You can't gallop in a meeting...
What needs? - Exactly half an hour,
While they were harnessing the horses for me,
My mind and heart were occupied
Your gaze and wild beauty.
Friends! Aren't they all the same thing?
Lose yourself as an idle soul
In a brilliant hall, in a fashionable box,
Or nomadic in a wagon?
It is interesting to note that A. Blok “started” from this poem when creating a portrait of an Egyptian woman: “All the features of an Egyptian woman are far from any “canon” of beauty. The forehead seems to be too large; it was not for nothing that she covered it with her hair. There is something Mongolian in the oval of the cheeks, perhaps what made Pushkin “forget himself in an ardent dream” in the “nomadic wagon” and dreamily scribble across manuscripts of poetry with profiles” 2 .
A nomadic people in the past, the Kalmyks now form their own autonomous republic within the Russian Federation, within which 4/5 of the more than 170 thousand of them in the country live. Now the Kalmyks, who have reached the same heights in education as other peoples of our multinational country, are not alien to all the achievements of human culture. In the capital of the republic, Elista, a monument to A. S. Pushkin, the great internationalist poet, whose poems every Kalmyk turns to, was erected.
Many nations appear in his works.
The poet dedicated an entire poem gypsies , who “... wander around Bessarabia in a noisy crowd.” He spent two weeks in a gypsy camp.
“Living in Bessarabia,” writes V. A. Manuilov, “Pushkin studied the gypsy language, became acquainted with gypsy songs, wrote down ancient Moldavian legends and songs... “Black Shawl” is an artistic reworking of a Moldavian song...” 3.
The unusual fate of the gypsies prompted A. S. Pushkin to give notes to the poem, in which he writes: “For a long time in Europe they did not know the origin of the gypsies; they were considered to come from Egypt - to this day in some lands they call them Egyptians. English travelers finally resolved all the confusion - it was proven that the gypsies belong to an outcast caste of Indians called pariah. Their language and what can be called their faith, even their facial features and lifestyle are true evidence of this. Their attachment to the wild freedom ensured by poverty, everywhere tired of the measures taken by the government to transform the idle life of these vagabonds - they wander in Russia, as well as in England; men engage in crafts necessary for basic needs, trade horses, drive bears, deceive and steal, women make a living in divination, singing and dancing.
In Moldova, Gypsies make up the majority of the population..."
The last statement of the poet, who did not have statistical data, is incorrect (gypsies did not make up the majority of the population of Moldova). It is no coincidence that he added to his note about Bessarabia: “Bessarabia, known since ancient times, should be especially interesting for us.
She was glorified by Derzhavin
And full of Russian glory.
But to this day we know this region from the erroneous descriptions of two or three travelers” 5.
According to data for 1833, Bessarabia had a population of 465 thousand people 6 . Over the next half century it increased to 1.6 million people, of which in 1889 about half were Moldovans and 18.8 thousand were Roma.
Currently, in Moldova, out of 4 million people, Moldovans make up about 2/3 of its population, and the Gypsies number a little more than ten thousand people, and among other nationalities of this multinational republic they are in eighth place in number (after Moldovans, Ukrainians, Russians, Gagauz , Bulgarians, Jews, Belarusians). Only 1/20 of all Gypsies in the USSR live in Moldova (according to the 1979 census, there were 209 thousand of them in the country).
And here is the poet’s apt remark about the numerous old Chisinau bazaar:
A money-loving Jew is crowded among the crowd,
Under the cloak is a Cossack, ruler of the Caucasus,
The talkative Greek and the silent Turk,
Both an important Persian and a cunning Armenian.
"Crowded among the crowd..."
The peoples of the Caucasus were not ignored by the poet. Having visited Georgia, he spoke about Georgians : “Georgians are a warlike people. They have proven their bravery under our banners. Their mental abilities expect greater education. They are generally of a cheerful and sociable nature” (“Journey to Arzrum”). In four laconic phrases, a succinct description of the people is given with its potential capabilities, which were fully revealed only a century later - in Soviet times.
