Lyrical miniatures. Romance in Akhmatova’s lyrics Genre of lyrical miniature with chopped off space

Isaac Babel

Miniatures

I. Line and color.
(True incident.)
I saw Alexander Fedorovich Kerensky for the first time on December 20, 1916, in the dining room of the Olila sanatorium. We were introduced by attorney Zatsareny from Turkestan. I knew about Zatsareny that he circumcised himself at the fortieth year of his life. Grand Duke Peter Nikolaevich, a disgraced madman exiled to Tashkent, valued Zatsareny’s friendship. This Grand Duke walked the streets of Tashkent naked...

The miniatures included in this publication represent a gallery of portraits of prominent historical figures of the 16th-19th centuries.

Historical miniatures by Valentin Pikul are a unique phenomenon in modern Russian literature, clearly demonstrating the unrivaled talent of the writer. Each of the miniatures, according to the author, “is the same historical novel, only compressed into a small quantity.”

The miniatures included in this publication represent a gallery of portraits of prominent historical figures of the 19th – early 20th centuries.

Historical miniatures by Valentin Pikul are a unique phenomenon in modern Russian literature, clearly demonstrating the unrivaled talent of the writer. Each of the miniatures, according to the author, “is the same historical novel, only compressed into a small quantity.”
The miniatures included in this publication represent a gallery of portraits of prominent historical figures of the 19th century.

Various poems. In addition to the lyrical cycle of sonnets, Shakespeare wrote two poems, “Venus and Adonis” (1592) and “Lucretia” (1593). In addition, he introduced songs into the fabric of plays, tragedies and comedies - a kind of lyrical commentary on what was happening on stage or behind the scenes. These songs, cheerful and sad, mocking or deliberately ridiculous, seem to respond to all events, actions, determine moods and assess the situation. The songs of jesters are especially interesting in this sense. As I wrote...

The cycle of poems Hymns for the Night was created after the death of Sophie Kühn, Novalis's beloved, and is filled with memories of her. These are lyrical poems in prose, which are unusual in theme and figurative system. The first paragraph of one of the hymns conveys the usual perception of the time of day: the day is full of “all-pleasant light.” But it is not the day, beloved by everyone, that the poet praises, but the night, “sacred, unspeakable,” which “grabs the heart with an invisible force.” Only she gives the opportunity to see those long gone from the world...

After: he slavishly imitated nature: but because he did not master the subject of his work, that, on the contrary, this subject defeated him with its aesthetic intractability (l. 13). In the autograph, part III begins: “Excuse me,” the reader will tell me, I have already noticed your passion for analogies and metaphors. But here you got carried away unforgivably” (l. 25).
After: ...truly enlightened creatures... in the autograph: ...beacons of our literature, if you really like to describe expression... (l. 26). After: reviving the soul...

Count Alexey Konstantinovich Tolstoy (1817–1875) would remain in the history of Russian poetry and literature thanks to his lyrical masterpiece “Among the Noisy Ball...”. But he created the mighty historical canvas “Prince Silver”, the famous dramatic trilogy about the Russian tsars, the unfading satire “The History of the Russian State...”, topical to this day. His contribution to the works of the well-known Kozma Prutkov is invaluable. The noble talent of A.K. Tolstoy, his works still remain...

In Russian prose, a tendency towards minimalism has repeatedly manifested itself, and by minimalism one should understand the aesthetics of the small, the “minimum”. One of the particular manifestations of this trend is the flourishing of short prose in all the diversity of its forms and variants. The genre of prose miniatures and its varieties has gained particular popularity in modern literature. In particular, lyrical miniature, which is a traditional genre for Russian literature. In the XIX - early XX centuries I. S. Turgenev, I. Bunin, and many writers of the Silver Age turned to him. During the Soviet period of development of Russian literature, miniatures, like all other non-canonical forms, disappeared from books and magazines for a long time and reappeared only in the 60-80s, becoming invariably popular. During this period, various collections of miniatures were published: “Vologda Bays” by V. Belov, “Pebbles in the Palm” by V. Soloukhin, “Grains” by V. Krupin, “Littles” by A. Solzhenitsyn, “Grass and Ant” by F. Abramov, “Moments” by Y. Bondarev, “Zatesi” by V. Astafiev and others. In the 90s, miniatures by G. Sapgir, K. Pobedin, V. Tuchkov, I. Kholin and many other writers and poets appeared.

