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Creativity K.N. Batyushkova and literary trends of the early 19th century

Batyushkov Konstantin Nikolaevich (1787-1855) is one of the most beautiful Russian poets of his time. For a long time he led the movement of Anacreontist poets and was a very well-known figure in literary circles. Today his name is practically forgotten; few people know that such a wonderful writer once lived. Let's correct this injustice.

Batyushkov: biography

The future writer was born on May 18 in the city of Vologda, into an old but impoverished family of nobles. He was the first son; before him, the Batyushkov couple had four daughters. Konstantin turned out to be the long-awaited boy.

The poet's father, Nikolai Lvovich, was an educated man, but his character was greatly spoiled by his resentment against the government due to the disgrace that befell the Batyushkovs due to the participation of a relative in a conspiracy against Catherine II. Konstantin did not have time to recognize his mother, Alexandra Grigorievna (nee Berdyaeva) at all - she became seriously ill when the boy was just six years old, and soon died. Her illness was mental and was transmitted to the writer himself and his older sister.

Little Kostya spent his childhood on the family estate, which was located in the village of Danilovskoye. But after the death of his mother, he was sent to the St. Petersburg boarding house O. Zhakino. Only at the age of 16 was Batyushkov able to leave this educational institution. At this time, he actively began to study literature, read a lot in French, and mastered Latin perfectly in order to study classical texts in the original.

Independent life in the capital

Batyushkov Konstantin Nikolaevich decides to stay in the capital. At first, his uncle, M. N. Muravyov, helps him. In 1802, he arranged for the young man to work in the Ministry of Public Education. Then, in 1804, the writer went to serve in Muravyov’s office at Moscow University, where he held the position of clerk.

During these years, Batyushkov became close to some of his colleagues, many of whom began to join Karamzin’s rule and eventually founded the “Free Society of Lovers of Literature, Sciences and Arts.” His closest friends were N. Gnedich and I. Pnin. Thanks to their influence, the future poet begins to try his hand at writing.

In 1805, Batyushkov’s first poem, “Message to My Poems,” was published in the magazine “News of Russian Literature.”

Civil uprising

In 1807, despite his father’s protests, Batyushkov enlisted in the people’s militia. In these years, poetry fades into the background for a young man. On February 22 of the same year, he was appointed a hundredth in a police battalion and sent to Prussia. Since May, Batyushkov begins to take an active part in hostilities. Soon he is seriously wounded and sent to Riga for treatment. For his heroism he receives the Order of St. Anne, 3rd degree.

While the treatment lasted, the writer fell in love with Emilia, the daughter of a local merchant. However, the love interest did not continue, and only two poems remained in memory of it: “Memories of 1807” and “Recovery.”

By 1808, the writer had become physically stronger and was returned to service. This time he ended up in the Guards Jaeger Regiment, which was sent to the war with Sweden. After returning from the campaign, he took leave and went to visit his unmarried sisters who lived in the Novgorod province. At this time, his mother’s “inheritance” began to manifest itself - Batyushkov became more and more impressionable, sometimes it came to hallucinations. The writer himself believed that in ten years he would finally go crazy.

Return to the light

In December 1809, Muravyov invited his nephew to Moscow. With great joy, Batyushkov returns to the world. The writer's biography tells us that he had many friends among artists whom he met in St. Petersburg and Moscow. At this time, the writer became especially close friends with P. Vyazemsky and V. Pushkin.

But his acquaintance with V. Zhukovsky and N. Karamzin became fateful; the latter very soon realized how talented the young man was and highly appreciated his work. In 1810, having received his resignation from the regiment, he went at the invitation of Karamzin to rest in the fate of the Vyazemsky Fathers. The poet's poems became more and more popular in these years, which explains the desire of noble nobles to see him as guests.

In 1813, the writer moved to St. Petersburg, where he got a job at the Public Library. He continues to meet new people and lead an active social life.

Unhappy love

In 1815, Batyushkov fell in love for the second time. The biography says that this time his chosen one was a socialite, Anna Furman. However, the writer quickly realized that the girl did not reciprocate his feelings, and was ready to get married only at the will of her guardians. The situation was aggravated by the fact that Konstantin Nikolaevich could not get a transfer to the guard. All this led to a severe nervous breakdown that lasted several months.