Driving through the land of ancient Armenia, A.S. Pushkin stopped for the night with people completely unfamiliar to him, who received him very cordially, to which he draws his attention: “The rain poured down on me. Finally, a young man came out of a nearby house Armenian and, having talked with my Turk, called me to him, speaking in fairly pure Russian. He led me up a narrow staircase into the second apartment of his house. In a room decorated with low sofas and shabby carpets, sat an old woman, his mother. She came up to me and kissed my hand. The son told her to light the fire and prepare dinner for me. I undressed and sat down in front of the fire... Soon the old woman cooked me lamb with onions, which seemed to me the height of culinary art. We all went to bed in the same room; I lay down in front of the dying fireplace and fell asleep...” This is a small ethnographic sketch showing the life of ordinary people in Armenia.
While in the Baltic states, the hero of the poet’s unfinished work (“In 179 * I returned…”) notes: “From a distance the sad song of a young Estonians ».
Of course, A.S. Pushkin knew his Boldino neighbors - Mordovians , as well as our other neighbors - Chuvash And cheremisy (now Mari). In “The History of Pugachev” he writes: “The Mordovians, Chuvash, and Cheremis ceased to obey the Russian authorities.” In Pugachev’s army there were “...up to ten thousand Kalmyks, Bashkirs, tribute Tatars...”. Above we talked about Kyrgyz-Kaisakah (Kazakhs).
More than two dozen names of the peoples of our country are found in the works of the poet.
Various peoples of foreign countries are also mentioned in the works of A. S. Pushkin: Arnauts, Bosniaks, Dalmatians, Wallachians, Ottomans, Adechs, Saracens (Saracins) and others, which indicates the poet’s broad geographical knowledge.
Arnauts - the Turkish name for the Albanians, under which they appear in the story “Kirdzhali”: “... the Arnauts in their ragged and picturesque attire, slender Moldavian women with black-faced children in their arms surrounded the karutsa” (karutsa - wicker cart).
Bosniaks (Bosnians) - residents of Bosnia, formerly a Turkish province, and now a republic within Yugoslavia: “Beglerbey with his Bosniaks came against us...” (“Battle of Zenica Velika” - from “Songs of the Western Slavs”).
Dalmatians - residents of Dalmatia, formerly an Austrian province near the Adriatic Sea, and now a region in Yugoslavia: “And the Dalmatians, seeing our army, twirled their long mustaches, put their hats on one side and said: “Take us with you: We want to fight the Busurmans.” (“The Battle of Zenica the Great” - from “Songs of the Western Slavs”).
Wallachians - residents of the Principality of Wallachia, which was under Turkish rule; then, after liberation, they became part of the Romanian nation, and Wallachia became part of Romania. The hero of the story “Kirdzhali”, after whom it is named, says: “For the Turks, for the Moldavians, for the Wallachians I am, of course, a robber, but for the Russians I am a guest.” And Kirdzhali’s origin “was Bulgar.”
Ottomans - the ancient name of the Turks (named after the 16th century Turkish Sultan Osman I, the founder of the Ottoman Empire).
I was also among the Donets,
I also drove away a gang of Ottomans;
In memory of the battle and tents
I brought home a whip -
This is how the poet remembers his participation in the battle of Arzrum, which he is silent about in “Journey to Arzrum”, placing only a drawing in which he depicted himself on a horse with a pike. This is evidenced by eyewitness N.A. Ushakov: “The shootout on June 14, 1829 is remarkable because our glorious poet A.S. Pushkin took part in it... Grabbing the pike of one of the killed Cossacks, he rushed against the enemy horsemen. One can believe that our Don people were extremely amazed to see before them an unfamiliar hero in a round hat and burka. This was the first and last debut of the favorite of muses in the Caucasus” 7. By the way, having received from the author a book in which this episode is described, A.S. Pushkin answered him in June 1836: “I saw with amazement that you had granted immortality to me too - with one stroke of your pen.”
