Purple hands on the enamel wall analysis. Analysis of the poem "Creativity" by Bryusov. Expansion of artistic impressionability
This poem was written March 1, 1895. The work, almost from beginning to end, is permeated with quivering expectation. From the first to the last stanza, the author reveals to us the secrets of the process of creating a work of art. The poem consists of three parts. The first stanza is an introduction, in which the creator captures something invisible to mere mortals. He is taken up by a flood of inspiration, and from the second to the fourth stanza we delve into one of the most wonderful deeds in the world - the creation of something sublime. The artist, inspired by the impulse of the heart, is able to see the sound:
Sleepily draw sounds
In the resounding silence
But, oddly enough, we do not see the creator himself, he serves as a guide. Everything is created by nature, the surrounding world. The task of the creator is to convey this mood, the state of the world. But his role is one of the most important. Only thanks to his hands everything around acquires a different color, is born again in a new guise:
And transparent stalls
In resounding silence
Grow like glitter
Under the azure moon.
The last stanza shows us that only the artist himself can fully reveal his creation, only he is able to understand all the secrets of his works. Everyone around can only admire what they have done with awe, often not even having the ability to penetrate at least superficially.
Secrets of the created creatures
caress me with affection,
And the shadow of patching trembles
On the enamel wall.
In the first stanza, as keywords, we can designate “uncreated creatures”, “in a dream”, “patching blades”, “on an enamel wall”. In the second one, these images are embodied: “hands”, “drowsyly drawing sounds”. In the third: "And transparent stalls", "Grow like sparkles." In the fourth, the whole stanza without the third line can be taken as a basis.
In Bryusov's "Creativity" we see how the lyrical hero narrates from the first to the third stanza, speaking in the third person. This can be explained by the fact that the artist in the process of creation cannot objectively describe or evaluate his actions. He created this small world with echoes of the soul of the creator himself. The position of the author here is divided into two parts, each of which is original, separate. The observer admires the artist, but does not fully understand him. The artist initially experiences a slight dissatisfaction with the world around him, which he remakes in his work. Then he experiences delight and pride in his creation. According to the poetic size - this is a trochee. The rhyme is mostly exact, cross masculine and feminine. Many repetitions help to focus on the idea of the poem, which lies in the fact that the creative process itself is amazing, delights and delights not so much the reader, listener, but the author himself, the creator.
Filled with a "foreign" air, because they had a closer connection with the French and Latin poetic tradition than with the Russian one. Bryusov is related to Balmont by the lack of fine finishes, subtle shades and the “finishing touch”. His best poems are magnificent: purple and gold; the worst - complete bad taste.
Like most Russian Symbolists, Bryusov's poems consist mainly of "high" words and are always solemn and hieratic. In his early poems (1894-1896) he tried to instill in Russia a "singing sound" Verlaine and early French Symbolists, as well as to revive and modernize Fet's "chants". But in general, Bryusov is not a musical poet, although, like all Russian symbolists, he often uses words as emotional gestures, and not as signs with a clear meaning. Although his work is imbued with the culture of centuries, Bryusov is not a philosophical or "thinking" poet. One time under the influence Ivan Konevsky Bryusov took up metaphysical poetry, some of his poems of this kind are wonderful rhetoric, but there is little philosophy in them, more pathetic exclamations and oppositions.
The language of Bryusov's poetry is more concise and expressive than that of Balmont, and sometimes he reaches the heights of poetic expressiveness, but he lacks accuracy: his words (sometimes wonderful) are never "happy finds." Bryusov's favorite themes are reflections on the past and future of mankind, the depiction of sexual love as a mystical ritual and, as they liked to say in his time, “everyday mysticism”, that is, a description of large modern cities as a mysterious forest of symbols.
Creativity of Bryusov. Video lecture
Bryusov's best poems are contained in collections Urbi et orbi(1903) and Stephanos(1906). AT Stephanos also includes a wonderful cycle of variations on the eternal themes of Greek mythology ( True eternal idols). Poems such as Achilles at the altar(Achilles is waiting for the fatal betrothal to Polyxena), Orpheus and Eurydice, Theseus Ariadne- the best achievements of the "classical" side of Russian symbolism, striving for hieratic sublimity and symbolic fullness.
Bryusov's prose is generally the same as his poetry: solemn, hieratic and academic. The same themes are touched upon in prose: pictures of the past and future, the mysterious "abysses" of love - often in its most perverse and abnormal manifestations. Like poetry, prose has a clearly “translated from a foreign” look. Bryusov himself felt this and often deliberately stylized prose as foreign examples of past eras. One of Bryusov's best stories - In an underground prison- Written in the style of Italian Renaissance short stories. Bryusov's best novel - Fire Angel(1907) - talks about a German merchant in the time of Luther. The technique of stylization saved Bryusov's prose from "poetization" and impressionism. On the whole, his prose is masculine, direct, there is no mannerism in it. The plots and composition of prose writings were strongly influenced by Edgar Poe. Especially the influence of this great writer is felt in a detailed documentary description of the future of civilization in Republic of the Southern Cross and in the cold-blooded study of pathological mental states in the story Now that I'm awake.