Viktor Gadaev in 1970-80 in his work he also turns to short prose (essays, articles, sketches, miniatures, literary portraits, memoirs), widely presented in the book with the poetic title “Into This World I Came,” and in particular to lyrical miniatures, characterized by laconic narration, clarity and refinement of the plot, and a special semantic load that is embedded in some words and details. Stream of consciousness, internal monologue, conditionally associative thinking freely coexist in miniatures. The author subtly combines all this with a keen interest in philosophical and ethical, so-called eternal problems, which allows him to achieve a high degree of artistic generalization in small-volume and very concise works.

V. Gadaev’s lyrical miniature is a kind of fusion of memories and lyrical-philosophical reflections, focused on some facts from the life of the writer himself. They are, as a rule, lyrical, filled with subjective perception of the world around them, are distinguished by particular sincerity, and reveal the inner world of a person who has depth of thought and his own outlook on life. These are original lyrical meditations in prose on a wide variety of topics.

The objective world often enters the narrative only as a reason for experience or as a kind of imprint of it, for example, in the miniature “Joy” an ordinary fact is described - fishing: “In Rudnya, outside the village, I caught fish with a whip. I’ll put a whip on the bank, overgrown with willows and sedges, and shake my leg, making noise. I take it out of the water, but there is nothing in it. And this causes a feeling of emptiness. But with what joy the soul will light up and seethe when the lively roach jumps in the whip, the lively roach turns silver, or the red-finned ruff flutters.” But this fact is important for the writer, since it is in tune with life itself. Fishing is compared to how life unfolds: “That’s how life is. What you strive for does not come true. Whatever you dream about, obstacles get in the way. And willy-nilly you feel emptiness and disappointment. But when good luck comes, you will shine all over, joy will jump within you like a silver roach or a red-finned ruff.” Or a simple everyday village scene - milking a cow: “there was something symbolic for me in this rural picture. Something earthly - so familiar and close. And above me, above my mother, the cow, a huge, shining universe hung over “... I ate milk, as if I were feasting on light, and I felt at ease.” In the miniature “Copper Bells” V. Gadaev describes ancient bells, dust-covered bells stored in an old barn, which give rise to complex experiences for the author, since these are witnesses to the life of a large family, passed down from generation to generation “.. These bells are special…. They emit the light of antiquity, the light of history."In general, memories, and especially memories of childhood, occupy a significant place in the poet’s lyrical prose. The lyrical hero tries to remember, to resurrect vague images, feelings, and sensations of his childhood. The reason, the impetus for such memories can be a smell, sound, familiar from childhood, or a fleeting, suddenly repeated, special mood, or a subtly familiar combination of light and shadow, the situation in the house, or a life situation, as in the miniatures “The Voice of the Cuckoo”, “The Master” "," "The little girl is crying," "Fair": "I saw the fair from the cradle, in my mother's arms. ... Alive, bright - I saw her in childhood, in my youth - she entered into me for the rest of my life. When I hear the word “fair,” a multi-colored lamp flashes within me. A poet must have such a word-image.”. Thusa clearly expressed personal, subjective principle is reflected, the subject of the narration is the compositional center of the work, the general orientation of such miniatures is to express a subjective impression and experience.

