Anna Kern: Life in the name of love Sysoev Vladimir Ivanovich

"GENIUS OF PURE BEAUTY"

"GENIUS OF PURE BEAUTY"

“The next day I had to leave for Riga with my sister Anna Nikolaevna Vulf. He came in the morning and, in parting, brought me a copy of the second chapter of Onegin (30), in uncut sheets, between which I found a four-fold postal sheet of paper with verses:

I remember a wonderful moment;

You appeared before me

Like a fleeting vision

Like a genius of pure beauty.

In the languor of hopeless sadness,

In the anxieties of noisy bustle,

And dreamed of cute features.

Years passed. Storms gust rebellious

Scattered old dreams

Your heavenly features.

In the wilderness, in the darkness of confinement

My days passed quietly

Without a god, without inspiration,

No tears, no life, no love.

The soul has awakened:

And here you are again

Like a fleeting vision

Like a genius of pure beauty.

And the heart beats in rapture

And for him they rose again

And deity, and inspiration,

And life, and tears, and love!

When I was about to hide the poetic gift in the box, he looked at me for a long time, then convulsively grabbed it and did not want to return it; I forcefully begged them again; What went through his mind then, I don't know.

What feelings did the poet have then? Embarrassment? Excitement? Maybe doubt or even remorse?

Was this poem the result of a momentary infatuation - or a poetic insight? Great is the secret of genius... Only harmonious combination a few words, and when they sound in our imagination, a light female image, full of enchanting charm, immediately appears in our imagination, as if materializing from the air ... A poetic love message to eternity ...

Many literary scholars have subjected this poem to the most careful analysis. controversy about various options its interpretations, which began at the dawn of the 20th century, are still ongoing and will probably continue.

Some researchers of Pushkin's work consider this poem just a mischievous joke of the poet, who decided to create a masterpiece from the clichés of Russian romantic poetry of the first third of the 19th century. love lyrics. Indeed, out of one hundred and three of his words, more than sixty are worn out banalities (“tender voice”, “rebellious impulse”, “deity”, “heavenly features”, “inspiration”, “heart beats in rapture”, etc.). Let's not take this view of a masterpiece seriously.

According to the majority of Pushkinists, the expression "genius of pure beauty" is an open quote from V. A. Zhukovsky's poem "Lalla-Ruk":

Oh! Doesn't live with us

Genius of pure beauty;

Only occasionally does he visit

Us from heavenly heights;

He is hasty, like a dream,

Like an airy morning dream;

And in holy remembrance

He is not separated from his heart!

He is only in pure moments

Being happens to us

And brings revelation

Benevolent hearts.

For Zhukovsky, this phrase was associated with a number of symbolic images - a ghostly heavenly vision, "hurried like a dream", with symbols of hope and sleep, with the theme of "pure moments of being", tearing the heart away from the "dark region of the earth", with the theme of inspiration and revelations of the soul.

But Pushkin probably did not know this poem. Written for the holiday given in Berlin on January 15, 1821 by the Prussian King Friedrich on the occasion of the arrival from Russia of his daughter Alexandra Feodorovna, the wife of Grand Duke Nikolai Pavlovich, it appeared in print only in 1828. Zhukovsky did not send it to Pushkin.

However, all the images symbolically concentrated in the phrase “the genius of pure beauty” reappear in Zhukovsky’s poem “I used to be a young Muse” (1823), but in a different expressive atmosphere - the expectation of the “giver of chants”, longing for the genius of pure beauty - in the twinkling of his star.

I used to be a young Muse

Met in the sublunar side,

And inspiration flew

From heaven, uninvited, to me;

On all earthly things

It is a life-giving ray -

And for me at that time it was

Life and poetry are one.

But the giver of hymns

I have not been visited for a long time;

his desired return

When can I wait again?

Or forever my loss

And forever the harp does not sound?

But everything from the beautiful times,

When he was available to me,

Anything from cute dark clear

I saved the past days -

Flowers of a solitary dream

And life best flowers, -

I lay on your sacred altar,

O Genius of pure beauty!