This episode inspired Pushkin's poem "Delibash". Here's the beginning:
Shootout over the hills;
Looks at their camp and ours;
On the hill before the Cossacks
The red delibash is flying.
Adeji - from the self-name “Adyghe” of three related peoples - Kabardins, Circassians, Adyghe, who were also previously called Circassians.
Not for conversations and rejoicings,
Not for bloody meetings,
Not for questioning kunak,
Not for robbers' fun
The Adekhi came together so early
To the courtyard of Gasub the old man.
Sarachins (by the poet in the form of a magpie), or Saracens, originally (by ancient historians) the name of the nomadic tribes of Arabia, and then of all Arabs in general, and sometimes Muslims. Actually, the Sarachins are Western Polovtsians.
Brothers in a friendly crowd
They go out for a walk,
Shoot gray ducks
Amuse your right hand,
Sorochina rush to the field...
"The Tale of the Dead Princess and the Seven Knights"
Also noteworthy is A. S. Pushkin’s explanation of “Arabs” and “Araps” in a letter to P. A. Vyazemsky (second half of 1835-1836): “Arab (does not have a feminine gender) is a resident or native of Arabia, an Arabian. The caravan was plundered by the steppe Arabs.
Arab, female arapki, this is how blacks and mulattoes are usually called. Palace araps, blacks serving in the palace. He leaves with three smart araps».
The names of different peoples in A.S. Pushkin are organically woven into the fabric of his works, in which apt characteristics and definitions are given, creating their visible images in one or two words: “Moldavian with a mustache and a lamb’s cap.”
A.S. Pushkin was an ardent champion of the equality of peoples, their friendship and, naturally, did not consider it shameful for a person to belong to one or another people, as long as he was decent.
It doesn’t matter that you’re Pole:
Kosciuszko pole, Mickiewicz pole!
Perhaps, be yourself a Tatar, -
And I don’t see any shame here;
Be a Jew - and it doesn’t matter;
The trouble is that you are Vidocq Figlarin.
“It’s not a problem...”
The poet was proud of his ancestor (on his mother’s side) - Hannibal, a native of Africa, the “amoor” of Peter the Great:
Figlyarin decided, sitting at home,
That my black grandfather is Hannibal
Was bought for a bottle of rum
And it fell into the hands of the skipper.
This skipper was that glorious skipper,
Where did our land go,
Who gave a powerful run to the sovereign
The helm of my native ship.
This skipper was available to my grandfather.
And a similarly purchased blackamoor
He has grown diligent, incorruptible,
The king is a confidant, not a slave.
And he was the father of Hannibal,
Before whom among the Chesme depths
The mass of ships flared up
And Navarin fell for the first time...
"My Pedigree"
A.S. Pushkin, as a thinker, thought about the fate of not only the peoples of his country, but also the world. And this immense breadth of interests, the depth of penetration of his genius into all aspects of the life of the contemporary world was appreciated by the great Polish poet Adam Mickiewicz: “...No one will replace Pushkin. Only once is it possible for a country to reproduce a person who to such a high degree combines such different and, apparently, mutually exclusive qualities. Pushkin, whose poetic talent surprised readers, captivated, amazed listeners with the liveliness, subtlety and clarity of his mind, was gifted with an extraordinary memory, correct judgment, and refined and excellent taste. When he spoke about foreign and domestic policy, one could think that you were listening to a man seasoned in state affairs and imbued with daily reading of parliamentary debates. He made many enemies for himself with epigrams and caustic ridicule. They took revenge on him with slander. I knew the Russian poet quite closely and for quite a long time; I found in him a character too impressionable, and sometimes frivolous, but always sincere, noble and capable of heartfelt outpourings. His errors seemed to be the fruits of the circumstances among which he lived; everything that was good in him flowed from his heart” 8.