A new blow for the writer was the death of his father in 1817, with whom he had always been on bad terms. Feelings of guilt and unsuccessful love prompted him to turn to religion, in which he saw the only opportunity for a person to maintain his high moral and spiritual position.

During these difficult years, Batyushkov was greatly helped by Zhukovsky, who constantly supported the poet and convinced him to continue writing. This helped, and Batyushkov took up his pen again. A year later he returned to Moscow, where close friends and acquaintances were waiting for him.

Italy

In 1818, the Russian poet Batyushkov went to Odessa for treatment. Here he received a letter from A. Turgenev, who managed to secure a place for his friend in Naples at the diplomatic mission. Konstantin Nikolaevich dreamed of visiting Italy for many years, but the news did not please him. At this time he was experiencing great disappointment in life, and the news only made the situation worse.

Despite these sentiments, in 1819 Batyushkov arrived in Italy. This country made a strong impression on him. He met many interesting people, including Russian artists who lived in Rome. But the happiness did not last long, and soon the poet began to miss his homeland.

The writer's health did not improve, so in 1821 he went to Germany for water. His mental illness manifested itself more and more, Batyushkov began to suspect that some enemies were watching him. The poet spent the winter of 1821 and all of 1822 in Dresden. At this time, he wrote the best poem, according to critics, “The Testament of Melchizedek.”

Last years and death

In 1822, Batyushkov began to lose his mind (his biography confirms this). He returns to his homeland. He lives in St. Petersburg for some time, and then goes on a trip to the Caucasus and Crimea. During the trip, he attempted suicide several times.

In 1824, the poet, thanks to the financial assistance of Alexander I, was placed in a private psychiatric hospital in Saxony. He spent 4 years here, but the treatment did not bring any benefit. Therefore, his family decided to move him to Moscow. At home, Konstantin Nikolaevich Batyushkov felt better, the acute attacks practically passed, and the disease subsided for a short time.

In 1833, the writer was transported to the house of his nephew, who lived in Vologda. Here Batyushkov spent the rest of his days. The poet died on July 7, 1855.

Konstantin Batyushkov: interesting facts

Let us list some interesting moments from the life of the writer:

Pushkin called the poet his teacher and admired his work, especially highlighting the early period.
Batyushkov’s main principle when writing a work was: “Live as you write, and write as you live.”
In 1822, the poet wrote his last work; he was only 35 years old.
Batyushkov lived the last 22 years of his life completely losing his mind.

Features of creativity

Konstantin Batyushkov did a lot for Russian literature and poetic language. Poems about love, usually sad and mournful, are why they were so popular among their contemporaries. The poet managed to transform his native language, making it more flexible and harmonious. Belinsky believed that only thanks to the works of Batyushkov and Zhukovsky, Pushkin managed to achieve such lightness and grace in his poetry.

The main advantage of Konstantin Nikolaevich’s poems lies in the perfection of their form, the purity and correctness of the language, and the always consistent artistic style. Batyushkov worked long and hard on every word, often correcting what he had written. At the same time, he tried to maintain sincerity and avoided any far-fetchedness and tension.

Crucial moment

Konstantin Nikolaevich Batyushkov often turned to the past in his works. Poems about nature were usually interspersed with ancient mythological traditions. His early work is usually called Epicurean (or Anacreontic). The poet tried to reproduce the light and elegant style of ancient writers, but he believed that the Russian language was still too rough for this. Although critics admitted that he achieved significant success in this area.

But the cheerful epicurean poetry did not attract Batyushkov for long. After the War of 1812, in which the poet participated, his worldview changed greatly. He considered the French Enlightenment to be the cause of Napoleonic acts. And he considered the trials that befell Russia to be the accomplishment of its historical mission. At this time, his poems changed greatly. There is no longer lightness and carelessness in them, they talk about reality - war, the soul of the Russian soldier, the strength of the people's character. The best poem of this period is considered “Crossing the Rhine”.

Let's answer the question about in which direction of poetry Konstantin Batyushkov became famous, since it is asked most often. As already mentioned, these are Anacreontic (or Epicurean) lyric poetry. Its distinctive features are lightness, carelessness, joy, glorification of life and enjoyment of it.

Prose

Batyushkov was known not only as a poet, his prose was also highly appreciated by his contemporaries. According to them, the main advantage of his works was his clear, imaginative and vivid language. However, the writer turned to prose much later than his literary career began. This happened after a creative turning point, so religious and philosophical issues are often raised in these works. Batyushkov also paid great attention to theoretical problems of literature (“Something about the poet and poetry”, “Speech about the influence of light poetry on the language”).