Zhukovsky supplied the symbolism associated with the "genius of pure beauty" with his own commentary. It is based on the concept of beauty. “The beautiful… has neither name nor image; it visits us in the best moments of life”; “it appears to us only for minutes, for the sole purpose of expressing itself to us, reviving us, elevating our soul”; “only that which is not beautiful is beautiful”... The beautiful is associated with sadness, with the desire “for something better, secret, distant, that connects with it and that exists somewhere for you. And this striving is one of the most inexpressible proofs of the immortality of the soul.

But, most likely, as the well-known philologist academician V. V. Vinogradov first noted in the 1930s, the image of the “genius of pure beauty” arose in Pushkin’s poetic imagination at that time not so much in direct connection with Zhukovsky’s poem “Lalla Ruk” or “I’m a young Muse, I used to”, as much as under the impression of his article “Raphael’s Madonna (From a letter about the Dresden Gallery)”, published in the “Polar Star for 1824” and reproducing the legend that was widespread at that time about the creation of the famous painting “Sistine Madonna”: “They say that Raphael, having stretched his canvas for this picture, did not know for a long time what would be on it: inspiration did not come. One day he fell asleep with the thought of the Madonna, and surely some angel woke him up. He jumped up: she is here, shouting, he pointed to the canvas and drew the first drawing. And in fact, this is not a picture, but a vision: the longer you look, the more vividly you are convinced that something unnatural is happening before you ... Here the soul of the painter ... with amazing simplicity and ease, conveyed to the canvas the miracle that happened in its insides ... I… clearly began to feel that the soul was spreading… It was where it could be only in the best moments of life.

The genius of pure beauty was with her:

He is only in pure moments

Genesis flies to us

And brings us visions

Inaccessible to dreams.

... And it definitely comes to mind that this picture was born in the moment of a miracle: the curtain unfolded, and the secret of heaven was revealed to the eyes of a person ... Everything, and the very air, turns into a pure angel in the presence of this heavenly, passing virgin.

The almanac "Polar Star" with an article by Zhukovsky was brought to Mikhailovskoye by A. A. Delvig in April 1825, shortly before Anna Kern arrived in Trigorskoye, and after reading this article, the image of the Madonna firmly settled in Pushkin's poetic imagination.

“But Pushkin was alien to the moral and mystical basis of this symbolism,” says Vinogradov. - In the poem "I remember a wonderful moment" Pushkin used the symbolism of Zhukovsky, lowering it from heaven to earth, depriving it of a religious and mystical basis ...

Pushkin, merging the image of a beloved woman with the image of poetry and retaining most of Zhukovsky's symbols, except for religious and mystical

Your heavenly features...

My days passed quietly

Without a god, without inspiration...

And for him they rose again

God and inspiration...

builds from this material not only a product of a new rhythmic and figurative composition, but also of a different semantic resolution, alien to the ideological and symbolic concept of Zhukovsky.

It should not be forgotten that Vinogradov made such a statement in 1934. It was a period of broad anti-religious propaganda and the triumph of the materialistic view of development. human society. For another half a century, Soviet literary critics did not touch upon the religious theme in the work of A. S. Pushkin.

The lines “in the silence of hopeless sadness”, “in the distance, in the darkness of confinement” are very consonant with “Eda” by E. A. Baratynsky; Pushkin borrowed some rhymes from himself - from Tatyana's letter to Onegin:

And at this very moment

Aren't you, sweet vision...

And there is nothing surprising here - Pushkin's work is full of literary reminiscences and even direct quotations; however, using the lines he liked, the poet transformed them beyond recognition.

According to the outstanding Russian philologist and Pushkinist B. V. Tomashevsky, this poem, despite the fact that it draws an idealized female image, is undoubtedly connected with A. P. Kern. “It is not without reason that in the very heading“ K *** ”it is addressed to the beloved woman, even if depicted in a generalized image of an ideal woman.”