In many sketches, the writer has thoughts about his country, people, Russian land (“Russian folk songs”, “On Nikola”, “Feeling of the people”, “Moksha women are coming”, “The bazaar is noisy”, “In the Motherland”, etc.) . Thus, the familiar sounds of a Russian song evoke in him deep thoughts about his fellow villagers: “...What a delight our Russian folk songs are!.. After all, this is the soul of the people. And the soul is immortal." And he strives to convey the subjective perception of the world through simple, familiar objects and phenomena, to force one to look closely at them, to understand the world around them in a new way. Interesting are the miniatures in which V. Gadaev shares his impressions of certain works of art. Dante’s comedy, for example, has an impressive effect on the writer; it seems to open up to him a completely different world, painfully familiar, but at the same time new: “she radiated the morning. My horizons have expanded incredibly. My rural world, limited by a house, a front garden, Rudnya behind a hill and a village, a blue strip of forest on the horizon, has grown and expanded into a huge universe. And my thoughts rose above the ground, became more spacious, wider. And I myself became a droplet of the universe, shrouded in a golden haze.”

Some miniatures represent philosophical reflections about life, about oneself, about the homeland. The writer in his early miniatures makes an attempt to outline his civic position, his life path. The ideas conveyed in the works are very significant. In the miniature “I Came to This World,” he tries to find the answer to the questions “What awaits me? What do I need in this world? What am I supposed to do in this world? . Life is just beginning, but the author firmly believes that “Life in this world is not only flowers, smiles and love. It is also dirt, tears, hatred, worries and suffering. How many different people I have met and how many more I will meet. I don't know what events will shock me. But I know one thing without a doubt, that a person comes into this world to do good.”

Undoubtedly, V. Gadaev’s miniatures are characterized by deep lyricism, philosophy and autobiography. A fact from life becomes for the writer the starting point of a particular work. In his works, the personal, flowing from the intimate depths of the soul, is widely poured into memorable lines. He vigilantly notices and correctly conveys sometimes even subtle facets of a contemporary’s character, the intricate vicissitudes of existence. What is fascinating about them is the reality of events, the truth of life, the depiction of the true feelings and thoughts of the writer and the people around him. Whatever the topic, and whatever manner V. Gadaev writes, you will never see lies, deceit, or falsehood in his works.

Thus, in V. Gadaev’s lyrical miniatures, depending on the specific artistic task, the subject of the narration organizes the spatio-temporal world of the work in different ways. The main stylistic device is the identification of a new subject of the narrative, who introduces a different atmosphere, idea, and ideas. The interaction of two artistic worlds on one text space not only determines the creative individuality of the writer, but also contributes to the expression of the author's idea.

Literature.

1. Gadaev, V. I came to this world: Miniatures. Essay. Lit. portrait Memories. Articles. / V. Gadaev. – Saransk: Mordov. book publishing house, 2000. – 304 p.

Letters... These scribbled pieces of paper in envelopes... They can be read and re-read, you can laugh and cry at them, they can be crumpled up and given to the wind going towards them, they can be shoved into a volume of Chekhov and forgotten...
Or you can just press it to your heart, and then this crazy world will become warmer and brighter...
And the yellow background in the artist’s autumn painting will no longer seem like the color of despondency, and the gloomy gray sky will smooth out wrinkles and make something like a smile...
And a drop of water flowing down the window will not be a tear of hopelessness, but just a raindrop arriving from above...
I'm talking about your letters...
There are three hundred kilometers between us. Is it a lot or a little? It's nothing as long as you write me letters like this!
September 1999

When the time comes and the early winter twilight thickens over the city, Separation comes...
And the click of her heels coincides with the sound of the wheels of the train taking your loved one away from you... And you can no longer warm even yourself with your breath: your fingers are cramping from the cold, your throat is from tears.
The empty sky slowly darkens.
The houses loom over you soullessly.
The lanterns burn with cold light.
People are going somewhere. But so what? After all, you know that now and here you are ALONE...
28.01.2000

White and yellow is a strange combination, isn't it?
When wet white snow falls on the chilled, yellowed leaves, sometimes it seems that this hopelessness covers your dreams until the next flashes of hope - until next spring. It seems that everything is lost and there is nothing to wait for...
This man is not far away - he is so far away... Immeasurably far away, because for him I am a random passer-by, and he is for me...
And I want to burst into his life like a whirlwind, melt this cold white snow and swirl the leaves in a joyful round dance. Exactly. Otherwise, there’s no point in breaking in!..
September 1999