There is coldness and cruelty in Bryusov's prose: there is no pity, no compassion, only the cold fire of sensual exaltation, the desire to penetrate the hidden corners of human depravity. But Bryusov is not a psychologist, and his paintings of sensuality and cruelty are just a brightly colored carnival. The main work of Bryusov in prose is Fire Angel- the best, perhaps, Russian novel on a foreign plot. The plot is witchcraft and the trial of a witch. Appear Dr. Faust and Agrippa of Nettesheim. The novel is imbued with a genuine understanding of the era and full of "erudition", like the novels of Merezhkovsky, but free from the naive sophistication of this author and incomparably more entertaining. In essence, this is a very good, skillfully constructed historical novel. The landsknecht's calm manner, in which he tells about the terrible and mysterious events that he witnessed, makes the novel a particularly exciting read.
Bryusov's second novel - Altar of Victory(1913), which is set in fourth-century Rome, is far worse: the book is long, dull, and lacks a creative element.
Valery Bryusov is an adherent of symbolism. His works cannot be taken literally, one must be able to unravel the symbols that he put into them. The poem "Creativity" describes the process of creating creation. The idea is sent to the reader in vague symbols, for example - "hands are half-asleep drawing." In the poem, it seems that the author is watching the process of writing from the side, showing how long creation can be.
In the first lines of the work, one can catch the author’s thoughts that he cannot wait for the moment when a new poem is ready in front of him. This is presented in the form of long reflections and dreams. Many, incomprehensible at first glance, symbols are used by the writer. Thus, it becomes clear which direction the writer prefers.
Throughout the poem one can feel the inspiration of Bryusov. The author managed to create a certain atmosphere, as he used special words (mystery, silence, night). In the first stanza, the writer mentions "uncreated creatures", and only in the last stanza do we see "created creatures". The writer keeps secret the whole way of writing, this can be understood, since everyone must find his own.
The writer uses a special composition. Each last line of the couplet is the second line of the next quatrain. In this way, Valery Bryusov put emphasis on certain phrases. At the beginning of the work, everything is described to the reader not clearly, just a shadow, and at the end everything approaches the moment of insight, thoughts become clearer.
It can be deciphered by symbols. First, the author uses fuzzy images (transparent stalls), by which the writer makes it clear that at first it is not yet clear how exactly the poem will turn out. At the beginning of the path, there are only sketches, and only at the end will “creation” appear before us.
Symbolists are very fond of focusing their works on certain sounds. In this work, the emphasis is on the sounds: r, s, z. They create an incredible atmosphere, give musicality. At the end of the poem, the author clearly creates an image of his state, shows the charge of strength and the inspiration that has come.
Analysis 2
Surprisingly, people exist in two different worlds. On the one hand, we live in the world of actual reality, the very material world that we can touch, transform and interact with. On the other hand, the world of consciousness and imagination is always open before us, which is something like a vague reflection of external reality, some hints of feelings and similar elements.
By the way, here we need to recall the words of Bryusov himself, who called symbolism the poetry of allusions. Probably, we are also talking about vague hints of consciousness that appear in the inner world of the poet, semantic hints that can be barely perceptibly fixed in words and reveal multi-layered constructions of meanings.
So, the poem Creativity is a kind of description of this fixation of hints, an attempt to look at the transformation and, as it were, the overflow of the external into the internal and vice versa. If you describe outwardly the situation of this poem, then everything looks rather banal, if not abnormal. A man sits and looks at the wall, sometimes out the window at the evening city, trying to catch some drawings in the shadows on the wall.
Of course, from the practical point of view, such an occupation not only has nothing expedient, but may also cast doubt on the reasonableness of the performer of such an action. Nevertheless, Bryusov slightly reveals the creative process to the reader and allows him to look, so to speak, over his shoulder at the work process.
Here is some idea that exists only in the space of ideas, far away in the other world. "Shadow of Uncreated Creatures". At the same time, there are indeed some shadows on the wall painted with enamel mixture in Bryusov's dwelling.
The poet, like an ancient soothsayer or sorcerer, who looked into the fire of a fire or at the veins and intestines of fortune-telling animals, peers into the shadows, trying to get an answer from eternity. It destroys the boundaries of ordinary perception “draw sounds”, that is, sounds become drawn. At the same time, he or someone else takes part in this practice, because purple hands begin to create shadows.
New images and meanings appear, which rise under the moon from this world, but also from the consciousness of the author. "Transparent stalls", "grow up like sparkles." At the same time, the outside world gradually submits and the poet feels “sounds caress me”, and then “mysteries of created creatures”, that is, some incarnations that the poet was looking for in the shadows at the beginning of his poem.