This is also indicated by Pushkin's own list of poems of 1816-1827 (it was preserved among his papers), which the poet did not include in the 1826 edition, but intended to include in his two-volume collection of poems (it was published in 1829). The poem “I remember a wonderful moment ...” here has the heading “To A.P. K[ern], directly indicating the one to whom it is dedicated.

Doctor of Philology N. L. Stepanov outlined the interpretation of this work, which was formed back in Pushkin’s times and became a textbook: “Pushkin, as always, is exceptionally accurate in his poems. But, conveying the actual side of the meetings with Kern, he creates a work that reveals the inner world of the poet himself. In the silence of Mikhailov's solitude, the meeting with A.P. Kern evoked in the exiled poet both memories of the recent storms of his life, and regret for the lost freedom, and the joy of the meeting, which transformed his monotonous everyday life, and, above all, the joy of poetic creativity.

Another researcher, E. A. Maimin, especially noted the musicality of the poem: “It’s like musical composition set both by real events in Pushkin's life and by the ideal image of a "genius of pure beauty" borrowed from Zhukovsky's poetry. The well-known ideality in solving the theme, however, does not negate the lively immediacy in the sound of the poem and in its perception. This feeling of living immediacy comes not so much from the plot, but from the captivating, one-of-a-kind music of words. There is a lot of music in the poem: melodious, lasting in time, drawn-out music of verse, music of feeling. And as in music, in a poem, it is not a direct, not tangible image of the beloved, but the image of love itself. The poem is based on musical variations of a limited range of images-motives: a wonderful moment - a genius of pure beauty - a deity - inspiration. By themselves, these images do not contain anything immediate, concrete. All this is from the world of abstract and lofty concepts. But in the general musical arrangement of the poem, they become living concepts, living images.

Professor B.P. Gorodetsky in his academic publication “Pushkin’s Lyrics” wrote: “The mystery of this poem is that everything we know about the personality of A.P. is able to evoke in the soul of the poet a feeling that has become the basis of an inexpressibly beautiful work of art, in no way and in no way brings us closer to comprehending the secret of art, which makes this poem typical of a great many similar situations and capable of ennobling and enveloping the beauty of feelings million people...

The sudden and short-term appearance of a “fleeting vision” in the form of a “genius of pure beauty”, flashed amid the darkness of imprisonment, when the poet’s days dragged on “without tears, without life, without love”, could resurrect in his soul “both a deity and inspiration, / And life, and tears, and love" only in the case when all this had already been experienced by him before. Such experiences took place during the first period of Pushkin's exile - they created that spiritual experience of his, without which the later appearance of "Farewell", and such amazing penetrations into the depths of the human spirit as "Spell" and "For the Shores of the Fatherland" was unthinkable. far." They also created that spiritual experience, without which the poem "I remember a wonderful moment" could not have appeared.

All this should not be understood too simply, in the sense that the real image of A.P. Kern and Pushkin's attitude towards her were of little importance for the creation of the poem. Without them, of course, there would be no poem. But the poem in its form in which it exists would not have existed even if the meeting with A.P. Kern had not been preceded by Pushkin's past and all the hard experience of his exile. The real image of A.P. Kern, as it were, resurrected the poet’s soul again, revealed to him the beauty of not only the irrevocably gone past, but also the present, which is directly and accurately stated in the poem:

The soul has awakened.

That is why the problem of the poem “I remember a wonderful moment” should be solved, as if turning it on the other side: it was not a chance meeting with A.P. forces of the poet, which began a little earlier, completely determined all the main characteristics and the inner content of the poem, caused by a meeting with A. P. Kern.

Literary critic A. I. Beletsky more than 50 years ago for the first time timidly expressed the idea that the protagonist of this poem is not a woman at all, but a poetic inspiration. “Absolutely secondary,” he wrote, “it seems to us the question of the name of a real woman, who was then elevated to the height of a poetic creation, where her real features disappeared, and she herself became a generalization, a rhythmically ordered verbal expression of a certain general aesthetic idea ... The love theme in this poem is clearly subordinated to another, philosophical and psychological theme, and its main theme is the theme of different states inner world poet in the relationship of this world with reality.