I'm afraid of unlove, but why do I need love?
It won’t save you from the monotony of everyday life, won’t take you into the sky, won’t turn the world upside down, won’t throw too bright colors on the palette of life and won’t glue the fragments of rose-colored glasses together...
The world shook: yesterday a cynic was born in me... I was born, frowned and asked: “What’s the point?”
And really: where is the point?
What's the point?
what's the point?
what's the point?
and the meaning of the meaning?

In the end it's simple:
rainbow - no more than seven multi-colored stripes
the sea is simply a large volume of salty water
stars are hot plasma
eyes - really read the anatomy of the eye!
friendship is a veiled form of using a person by a person
and love is just the cynic’s self-hatred...

I'm afraid of love, but why do I need NOT love?!.
04.11.2001

Why do I need freedom if I had love?
Why do I need experience about the world if I had the world itself?
Why do I need me if I had You?
Why did you let love dissolve in this pettiness of our minds? Why did you let emptiness take its place? She now clogs up time and space, twists my soul into a tourniquet, rapes me... this emptiness...
You and I played chess on the red-black board of my love-pain, and you gave me check after check, taking all my pieces... At least then everything was real. Then everything was tangible, like the salty taste of blood on bitten lips, like the salt of tears corroding the delicate skin on the cheek...
Do you remember, when leaving, you told me: “Look at Mars...”? Where is this little red planet now? Why did you let it roll over the horizon?

So tell me that you don’t love me - let this emptiness be mutual... Then I will be avenged...
8.07.2002

MINIATURE - (from Italian) - a small prose, poetic or dramatic (sketch, interlude) work of strictly finished form. The term is widely used in painting and music. In Russian prose, miniatures are often called “pictures”, “sketches”, “sketches”, “notes”, “records”, etc. Here is one of the many lyrical notes included in the book of miniatures by V.A. Soloukhin “Pebbles in the Palm”: “There are many attempts to define poetry. Probably, it is also defined by the fact that it is impossible to retell a poem, stanza or line in words without spending much more words on the retelling than are contained in the poem, stanza, or line.” Poetic miniatures, which are the most difficult form of lyricism, accessible only to true masters, are found among many Russian poets. Examples of lyrical miniatures:

From the darkened hall, suddenly, You slipped out in a light shawl - We didn’t bother anyone, We didn’t wake up the sleeping servants... (O.E. Mandelstam) An unheard voice lives in silence - a call for joy! A silent tree in consciousness grows in the cemetery of words. The invisible fast of the invisible world is confirmed by fire. The common good rises to its full height - and happy is the law! (E.V. Balashov)

Poetic miniatures include philosophical quatrains of Omar Khayyam, Japanese tanks, and Russian ditties.

Literature 8th grade. Lesson from 01/29/2011
“Fet’s poetry is nature itself,
mirrored