Now we see that the importance of the writer’s works for the development of Russian literature cannot be overestimated.

Konstantin Nikolaevich Batyushkov was born on May 18 (29), 1787, in Vologda. He came from an old noble family and was the fifth child in a large family.

Having lost his mother early, he soon entered one of the St. Petersburg boarding schools to study.

Konstantin did a lot of self-education. Under the influence of his uncle, M.N. Muravyov, he learned Latin and became interested in the works of Horace and Tibullus.

On duty

In 1802, the young man, under the patronage of his uncle, was assigned to serve in the Ministry of Public Education. In 1804-1805 held the position of clerk in the office of M. N. Muravyov. During his service, he continued to be drawn to literature. He became close to the founders of the “Free Society of Literature Lovers” I. P. Pnin and N. I. Gnedich.

In 1807, Konstantin Nikolaevich, contrary to the opinion of his father, became a member of the people's militia. In the spring of this year he took part in hostilities and was awarded Anna III degree for his courage.

In 1809 he moved to Moscow, where he met with P.A. Vyazemsky, V.A. Zhukovsky and N.M. Karamzin.

At the very beginning of 1812, Batyushkov moved to St. Petersburg and entered the service of the public library. He regularly met and communicated with I. A. Krylov.

Studying the short biography of Batyushkov, you should know that in July 1813 he became the adjutant of General N.N. Raevsky, the hero of the Patriotic War, and reached Paris.

Literary activity

The first attempt at writing took place in 1805. Konstantin Nikolaevich’s poem “Message to My Poems” was published in the magazine “News of Russian Literature.”

During the military campaign of 1807, Batyushkov undertook the translation of “Liberated Jerusalem” by Tass.

Batyushkov’s main merit is his deep work on Russian poetic speech. Thanks to him, the Russian poem became stronger and began to sound harmonious and at the same time passionate. V. G. Belinsky believed that it was the works of Batyushkov and Zhukovsky that prepared the ground for the discovery of the powerful talent of A. S. Pushkin.

The work of Batyushkov himself was quite unique. From his youth, fascinated by the works of ancient Greek thinkers, he unwittingly created images that were not entirely understandable to the domestic reader. The poet's first poems are permeated with epicureanism. They amazingly combine mythology and the life of an ordinary Russian village.

Batyushkov wrote such prose articles as “An Evening at Kantemir’s”, “On the Works of Muravyov” and “On the Character of Lomonosov”.

In October 1817, his collected works “Experiments in Poems and Prose” were published.

last years of life

Batyushkov Konstantin Nikolaevich suffered from a severe nervous disorder. This disease was passed on to him by inheritance. The first seizure occurred in 1815. After that, his condition only worsened.

In 1833, he was dismissed and placed in his hometown, in the house of his own nephew. He lived there for another 22 years.

Batyushkov passed away on July 7 (19), 1855. The cause of death was typhus. The poet was buried in the Spaso-Prilutsky Monastery, which is located 5 versts from Vologda.

BATYUSHKOV Konstantin Nikolaevich, Russian poet.

Childhood and youth. Start of service

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

Beginning of literary activity

Batyushkov's literary activity began in 1805-1806 with the publication of a number of poems in the magazines of the Free Society of Lovers of Literature, Sciences and Arts. At the same time, he became close to writers and artists grouped around A. N. Olenin (N. I. Gnedich, I. A. Krylov, O. A. Kiprensky, etc.). The Olenin circle, which set itself the task of resurrecting the ancient ideal of beauty on the basis of modern sensitivity, opposed itself to both the Slavicizing archaism of the Shishkovists (see A.V. Shishkov), and the French orientation and cult of trifles widespread among the Karamzinists. Batyushkov’s satire “Vision on the Shores of Lethe” (1809), directed against both camps, becomes the literary manifesto of the circle. During these same years, he began translating T. Tasso’s poem “Jerusalem Liberated,” entering into a kind of creative competition with Gnedich, who translated Homer’s “Iliad.”