Professor M. V. Stroganov went the furthest in identifying the image of the Madonna and the “genius of pure beauty” in this poem with the personality of Anna Kern: “The poem“ I remember a wonderful moment ... ”was written, obviously, in one night - from July 18 to July 19 1825, after a joint walk of Pushkin, Kern and Wulfov in Mikhailovsky and on the eve of Kern's departure for Riga. During the walk, Pushkin, according to Kern's memoirs, spoke of their "first meeting at the Olenins, expressed himself enthusiastically about it, and at the end of the conversation said:<…>. You looked like such an innocent girl…” All this is included in that memory of the “wonderful moment”, to which the first stanza of the poem is dedicated: the very first meeting, and the image of Kern - an “innocent girl” (virginal). But this word - virginal - means in French the Mother of God, the Immaculate Virgin. This is how an involuntary comparison takes place: "like a genius of pure beauty." And the next day, in the morning, Pushkin brought a poem to Kern ... The morning turned out to be wiser than the evening. Something confused Pushkin in Kern when he passed his poems to her. Apparently, he doubted: could she be this ideal model? Will she appear to them? - And I wanted to select poems. It was not possible to pick it up, and Kern (precisely because she was not such a woman) printed them in Delvig's almanac. All subsequent "obscene" correspondence between Pushkin and Kern can obviously be considered as psychological revenge on the addressee of the poem for his excessive haste and sublimity of the message.

In the 1980s, the literary critic S. A. Fomichev, who considered this poem from a religious and philosophical point of view, saw in it the reflection of episodes not so much of the poet’s real biography as of the inner biography, “three successive states of the soul”. It was from that time that a pronounced philosophical view of this work was outlined. Doctor of Philology V.P. Grekh-nev, based on the metaphysical ideas of the Pushkin era, which interpreted man as a “small universe”, arranged according to the law of the entire universe: a three-hypostatic, God-like being in the unity of the earthly shell (“body”), “ soul” and “divine spirit”, saw in Pushkin’s “wonderful moment” a “comprehensive concept of being” and, in general, “the whole of Pushkin”. Nevertheless, both researchers recognized the “living conditionality of the lyrical beginning of the poem as a real source of inspiration” in the person of A.P. Kern.

Professor Yu. N. Chumakov turned not to the content of the poem, but to its form, specifically, to the spatio-temporal development of the plot. He argued that "the meaning of a poem is inseparable from the form of its expression ..." and that "form" as such "itself ... acts as content ...". According to L. A. Perfilieva, the author of the latest commentary on this poem, Chumakov “saw in the poem the timeless and endless cosmic rotation of the independent Pushkin Universe, created by the inspiration and creative will of the poet.”

Another researcher of Pushkin's poetic heritage, S. N. Broitman, revealed in this poem "the linear infinity of semantic perspective." The same L. A. Perfilieva, having carefully studied his article, stated: “Having singled out “two systems of meanings, two plot-figurative series”, he also admits their “probable plurality”; as important component plot, the researcher assumes ‘providentiality’ (31).”

Now let's get acquainted with a rather original point of view of L. A. Perfilieva herself, which is also based on a metaphysical approach to the consideration of this and many other works of Pushkin.