And the poet’s heart beat restlessly in worries for the fate of large and small nations, for the future of humanity.
Friendship of free peoples is peace on Earth, which A. S. Pushkin passionately desired, foreseeing it in the future. In a note about the “Project of Perpetual Peace” by Abbot Saint-Pierre, dating back to his stay in Chisinau, he wrote:
"1. It cannot be that over time the ridiculous cruelty of war will not become clear to people, just as slavery, royal power, etc. became clear to them... They will be convinced that our destiny is to eat, drink and be free.
2. Since constitutions - which are a major step forward in human thought, a step that will not be the only one - necessarily tend to reduce the number of troops, for the principle of armed force is directly opposed to every constitutional idea, it is possible that in less than 100 years there will be no there will already be a standing army.
3. As for great passions and great military talents, the guillotine will remain for this, because society is not at all inclined to admire the great plans of a victorious general: people have enough other concerns, and only for this reason they have put themselves under the protection of the laws” (“On Eternal Peace” ).
It can be assumed that our fellow countryman A.D. Ulybyshev also influenced the development of the poet’s freedom-loving views on the issue of “eternal peace.” Academician M.P. Alekseev writes about this: “Back in St. Petersburg, among the members of the “Green Lamp” at the end of 1819, he could hear the reading of a short work by his friend A.D. Ulybyshev called “Dream”, this early Decembrist “utopia” “, which talks about the future Russia, liberated after the revolutionary coup from the oppression of the feudal-absolute regime” 9. It was a document of advanced political thought in Russia.
A. S. Pushkin, together with the great Polish poet A. Mickiewicz, was convinced that the time would come,
When peoples, having forgotten their strife,
They will unite into a great family.
“He lived among us...”
“Let’s hope that Pushkin was right this time too,” - this is how M. P. Alekseev ends his study “Pushkin and the problem of “eternal peace.”
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Alexander Sergeevich Pushkin's poem "" is not an entirely original source. When Pushkin sat down to write it, he was familiar with the original - the poem “To Melpomene” by Horatio, free translations and adaptations of foreign and Russian poets. In Russia, Batyushkov, Derzhavin (whose verse is often with Pushkin’s), and Lomonosov wrote on this topic. Later - Lermontov, A. Fet, Kapnist.
And at the same time, an analysis of the poem “I erected a monument to myself not made by hands” shows that it is not a translation, like the works of Lomonosov, Fet, Kapnist. This is not even an imitation of an ancient Roman poet who lived in pre-Christian times. Although some motifs of Horatio are present in Pushkin’s work. The ancient Roman ode served as a form, a kind of wrapper for Pushkin’s original poem, into which the poet invested his content - feelings and worldview.
The poem was written in 1836, shortly before his death. It was a time of creative flourishing, grandiose literary plans and personal spiritual crisis.
In this poem, Pushkin, summing up his work, says:
And for a long time I will be so kind to the people,
That I awakened good feelings with my lyre,
That in my cruel age I glorified Freedom,
And he called for mercy for the fallen.
And the proud grandson of the Slavs, and the Finn, and now wild
Tunguz, and friend of the steppes Kalmyk.
Between the lines one can read the poet’s faith that people will someday be free and educated, and that he, Pushkin, will begin to be translated into other languages. Well, his prophecy came true.
The appeal to the Muse to be obedient to the command of God is a call to the writers who will create after him.
Without fear of insult, without demanding a crown,
Praise and slander were accepted indifferently,And don't challenge a fool.
The poem is close to the ode genre; it is written in iambic hexameter. This rhythm corresponds more than others to ancient poetry, and suits the ode. But unlike ancient literary works, Pushkin’s poem does not read ponderously. On the contrary, the rhythm of the verse is energetic, and the work itself sounds solemn. True, the last stanza is written in iambic tetrameter, which makes it energetic.