"Russian Guys"

Batyushkov’s literary position underwent some changes in 1809-1810, when he became close in Moscow with a circle of younger Karamzinists (P. A. Vyazemsky, V. A. Zhukovsky), and met N. M. Karamzin himself. Poems of 1809-1812, including translations and imitations of E. Parni, Tibullus, a cycle of friendly messages (“My Penates”, “To Zhukovsky”) form the image of the “Russian Parni” - an epicurean poet, singer - that determines Batyushkov’s entire subsequent reputation laziness and voluptuousness. In 1813 he wrote (with the participation of A.E. Izmailov) one of the most famous literary and polemical works of Karamzinism, “The Singer or Singers in the Conversation of the Slavic Russians,” directed against the “Conversation of Lovers of the Russian Word.”

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

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

"Experiments in poetry and prose." Translations

In 1817 Batyushkov completed a series of translations “From the Greek Anthology”. In the same year, a two-volume publication “Experiments in Poetry and Prose” was published, which collected the most significant works of Batyushkov, including the monumental historical elegies “Hesiod and Omir, Rivals” (an adaptation of the elegy of C. Milvois) and “The Dying Tass ”, as well as prose works: literary and art criticism, travel essays, moralizing articles. "Experiments..." strengthened Batyushkov's reputation as one of the leading Russian poets. The reviews noted the classical harmony of Batyushkov’s lyrics, who connected Russian poetry with the muse of southern Europe, primarily Italy and Greco-Roman antiquity. Batyushkov also owns one of the first Russian translations of J. Byron (1820).

Mental crisis. Last verses

In 1818 Batyushkov received an appointment to the Russian diplomatic mission in Naples. A trip to Italy was a long-term dream of the poet, but the difficult impressions of the Neapolitan revolution, work conflicts, and a feeling of loneliness lead him to an increasing mental crisis. At the end of 1820 he sought a transfer to Rome, and in 1821 he went to sea in Bohemia and Germany. The works of these years - the cycle “Imitations of the Ancients”, the poem “You awaken, O Baya, from the tomb...”, the translation of a fragment from “The Bride of Messina” by F. Schiller are marked by increasing pessimism, the conviction of the doom of beauty in the face of death and the ultimate unjustification of earthly things existence. These motives reached their culmination in a kind of poetic testament of Batyushkov - the poem “Do you know what the gray-haired Melchizedek said / saying goodbye to life?” (1824).

At the end of 1821, Batyushkov began to develop symptoms of hereditary mental illness. In 1822 he travels to Crimea, where the disease worsens. After several suicide attempts, he was placed in a psychiatric hospital in the German city of Sonnestein, from where he was discharged due to complete incurability (1828). In 1828-1833 he lived in Moscow, then until his death in Vologda under the supervision of his nephew G. A. Grevens.

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Biography of the poet Born into the Batyushkov family, father - Nikolai Lvovich Batyushkov. He spent the years of his childhood in the family estate - the village of Danilovskoye (Vologda). At the age of 7, he lost his mother, who suffered from mental illness, which was inherited by Batyushkov and his older sister Alexandra. In 1797, he was sent to the St. Petersburg boarding school Jacquinot, where the future poet studied European languages, enthusiastically read European classics and began to write his first poems. In 1801 he moved to the Tripoli boarding house. In the sixteenth year of his life, Batyushkov left the boarding school and began reading Russian and French literature. At the same time, he became close friends with his uncle, the famous writer Mikhail Nikitich Muravyov. Under his influence, he began to study the literature of the ancient classical world and became an admirer of Tibullus and Horace, whom he imitated in his first works. In addition, under the influence of Muravyov, Batyushkov developed literary taste and aesthetic sense.

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In 1802, Batyushkov enlisted in the Ministry of Public Education. This service weighs heavily on the poet, but circumstances do not allow him to leave the service. The ancient noble family of the Batyushkovs became impoverished, the estate fell into disrepair. In St. Petersburg, Batyushkov met representatives of the then literary world. He became especially close friends with G. R. Derzhavin, N. A. Lvov, V. V. Kapnist, A. N. Olenin.

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Battle of Heilsberg in 1807 Batyushkov enlisted in the people's militia (militia) and took part in the Prussian campaign. In the battle of Heilsberg he was wounded and had to go to Riga for treatment. During the campaign, he wrote several poems and began translating Tassa’s poem “Liberated Jerusalem.” The next year, 1808, Batyushkov took part in the war with Sweden, after which he retired and went to his relatives in the village of Khantanovo, Novgorod province. In the village, he soon began to get bored and was eager to go to the city: his impressionability became almost painful, more and more he was overcome by melancholy and a premonition of future madness.