Abstracting from the personality of A.P. Kern as the inspirer of the poet and addressee of this poem and from biographical realities in general, and proceeding from the fact that the main quotations of Pushkin's poem are borrowed from the poetry of V.A. like other images romantic works) appears as an unearthly and intangible substance: "ghost", "vision", "dream", "sweet dream", the researcher claims that Pushkin's "genius of pure beauty" appears in its metaphysical reality as a “messenger of Heaven” as a mysterious intermediary between the author’s “I” of the poet and some otherworldly, higher entity – “deity”. She believes that the author's "I" in the poem means the soul of the poet. BUT "a fleeting vision" The soul of a poet "genius of pure beauty"- this is the “moment of Truth”, the divine Revelation, illuminating and penetrating the Soul with the grace of the divine Spirit with an instant flash. AT "languishing hopeless sadness" Perfilyeva sees the torment of the soul's presence in a bodily shell, in the phrase “a gentle voice sounded to me for a long time”- the archetypal, primary memory of the soul about Heaven. The next two stanzas "picture Being as such, marked by soul-wearing duration." Between the fourth and fifth stanzas, providentiality or the “Divine verb” is invisibly revealed, as a result of which "The soul has awakened." It is here, in the interval of these stanzas, that “an invisible point is placed, creating an internal symmetry of the cyclically closed composition of the poem. At the same time, it is a turning point – a return point, from which the “space-time” of the small Pushkin Universe suddenly turns, starting to flow towards itself, returning from the earthly reality to the heavenly ideal. The awakened soul regains the ability to perceive deities. And this is an act of her second birth - a return to the divine fundamental principle - "Resurrection".<…>This is the acquisition of the Truth and the return to Paradise ...

The amplification of the sound of the last stanza of the poem marks the fullness of Being, the triumph of the restored harmony of the "small universe" - the body, soul and spirit of a person in general or personally of the poet-author himself, that is, "the whole of Pushkin."

Summing up her analysis of Pushkin's work, Perfilieva suggests that it, "regardless of the role that A.P. Kern played in its creation, can be considered in the context of Pushkin's philosophical lyrics, along with such poems as "The Poet" (which, according to the author of the article, is dedicated to the nature of inspiration), “Prophet” (dedicated to the providential nature of poetic creativity) and “I erected a monument to myself not made by hands…” (dedicated to the incorruptibility of spiritual heritage). In their series “I remember a wonderful moment…” indeed, as already noted, there is a poem about “the entire fullness of Being” and about the dialectics of the human soul; and about "man in general", as about the Small Universe arranged according to the laws of the universe.

It seems that he foresaw the possibility of the appearance of such a purely philosophical interpretation of Pushkin's lines, the already mentioned N. L. Stepanov wrote: “In such an interpretation, Pushkin's poem loses its vital concreteness, that sensual-emotional beginning that so enriches Pushkin's images, gives them an earthly, realistic character. . After all, if we abandon these specific biographical associations, the biographical subtext of the poem, then Pushkin's images will lose their vital content, turn into conventionally romantic symbols, meaning only the theme of the poet's creative inspiration. We can then replace Pushkin with Zhukovsky with his abstract symbol of the “genius of pure beauty”. This will impoverish the realism of the poet's poem, it will lose those colors and shades that are so important for Pushkin's lyrics. The strength and pathos of Pushkin's creativity is in the fusion, in the unity of the abstract and the real.

But even using the most complex literary and philosophical constructions, it is difficult to dispute the statement of N. I. Chernyaev, made 75 years after the creation of this masterpiece: “With his message“ K *** ”Pushkin immortalized her (A. P. Kern. - V. S.) just as Petrarch immortalized Laura, and Dante immortalized Beatrice. Centuries will pass, and when many historical events and historical figures will be forgotten, the personality and fate of Kern, as the inspirer of Pushkin's muse, will arouse great interest, cause controversy, speculation and be reproduced by novelists, playwrights, and painters.

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On this day - July 19, 1825 - the day Anna Petrovna Kern left Trigorskoye, Pushkin handed her the poem "K *", which is an example of high poetry, masterpiece of Pushkin's lyrics. Everyone who cherishes Russian poetry knows him. But there are few works in the history of literature that would raise so many questions from researchers, poets, and readers. What was the real woman who inspired the poet? What connected them? Why did she become the addressee of this poetic message?

The history of the relationship between Pushkin and Anna Kern is very confused and contradictory. Despite the fact that their connection gave birth to one of the poet's most famous poems, this novel can hardly be called fateful for both.