Gazing

Through
human soul..."
(K.D. Balmont)
Guys, in today's lesson we will look at Fet's poems about
nature.
The genre in which Fet recreated pictures of nature can be called a genre
lyrical miniature.
Lyrical miniature is a work of small form in which
feelings and experiences dominate the rational principle. (those.
poetic, moving, figurative work of small form.)
Write down in your notebooks the definition of the lyrical miniature genre.
The poet's delight is caused not by the exotic nature of the southern countries, but by the simple
Russian paintings, which under Fet’s pen acquire a special poetry,
at the same time, maintaining amazing accuracy when conveying specific
details.
At the end of the 19th century in France, impressionism became popular in painting.
Impressionism– direction in art of the last third of the 19th century – the beginning of the 20th century
century, whose representatives sought most naturally and
impartially capture the world in its mobility and variability, convey
your fleeting impressions. The most famous French
impressionists Edouard Manet, Auguste Renoir, Edgar Degas. Among the Russians
painters can be called K.A. Korovina, I.E. Grabar.
Main features of impressionism:
Expression of the author's private impression;
Refusal of an objective picture of reality;
Image of every moment;
Lack of plot;
Replacing thought with perception, and reason with instinct.
Write down in your notebooks the definition and features of literary
impressionism movements.
Fet can be called one of the first impressionists in poetry: he always
sought to convey an instant impression from pictures of nature. Fet
1
noted: “For the artist, the impression that caused the work is more valuable
the very thing that caused this impression.”
Landscapes in his poems express the state of the human soul.
Dissolving in nature, the hero Fet gains the opportunity to see beautiful
soul of nature. This happiness is a feeling of unity with nature:
Night flowers sleep all day long,
But only the sun will set behind the grove
The leaves are quietly opening,
And I hear my heart bloom.
The blossoming of the heart is a symbol of spiritual connection with nature. Human
looks into nature and learns its laws and possibilities. Nature is wise
a person's adviser and his best mentor.
Based on the above, analyze the proposed poems,
answering questions.
“What a night! How clean the air is..."
* * *
What a night! How clean the air is
Like a silver leaf slumbering,
Like the shadow of the coastal willows,
How serenely the bay sleeps,
How a wave will not breathe anywhere,
How the chest is filled with silence!
Midnight light, you are the same day:
Whiter is only the shine, blacker is the shadow,
Only the smell of juicy herbs is subtler,
Only the mind is brighter, the disposition is more peaceful,
Yes, instead of passion he wants breasts
Breathe this air.
1840-1892
1. In what meter is this poem written?
2. What stylistic figure is used in the first stanza?
3. What words set the rhythm of the poem?
4. The poem seems to be dominated by opposition
darkness and light, but this is not a real contradiction. This
connection and mutual enrichment of two opposing qualities.
Illustrate this idea with words from the poem.
5. What feeling does the rhythmic structure of the poem create?
“This morning, this joy...”
2
This morning, this joy,
This power of both day and light,
This blue vault
This cry and strings,
These flocks, these birds,
This talk of the waters
These willows and birches,
These drops - these tears,
This fluff is not a leaf,
These mountains, these valleys,
These midges, these bees,
This noise and whistle,
These dawns without eclipse,
This sigh of the night village,
This night without sleep
This darkness and heat of the bed,
This fraction and these trills,
This is all spring.
1. What type of one-part sentences predominates in this
poem?
2. At what time does the poem begin and when does it end? Which
What time period does it cover?
3. What phenomena of life does the poet absorb, what does he see and hear?
Feels it?
4. What does the poet say at the conclusion of the poem? What is the intonation?
5. What feeling, mood does the lyrical miniature “This morning,
this joy..."
“What sadness! The end of the alley..."
What sadness! End of the alley
Again in the morning he disappeared into the dust,
Silver snakes again
They crawled through the snowdrifts.
There is not a shred of azure in the sky,
In the steppe everything is smooth, everything is white,
Only one raven against the storm
It flaps its wings heavily.
And it doesn’t dawn on my soul,
It has the same cold as all around,
Lazy thoughts fall asleep
Over dying labor.
3
And all the hope in the heart is smoldering,
That, perhaps, even by chance,
The soul will become younger again,
Again the native will see the land,
Where storms fly by
Where the passionate thought is pure, -
And only visibly to the initiates
Spring and beauty are blooming.
4
1. What picture is presented in this poem? What phenomenon
nature described?
2. Who is trying to resist the wind?
3. “Again the silver snakes/Crawled through the snowdrifts...” - what trope is this?
4. What is the state of the lyrical hero?
5. What does it look like in this context? hope? (“And all hope is in the heart
smoldering...) What is it? What does the lyrical hero hope for?
6. How does the native land appear in this poem? Is everyone
Is it possible to enter this region?
Write an essay on the topic: “The main motives of Fet’s lyrics about nature.”
Send answers to the submitted tasks by email to:
[email protected]