The work consists of 5 stanzas, cross rhyme, female rhyme alternates with male rhyme. It can be divided into 3 parts: in the first, the poet says that he erected a monument to himself. In the second part, he explains how he believes he will be “pleasant to the people.” And the third part is a call to the poets who will create after him.
The poem is related to the ode by Old Slavonicisms - head, pillar, drink, existing; and multi-union.
The poem uses means of artistic expression to help one feel the poet’s mood. These are epithets - miraculous, rebellious, great, cherished, proud, kind, wild, cruel.
The poem itself is metaphorical in essence. Everyone knows that Pushkin is not an architect or a sculptor, and did not build anything. He applied inversion. By monument is meant all of his literary work, which will preserve the memory of him among the people. He says that his soul lives in his works. "The soul in the treasured lyre." The lyre is an ancient Greek musical instrument symbolizing poetic creativity. The same idea is confirmed by Annenkov:
“The real, full life of him [Pushkin] lies in his very works, generated, so to speak, by the course of it. In them, the reader can study both the soul of the poet and the circumstances of his existence, moving from one artistic image to another. This is how Pushkin wrote his biography... The reader can have the pleasure of tracing this poetic story about himself, starting with the first imitations of our poet by the erotic writers of France, until after a series of powerful creatures he could exclaim in just pride:
I erected a monument to myself, not made by hands:
The people's path to it will not be overgrown.
On the day of the opening of the monument to Pushkin, June 6, 1880, from 10 a.m. in Moscow, dense crowds of people and numerous carriages began to flock to the square near the Strastnoy Monastery. It seemed that all of Moscow had gathered then to bow to the great poet.
Around the site of the monument, white shields with the names of the works of the great poet engraved in gold were installed on poles. Tverskoy Boulevard was decorated with garlands of living greenery. The people bought all the lilies of the valley and violets from the traders and threw them at the pedestal of the monument.
In the evening the illumination came on. At the foot of the monument, still covered with canvas, famous Russian writers Turgenev, Polonsky, Maikov, Pleshcheev and Dostoevsky gave solemn speeches. When the cover fell, the entire square erupted with shouts of jubilation.
The monument to Alexander Pushkin was created by sculptor Alexander Opekushin. He portrayed the poet in deep thought: a bowed head, a hand placed over the side of his tailcoat, a slow, seemingly frozen step...
In 1950, the monument was moved from Tverskoy Boulevard to the other side of the reconstructed Strastnaya Square (now Pushkinskaya Square), turned 180 degrees and placed on the site of the former bell tower of the Strastnoy Monastery. The monument had to be raised a little, for which a concrete foundation was built.
ALEXANDER SERGEEVICH PUSHKIN
born June 6, 1799 in Moscow, in the German settlement. Father, Sergei Lvovich, belonged to an old noble family; mother, Nadezhda Osipovna, née Hannibal, was the granddaughter of Abram Petrovich Hannibal - “the Blackamoor of Peter the Great”
Alexander, raised by French tutors, learned from home schooling an excellent knowledge of French and a love of reading, became acquainted with Russian poetry from Lomonosov to Zhukovsky, the comedies of Molière and Beaumarchais, the works of Voltaire and other enlighteners of the 18th century. A love for his native language was instilled in him by his grandmother, Maria Alekseevna Hannibal, who spoke and wrote excellently in Russian (a rare phenomenon in noble families of that time), and his nanny Arina Rodionovna. The early development of Pushkin’s literary inclinations was facilitated by literary evenings in their house, which were attended by Karamzin, Zhukovsky, and Dmitriev.
In 1811 he began to study at the Tsarskoye Selo Lyceum, which played a big role in the development of Pushkin’s personality. Lyceum friends - Ivan Pushchin, Wilhelm Kuchelbecker, Anton Delvig forever remained loyal and close friends to the poet. At the Lyceum, Pushkin began to write poetry, and in 1814 his first poem, “To a Poet Friend,” was published.