The 20-year-old poet first met 19-year-old Anna Kern, wife of 52-year-old General E. Kern, in 1819 in St. Petersburg, at the home of Alexei Olenin, president of the St. Petersburg Academy of Arts. Sitting at dinner not far from her, he tried to attract her attention to himself. When Kern got into the carriage, Pushkin went out onto the porch and watched her for a long time.

Their second meeting took place only after a long six years. In June 1825, while in exile in Mikhailov, Pushkin often visited relatives in the village of Trigorskoye, where he met Anna Kern again. In her memoirs, she wrote: “We were sitting at dinner and laughing ... suddenly Pushkin came in with a big thick stick in his hands. My aunt, near whom I was sitting, introduced him to me. He bowed very low, but did not say a word: timidity was visible in his movements. I, too, could not find something to say to him, and we did not soon get acquainted and started talking.

For about a month Kern stayed at Trigorskoye, meeting with Pushkin almost daily. An unexpected meeting with Kern after a 6-year break made an indelible impression on him. In the soul of the poet, “an awakening has come” - an awakening from all the difficult experiences suffered “in the wilderness, in the darkness of imprisonment” - in many years of exile. But the poet in love clearly did not find the right tone, and, despite the reciprocal interest of Anna Kern, a decisive explanation did not occur between them.

On the morning before Anna's departure, Pushkin presented her with a present - the first chapter of Eugene Onegin, which had just been published at that time. Between the uncut pages lay a piece of paper with a poem written at night...

I remember a wonderful moment:

You appeared before me

Like a fleeting vision

Like a genius of pure beauty.

In the languor of hopeless sadness

In the anxieties of noisy bustle,

And dreamed of cute features.

Years passed. Storms gust rebellious

Scattered old dreams

Your heavenly features.

In the wilderness, in the darkness of confinement

My days passed quietly

Without a god, without inspiration,

No tears, no life, no love.

The soul has awakened:

And here you are again

Like a fleeting vision

Like a genius of pure beauty.

And the heart beats in rapture

And for him they rose again

And deity, and inspiration,

And life, and tears, and love.

From the memoirs of Anna Kern it is known how she begged the poet for a sheet with these poems. When the woman was about to hide it in her box, the poet suddenly convulsively snatched it from her hands and did not want to give it away for a long time. Kern forcefully begged. “What flashed through his head then, I don’t know,” she wrote in her memoirs. From everything it turns out that we should be grateful to Anna Petrovna for preserving this masterpiece for Russian literature.

Fifteen years later, composer Mikhail Ivanovich Glinka wrote a romance to these words and dedicated it to the woman he was in love with, Anna Kern's daughter Ekaterina.

For Pushkin, Anna Kern was indeed "a fleeting vision." In the wilderness, in the Pskov estate of her aunt, the beautiful Kern captivated not only Pushkin, but also her neighbors, the landowners. In one of his many letters, the poet wrote to her: "The windiness is always cruel ... Farewell, divine, I am furious and fall at your feet." Two years later, Anna Kern no longer aroused any feelings in Pushkin. The “genius of pure beauty” disappeared, and the “Babylonian harlot” appeared, as Pushkin called her in a letter to a friend.

We will not analyze why Pushkin's love for Kern turned out to be just a “wonderful moment”, which he prophetically announced in verse. Whether Anna Petrovna herself was guilty of this, whether the poet was to blame or some external circumstances - the question in special studies remains open.

I remember a wonderful moment:
You appeared before me
Like a fleeting vision
Like a genius of pure beauty.

In the languor of hopeless sadness,
In the anxieties of noisy bustle,
A gentle voice sounded to me for a long time
And dreamed of cute features.

Years passed. Storms gust rebellious
Scattered old dreams
And I forgot your gentle voice
Your heavenly features.

In the wilderness, in the darkness of confinement
My days passed quietly
Without a god, without inspiration,
No tears, no life, no love.

The soul has awakened:
And here you are again
Like a fleeting vision
Like a genius of pure beauty.