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The failed attempt to get married in 1815 and the breakdown of personal relationships with his father were difficult for the poet. For some time he lives in Ukraine, in Kamenets-Podolsk, with his military superiors. The poet is elected in absentia as a member of the Arzamas literary society. At this time, Batyushkov was experiencing a strong creative upsurge: in a year he wrote twelve poetic and eight prose works. He is preparing his works in poetry and prose for publication.

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After staying in St. Petersburg, the poet in the spring of 1818 went south to improve his health. On the advice of Zhukovsky, Batyushkov submits an application for enrollment in one of the missions in Italy. In Odessa, the poet receives a letter from Alexander Turgenev informing him of the poet’s appointment to the diplomatic service in Naples. After a long journey, he arrives at his place of duty, with vivid impressions of the trip. An important meeting for the poet was with Russian artists, including Sylvester Shchedrin and Orest Kiprensky, who lived in Rome at that time

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On July 7, 1855, he died of typhus in Vologda. He was buried in the Spaso-Prilutsky Monastery, five miles from Vologda. “From birth, I had a black spot on my soul, which grew and grew over the years and almost blackened my entire soul.” Back in 1815, Batyushkov wrote the following words about himself to Zhukovsky:

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Peculiarities of creative manner Writers who study the work of the outstanding Russian poet Batyushkov come up with the same problem - the relationship between the two selves of the poet’s lyrical hero. This is due to the rather noticeable closeness of the “biographical” and artistic images of Batyushkov. Similar things can be found in the works of other poets, but in the case of Batyushkov such closeness is boiled down from a slightly different side, more mysterious and ambiguous. The poet himself emphasized this feature of his lyrics. The relationship between Batyushkov’s creativity and real life can be called the main feature of his work.

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Lecture

CreationK.N. BatyushkovA

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

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

His “light poetry” is “social” (the poet used this characteristic word for him). For him, creativity is inspired literary communication with loved ones. Hence the main genres for him are the message and dedication close to him; the recipients turn out to be N.I. Gnedich, V.A. Zhukovsky, P.A. Vyazemsky, A.I. Turgenev (brother of the Decembrist), I.M. Muravyov-Apostol, V.L. Pushkin, S.S. Uvarov, P.I. Shalikov, just friends, often poems are dedicated to women with conventional names - Felisa, Malvina, Lisa, Masha. The poet loves to talk in poetry with friends and loved ones. The dialogic principle is also significant in his fables, for which the poet also had a great penchant. The imprint of improvisations and impromptu lies on small genres - inscriptions, epigrams, various poetic jokes. Elegies, having appeared at the beginning of the poet’s career, would become the leading genre in his further work.

Batyushkov is characterized by a high idea of friendship, a pre-romantic cult of “kinship of souls”, “spiritual sympathy”, “sensitive friendship”.

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

“Light poetry” created a charming image of “red” youth, “blooming like a rose,” like a May day, like “laughing fields” and “cheerful meadows.” The world of youth is subject to the “goddess of beauty”, Chloe, Lilete, Lisa, Zaphne, Delia, and an attractive female image constantly appears next to the lyrical “I”. As a rule, this is not an individualized image (only individual moments of individualization are outlined in the image of the actress Semenova, to whom a special poem is dedicated), but a generalized image of the “ideal of beauty”: “And golden curls, // And blue eyes...”; “And the curls are loose // Flying over the shoulders...”. The ideal maiden in Batyushkova’s artistic world is always a faithful friend, the embodiment of earthly beauty and the charms of youth. This ideal, constantly present in the poet’s imagination, is artistically embodied in the elegy “Tavrida” (1815): “Ruddy and fresh, like a field rose, // You share labor, worries and dinner with me...”.

In the poetic messages, the motif of native shelter, revealing the individual appearance of Batyushkov and a characteristic feature of Russian pre-romanticism, was artistically realized. Both in his letters and in his poems the call of the soul to his native penates or laras, to the “hospitable shadow of his father’s shelter” is repeated. And this poetic image contrasts with the romantic restlessness and vagrancy later expressed in poetry. Batyushkov loves “home chests”, his father’s house.