After graduating from the Lyceum in June 1817 with the rank of collegiate secretary, Pushkin was assigned to serve in the College of Foreign Affairs, where he did not work even a day, completely devoting himself to creativity. This period includes the poems "Liberty" (1817), "To Chaadaev", "Village" (1819), "On Arakcheev" (1817 - 1820), which, although not published, were so famous that, according to I. Yakushkin, “at that time there was no competent warrant officer who did not know them by heart.” Even before graduating from the Lyceum, in 1817, he began writing the poem "Ruslan and Lyudmila", which he completed in March 1820.
In May he was exiled to southern Russia for "flooding Russia with outrageous poetry." He travels to Ekaterinoslav, where he meets the Raevsky family, then with them to the Caucasus, from there to the Crimea and in September to Chisinau, where he lives in the house of General Inzov, governor of the Bessarabian region. In Chisinau, Pushkin meets and communicates with future Decembrists, and works a lot. During three years of exile, “Caucasian Prisoner” (1821), “Bakhchisarai Fountain” (1823), as well as “Prisoner”, “Song of the Prophetic Oleg” (1822) - examples of romantic and civil lyrics - and many other poems were written; The novel in verse "Eugene Onegin" was begun.
In July 1823, Pushkin was transferred under the command of Count Vorontsov, and he moved to Odessa. Difficult relations with the count led to the fact that, at Vorontsov’s request, he was removed from Odessa, dismissed from public service and sent to his mother’s estate “under the supervision of local authorities.” Here the poet led a solitary life, the monotony of which was only brightened up by communication with neighbors - the Osipov-Wulf family - and a nanny who told him fairy tales in the evenings. In the Mikhailovsky exile, Pushkin developed as a realist artist: he continued to write “Eugene Onegin”, began “Boris Godunov”, wrote poems “To Davydov”, “On Vorontsov”, “On Alexander I” and others.
In 1824, Alexander was sent into northern exile to his parents' estate Mikhailovskoye. There he continued to work on “Eugene Onegin”, wrote “Boris Godunov”, poems. Friends visited him, Pushkin corresponded. On December 17, 1825 he learns about the Decembrist uprising and the arrest of many of his friends and their execution.
Nicholas I, frightened by general disapproval of the execution and exile of noble officers, sought ways of reconciliation with society. The poet's return from exile could have contributed to this. In addition, the emperor hoped to attract Pushkin to his side and make him a court poet. As a great mercy, he announced to Pushkin that he himself would be his censor.
The tsar's censorship turned into police surveillance: "Boris Godunov" was banned for several years; the poet was forbidden not only to publish, but also to read anywhere his works that had not been reviewed by the tsar. The poet’s difficult thoughts are reflected in the poems of this period: “Memory”, “A Vain Gift, an Accidental Gift”, “Premonition” (1828).
In May 1828, Pushkin unsuccessfully asked for permission to travel to the Caucasus or abroad. At the same time, the poet wooed N. Goncharova, the first beauty of Moscow, and, without receiving a definite answer, he voluntarily left for the Caucasus. Impressions from this trip are conveyed in his essays “Travel to Arzrum”, in the poems “Caucasus”, “Collapse”, “On the Hills of Georgia...”. Returning to St. Petersburg, the poet received a letter from the chief of gendarmes Benckendorf with a sharp reprimand from the emperor for traveling without permission, which clearly revealed the hostile attitude of Nicholas I towards Pushkin.
In April 1830, Pushkin again proposed to N. Goncharova, which this time was accepted, and in September he left for his Boldino estate to arrange affairs and prepare for the wedding. A cholera epidemic forced him to stay here for several months.