And the heart beats in rapture
And for him they rose again
And deity, and inspiration,
And life, and tears, and love.

Analysis of the poem "I remember a wonderful moment" by Pushkin

The first lines of the poem "I remember a wonderful moment" are known to almost everyone. This is one of the most famous lyrical works Pushkin. The poet was a very amorous person, and devoted many of his poems to women. In 1819 he met A.P. Kern, who long time captured his imagination. In 1825, during the exile of the poet in Mikhailovsky, the second meeting of the poet with Kern took place. Under the influence of this unexpected meeting, Pushkin wrote the poem "I remember a wonderful moment."

The short work is an example of a poetic declaration of love. In just a few stanzas, Pushkin unfolds before the reader a long history of relationships with Kern. The expression "genius of pure beauty" very capaciously characterizes the enthusiastic admiration for a woman. The poet fell in love at first sight, but Kern was married at the time of the first meeting and could not respond to the poet's advances. The image of a beautiful woman haunts the author. But fate separates Pushkin from Kern for several years. These turbulent years erase "cute features" from the memory of the poet.

In the poem "I remember a wonderful moment" Pushkin shows himself to be a great master of the word. He had an amazing ability to say an infinite amount of things in just a few lines. In a short verse, we see a gap of several years. Despite the conciseness and simplicity of the style, the author conveys to the reader changes in his spiritual mood, allows him to experience joy and sadness with him.

The poem is written in the genre of pure love lyrics. The emotional impact is reinforced by lexical repetitions of several phrases. Their precise arrangement gives the work its originality and elegance.

The creative legacy of the great Alexander Sergeevich Pushkin is enormous. “I remember a wonderful moment” is one of the most expensive pearls of this treasure.

I remember a wonderful moment, You appeared before me, Like a fleeting vision, Like a genius of pure beauty A.S. Pushkin. K A. Kern ... Michelson's Big Explanatory Phraseological Dictionary

genius- I, m. génie f., German. Genius, pol. geniusz lat. genius. 1. According to the religious beliefs of the ancient Romans, God is the patron of a person, city, country; spirit of good and evil. Sl. 18. The Romans brought incense, flowers and honey to their Angel or according to their Genius. ... ... Historical dictionary gallicisms of the Russian language

- (1799 1837) Russian poet, writer. Aphorisms, quotes Pushkin Alexander Sergeevich. Biography It is not difficult to despise the court of people, it is impossible to despise one's own court. Backbiting, even without evidence, leaves eternal traces. Critics... ... Consolidated encyclopedia of aphorisms

I, m. 1. The highest degree of creative talent, talent. The artistic genius of Pushkin is so great and beautiful that we still cannot but be carried away by the marvelous artistic beauty of his creations. Chernyshevsky, Pushkin's Works. Suvorov is not ... ... Small Academic Dictionary

Aya, oh; ten, tna, tno. 1. outdated. Flying, quickly passing by, not stopping. The sudden buzz of a fleeting beetle, the slight smacking of small fish in a planter: all these faint sounds, these rustles only exacerbated the silence. Turgenev, Three meetings. ... ... Small Academic Dictionary

show up- I will appear / be, I / you see, I / you see, past. appeared / was, owl .; be / be (to 1, 3, 5, 7 values), nsv. 1) Come, arrive somewhere. of good will, by invitation, by official necessity, etc. To appear unexpectedly out of the blue. Show up uninvited. Appeared only to ... ... Popular dictionary of the Russian language

proclitic- PROCLI´TIKA [from Greek. προκλιτικός leaning forward (to the next word)] is a linguistic term, an unstressed word that transfers its stress to the stressed one behind it, as a result of which both these words are pronounced together, like one word. P.… … Poetic dictionary

quatrain- (from French quatrain four) type of stanza (see stanza): quatrain, stanza of four lines: I remember a wonderful moment: You appeared before me, Like a fleeting vision, Like a genius of pure beauty. A.S. Pushkin ... Dictionary of literary terms

"I remember a wonderful moment..." Alexander Pushkin

I remember a wonderful moment...
I remember a wonderful moment:
You appeared before me
Like a fleeting vision
Like a genius of pure beauty.