Batyushkov’s artistic world is colored with bright, precious colors (“gold”, “silver”, “beaded”); all nature, and man, and his heart are in motion, in an impulse, feelings overwhelm the soul. The lyrical subject of Batyushkov’s “light poetry” 1802-1812. - A predominantly enthusiastic person, although at times his enthusiasm gives way to melancholy. The poet conveyed the emotion of delight in visible, plastically expressive images-emblems and poetic allegories. He was looking for "emblems of virtue." In “light poetry”, four emblem images are especially highlighted and repeated many times: roses, wings, bowls and canoes, which reveal the essence of his poetic worldview.

Images of flowers, especially roses, are Batyushkov’s favorite; they give his poems a festive feel; his image of a rose is leitmotivic and multifunctional. She is an exponent of the idea of beauty; a fragrant, pink, youthful flower is associated with ancient times - the childhood of the human race: roses - Cupid - Eros - Cypris - Anacreon, singer of love and pleasures - this is the line of associations. But the image of a rose also gains semantic extension; it moves into the realm of comparisons: a beloved, generally young woman is compared with a rose as a standard of beauty.

Also, other emblem images - wings, bowls - reflected the cult of graceful pleasure, the needs of an individual aware of his right to happiness.

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

Batyushkov’s “light poetry” included a fable element. Not only Gnedich, but also Krylov was a friend of the poet. Images close to Krylov’s fables and his satirical stories, especially “Kaiba,” appear in Batyushkov’s messages and in his other genres. In poetic messages, images of animals do not always create an allegorical scene. Usually they turn out to be just an artistic detail, a fable-like comparison designed to express the discrepancy between what should and what is: “Whoever is used to being a wolf will never forget how to walk and bark like a wolf forever.”

The first period of Batyushkov’s creativity is the formation of pre-romanticism, when the poet retains connections with classicism (“average” genres and “average” style). His “social” pre-romanticism in his favorite genre of letters to friends was marked, first of all, by the bright dreaminess and playfulness of a young soul yearning for earthly happiness.

Second period of creativity.Participation in events in the Fatherlandnnoah war of 1812. The formation of Batyushkov’s historical thinking.

1812-1813 and the spring of 1814 stand out as an independent period of the poet’s work, who experienced a genuine turning point, a complete rejection of the epicureanism of his youth; At this time, the formation of Batyushkov’s historical thinking took place. Batyushkov poet romanticism

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

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

The letters and poems include the idea of the relativity of values in the light of history - and a central philosophical question arises, borne out in the vicissitudes of time: “What is eternal, pure, immaculate?” And just as in his letters he declared that historical vicissitudes “surpass any concept” and everything seems as irrational as a dream, so in poetry the reflective poet does not find an answer to questions about the meaning of history. And yet the desire to understand its laws does not leave him.

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

The third period of Batyushkov’s creative development was from mid-1814 to 1821. The poet’s pre-romantic artistic world was modified, enriched with purely romantic elements and trends. At a new stage of spiritual development, a new understanding of man, of the values of life appears, and interest in history intensifies. “Graceful Epicureanism” no longer satisfies him; he criticizes the ideas of the “Epicurean school.” For him, not just human sensitivity, but the philosophical, ethical, as well as social, civic position of a person is becoming increasingly important.

The lyrical “I” of his poems and his lyrical heroes not only dream and feel complete happiness, but are immersed in reflections about life. Batyushkov's philosophical interests and activities were reflected in the genre of elegies, which now occupied a central place in his poetry. The elegies contain the poet’s lyrical reflection on human life, on historical existence.

Batyushkov’s romantic rejection of reality intensified. The poet saw a strange antinomy: “the suffering of all mankind throughout the enlightened world.”

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

While with the wounded hero,

Who knows the path to glory,

I won't place my breasts three times.

In front of the enemies in close formation, -

My friend, until then I will

All are alien to muses and harites,

Wreaths, with the hand of love retinue,

And noisy joy in wine!

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

In his historical elegies ("Crossing of Russian troops across the Niemen on January 1, 1813", "Crossing the Rhine", adjoined by "Shadow of a Friend", the elegy "On the ruins of a castle in Sweden" is written in the same stylistic tonality of the "northern elegies") There are elements that anticipate the historicism of the civil romanticism of the Decembrists. The poet glorifies the heroic military feat. Moreover, it is not only outstanding historical figures that occupy his imagination - the “elder leader” (Kutuzov) and the “young tsar” (Alexander I), but above all unknown heroes: “warriors”, “warriors”, “heroes”, “regiments” , "Slavs".