This period of the poet’s work is known as the “Boldino Autumn”. Experiencing great creative enthusiasm, Pushkin wrote to his friend and publisher P. Pletnev: “I’ll prepare all sorts of things for you, both prose and poetry” - and kept his word: such works as “Tales of the late Ivan Petrovich Belkin” were written in Boldin, “ Little Tragedies", "House in Kolomna", "The Tale of the Priest and His Worker Balda", the poems "Elegy", "Demons", "Forgiveness" and many others, completed "Eugene Onegin"..
On February 18, 1831 in Moscow, Pushkin married N. Goncharova. In the summer of 1831 he re-entered the civil service at the Foreign Collegium with the right of access to the state archive. He began writing “The History of Pugachev” (1833), a historical study “The History of Peter I”.
The last years of Pushkin’s life passed in a difficult situation of increasingly strained relations with the tsar and hostility towards the poet from influential circles of the court and bureaucratic aristocracy. In order not to lose access to the archive, Pushkin was forced to come to terms with his appointment as chamberlain cadet of the court, which was insulting to the poet, because this court rank was usually "complained" to young people. The poet was followed, his letters were illustrated, the family’s financial affairs were increasingly deteriorating (Pushkin had four children - Maria, Natalya, Alexander and Grigory), debts were growing. But, although in such difficult conditions creative work could not be intensive, it was in recent years that “The Queen of Spades” (1833), “Egyptian Nights”, “The Captain’s Daughter” (1836), the poem “The Bronze Horseman”, and fairy tales were written.
At the end of 1835, Pushkin received permission to publish his magazine, which he called Sovremennik. He hoped that the magazine would contribute to the development of Russian literature, and did everything to achieve this goal - the artistic level of the magazine was unusually high: Russian periodicals had never known such a collection of brilliant talents (Zhukovsky, Baratynsky, Vyazemsky, D. Davydov, Gogol, Tyutchev, Koltsov).
In the winter of 1836, envious people and enemies of Pushkin from the highest St. Petersburg aristocracy launched vile slander against his wife, linking her name with the name of the Tsar, and then with the name of Baron Dantes, who enjoyed the favor of Nicholas I, who brazenly courted Natalya Nikolaevna.
To defend his honor, Pushkin challenged Dantes to a duel, which took place on February 8, 1837 on the Black River. The poet was mortally wounded and died two days later. “The sun of Russian poetry has set,” wrote V. Zhukovsky.
Fearing demonstrations, the Tsar ordered Pushkin's body to be secretly removed from St. Petersburg. The coffin was accompanied by a gendarme and an old friend of the poet's family, A. Turgenev.
Pushkin was buried in the cemetery of the Svyatogorsk Monastery, five miles from the village of Mikhailovskoye.
Pushkin is not only a classic of literature, with whose works we come into contact all our lives. Pushkin is also a man who put honor above all else.
The death of the poet became a national tragedy: “The sun of Russian Poetry has set,” - this is what V.F. Odoevsky said in his obituary. However, the contribution of Pushkin’s genius to Russian literature is truly priceless, and the creative testament of the great poet remains his poem “I erected a monument to myself not made by hands...”. These are the lines that are engraved on the pedestal of one of the monuments to Pushkin in St. Petersburg.
I erected a monument to myself, not made by hands,
The people's path to him will not be overgrown,
He ascended higher with his rebellious head
Alexandrian Pillar.
No, all of me will not die - the soul is in the treasured lyre
My ashes will survive and decay will escape -
And I will be glorious as long as I am in the sublunary world
At least one piit will be alive.
Rumors about me will spread throughout Great Rus',
10 And every tongue that is in it will call me,
And the proud grandson of the Slavs, and the Finn, and now wild
Tunguz, and friend of the steppes Kalmyk.
And for a long time I will be so kind to the people,
That I awakened good feelings with my lyre,
That in my cruel age I glorified Freedom
And he called for mercy for the fallen.
By the command of God, O muse, be obedient,
Without fear of insult, without demanding a crown,
Praise and slander were accepted indifferently,
And don't argue with a fool.
Anatoly Lebedev