In the languor of hopeless sadness
In the anxieties of noisy bustle,
A gentle voice sounded to me for a long time
And dreamed of cute features.

Years passed. Storms gust rebellious
Scattered old dreams
And I forgot your gentle voice
Your heavenly features.

In the wilderness, in the darkness of confinement
My days passed quietly
Without a god, without inspiration,
No tears, no life, no love.

The soul has awakened:
And here you are again
Like a fleeting vision
Like a genius of pure beauty.

And the heart beats in rapture
And for him they rose again
And deity, and inspiration,
And life, and tears, and love.

Analysis of Pushkin's poem "I remember a wonderful moment"

One of the most famous lyrical poems by Alexander Pushkin "I remember a wonderful moment ..." was created in 1925, and has a romantic background. It is dedicated to the first beauty of St. Petersburg, Anna Kern (nee Poltoratskaya), whom the poet first saw in 1819 at a reception at the house of her aunt, Princess Elizabeth Olenina. Being by nature a passionate and temperamental person, Pushkin immediately fell in love with Anna, who by that time was married to General Ermolai Kern and raised her daughter. Therefore, the laws of decency of secular society did not allow the poet to openly express his feelings to the woman to whom he was introduced only a few hours ago. In his memory, Kern remained "a fleeting vision" and "a genius of pure beauty."

In 1825, fate again brought Alexander Pushkin and Anna Kern together. This time - in the Trigorsk estate, not far from which was the village of Mikhailovskoye, where the poet was exiled for anti-government poetry. Pushkin not only recognized the one that 6 years ago captivated his imagination, but also opened up to her in his feelings. By that time, Anna Kern had parted with her "martinet husband" and led a rather free lifestyle, which caused condemnation in secular society. Her endless romances were legendary. However, Pushkin, knowing this, was nevertheless convinced that this woman was a model of purity and piety. After the second meeting, which made an indelible impression on the poet, Pushkin created his poem "I remember a wonderful moment ...".

The work is a hymn to female beauty, which, according to the poet, can inspire a man to the most reckless exploits. In six short quatrains, Pushkin managed to fit the whole story of his acquaintance with Anna Kern and convey the feelings that he experienced at the sight of a woman who long years captured his imagination. In his poem, the poet admits that after the first meeting, “a gentle voice sounded to me for a long time and I dreamed of cute features.” However, by the will of fate, youthful dreams remained in the past, and "a rebellious storm dispelled former dreams." For six years of separation, Alexander Pushkin became famous, but at the same time, he lost the taste of life, noting that he had lost the sharpness of feelings and inspiration, which has always been inherent in the poet. The last straw in the sea of ​​disappointment was the exile to Mikhailovskoye, where Pushkin was deprived of the opportunity to shine in front of grateful listeners - the owners of neighboring landowners' estates had little interest in literature, preferring hunting and drinking.

Therefore, it is not surprising that when, in 1825, General Kern with her elderly mother and daughters came to the Trigorskoye estate, Pushkin immediately went to the neighbors on a courtesy call. And he was rewarded not only with a meeting with the "genius of pure beauty", but also awarded her favor. Therefore, it is not surprising that the last stanza of the poem is filled with genuine delight. He notes that "the deity, and inspiration, and life, and a tear, and love, have risen again."

Nevertheless, according to historians, Alexander Pushkin interested Anna Kern only as a fashionable poet, fanned by the glory of rebelliousness, the price of which this freedom-loving woman knew very well. Pushkin himself misinterpreted the signs of attention from the one that turned his head. As a result, a rather unpleasant explanation took place between them, which dotted the "i" in the relationship. But even despite this, Pushkin dedicated many more delightful poems to Anna Kern, for many years considering this woman who dared to challenge the moral foundations of high society, his muse and deity, before whom he bowed and admired, despite gossip and gossip.