The poetics of the elegies indicate a significant evolution of Batyushkov’s style. In the elegy “The Crossing of Russian Troops across the Neman on January 1, 1813,” a spectacular picture is created, which is based on a combination of contrasts: the darkness of the night is contrasted with burning bonfires, casting a crimson glow on the sky. Other contrasts are also expressive: the desolation of the foreground of the picture (an empty shore covered with corpses is drawn) and the movement of regiments in the distance, a forest of spears, raised banners; a dying fugitive with “dead legs” and powerful, armed warriors; the young king "And the old leader in front of him, shining with gray hair // And with beauty that was abused in old age." The aesthetic ideal of the poet has changed significantly: the author admires not the beauty of Lisa, like a rose, but the courageous and “abusive” beauty of the hero-warrior - old man Kutuzov.

The best elegies associated with the Russian “Ossianic style” include “The Shadow of a Friend.” True, in Batyushkov’s work only echoes of this style are noticeable, expressed in the paintings he created of the harsh North, as well as in memories of ancient skalds, “wild” and brave warriors of Scandinavia, and Scandinavian myths (“On the ruins of a castle in Sweden”). In the elegy “Shadow of a Friend,” the poet does not so much follow the literary tradition as convey a deeply personal experience: longing for a friend who died in the war. The elegiac idea of the inevitability of the loss of a dear and dear person, the transience of life ("Or was it all a dream, a dream...") was suffered through the poet himself.

"Southern Elegies" by Batyushkov - "Elegy from Tibullus. Free translation", "Tavrida", "Dying Tass", adjoining them is the ballad "Hesiod and Omir - Rivals". Antiquity for Batyushkov is, first of all, the flavor of the place, expressed in the names: “Pheakia”, “eastern shores”, “Taurida”, “Ancient Greece”, “Tiber”, “Capitol”, “Rome”, in the exoticism of the south: “ Under the sweet sky of the midday country”, “azure seas”, “the caskets all around are full of fragrant herbs”, “...priceless carpets and crimson carpets are spread among laurels and flowers”; The peaceful life of people and animals flows: “the white ox wandered freely through the meadows,” “milk poured into the vessels in a plentiful stream // Flowed from the breasts of the feeding sheep...” - “sacred places.” The external attributes of life, the picturesque appearance of antiquity are very significant for the poet, but still the historicism of his elegies is by no means reduced to exotic picturesqueness. The poet feels the movement of time. He preserves in his translations the signs of the worldview and psychology of ancient man (worship of the gods, sacrifices, fear of fate), but still those elements of antiquity that are associated with modernity are especially important for him.

The romantic principles in the elegy “Dying Tass” are strong. The epigraph in Italian from Tasso's tragedy "Torrismondo" proclaimed the unreliability of glory: after triumph, sadness, complaints, and tearful songs remain; Both friendship and love are classified as unreliable goods. Batyushkov made the lyrical hero of the elegy the famous Italian poet with a tragic fate - Torquato Tasso. Tasso's passion, like Dante's, belongs to the first trends of romanticism in Russia. Batyushkov’s image combines two principles - greatness and tragedy. In the personality of the great poet, whose work passed through the centuries, like the work of Tibullus, Batyushkov discovered the embodiment of the most important and eternal, according to the poet, historical pattern: the undervaluation of genius by his contemporaries, the tragedy of his fate; his gift receives "late payment."

The historical elegy affirmed the moral idea of the need for human gratitude (“memory of the heart”) to the great martyred people who gave their genius to others. At the same time, there is a noticeable moralizing in the elegy - history, in the person of Tassa, is giving a lesson to posterity.

Batyushkov's creativity - the pinnacle of Russian pre-romanticism.

Batyushkova’s lyrics have survived their time and have not lost their charm to this day. Its aesthetic value lies in the pathos of “community”, in the poetic experience of youth and happiness, the fullness of life and the spiritual inspiration of a dream. But the poet’s historical elegies also retain poetic appeal both for their humane moral tendency and for the vivid painting of lyrical-historical pictures.

Literatio

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

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

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

Posted on Allbest.ru

Creativity K.N. Batyushkova and literary trends of the early 19th century

Batyushkov: biography

Independent life in the capital

Civil uprising

Return to the light

Unhappy love

Italy

Last years and death

Konstantin Batyushkov: interesting facts

Features of creativity

Crucial moment

Prose

On duty

Literary activity

last years of life

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