Analysis of the poem Creativity according to plan
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Sections: Literature
Lesson Objectives:
- to acquaint students with the main features of symbolism on the example of the analysis of poems by V. Ya. Bryusov; to know the secrets of created creatures; lay the foundation for further acquaintance with personalities, individual poetic styles of the symbolists;
- develop the skills of analyzing a poetic work, the ability to find means of artistic expression, to determine their role in poems.
Forms: heuristic conversation with elements of a lecture, analysis of poetic works by V. Ya. Bryusov.
During the classes
I. Organizing moment
II. Introductory speech of the teacher
I would like to start our lesson with the following lines:
Shadow of Uncreated Creatures
Swaying in a dream
Like blades of patching
On the enamel wall.
purple hands
On the enamel wall
Sleepily draw sounds
In the resounding silence...
And transparent stalls
In resounding silence
Grow like glitter
Under the azure moon.
The naked moon rises
Under the azure moon...
The sounds are half asleep
Sounds caress me.
Secrets of the created creatures
caress me with affection,
And the shadow of patching trembles
On the enamel wall.
Who could write these lines? "A madman whose place is only in a psychiatric hospital" - this was the opinion of many contemporaries of the author of these lines. And this poem was written by Valery Yakovlevich Bryusov, one of the most prominent representatives of the Silver Age.
I think you will agree that everything in the poem is unusual, does not fit into the usual framework. “Purple hands”, which “draw sounds”, “naked moon”, “sounds are caressing”… Nonsense, absurdity!!!
But, looking at the paintings of Marc Chagall (Appendix, slide No. 2), the cubic faces of Picasso (Appendix, slide No. 3), or the indefinite figures of Vrubel (Appendix, slide No. 4), we will see that art itself was so - absurd, delusional but not meaningless. This era of the turn of the century required new forms in art. And in literature, V. Ya. Bryusov finds his way - SYMBOLISM.
Who is Valery Bryusov? (Appendix, slide number 5), The first Russian symbolist, the personality is simply unique. “Dozens of lives will not be enough for me to express everything that is in my soul,” the poet wrote. An encyclopedically educated person who could read from the age of three, at the age of 11, having a rare memory, could almost verbatim retell not only the favorite works of Poe, Jules Verne, but also the philosophical reflections of Darwin, Laplace, Kant. Since 1921, he has been at the head of the Higher Literary and Art Institute, created on his initiative, where he teaches the history of Greek, Roman, Russian literature, the grammar of Indo-European languages and ... the history of mathematics. The scale of his intellectual activity is gigantic. The thirst for creativity is unquenchable.
In 1894-1895. Bryusov publishes three collections of "Russian Symbolists", which include his own translations of the French Symbolists, his own poems and poems by beginning poets. It was from that time that he declared himself not only as a symbolist poet, but also as an organizer and propagandist of this movement.
So, the purpose of our lesson is, by analyzing the poetic works of V. Ya. Bryusov, to determine the main features of such a literary method as symbolism.
III. Analysis of signs of symbolism
1) Let us turn again to the previously read poem (the name of the poem is not announced to students)
Exercise: write a comment on this work, try to understand what the author is trying to convey to the reader.
The poem outraged the readers of that time with its seeming senselessness. Philosopher and poet Vl. Solovyov wrote a parody where he ridiculed the "double moon". Sensible comments on this poem were published: “Shadows of domestic patched palms (blanks for bast shoes) are reflected in the tiles of the stove, shining like enamel, behind a large lantern opposite the window, resembling an azure moon, you can see the sky, where the real moon is already rising.”
Everything, it would seem, is clear, but the poet gives a special name to the poem - "Creativity". This means that the author showed the process of creativity, revealed the secret of "created creatures."
Exercise: write down the words, phrases, denoting the path of creating creation.
"Uncreated Creatures"
"Swaying in a dream"
"Damn in a dream"
"Sound-sound"
"They Grow Like Glitter"
"Sounds are fading"
"Sounds roar"
"Created Creatures"
Exercise: write again a short comment, taking into account the analysis carried out together with the teacher.
(An exemplary comment: “In a dimly lit room, everything is changing in anticipation of inspiration. The creator-poet sees a different world behind the ordinary surrounding world, the sound of future poems is heard, images vaguely float, making the world strange, not at all like the usual one.”)
“The creations of art,” Bryusov wrote, “are half-open doors to Eternity.” We have come to one of the main signs of symbolism - duality. The world is real, earthly, and the world is of other being, higher, perfect. A poetic creation is hardly perceptible, inspired by another, another world to the poet.
2) Having determined the ideological concept of the poem, let us turn to the figurative and expressive means by which the author creates artistic images.
(Exemplary analysis: uncreated creatures is an oxymoron;
swaying in a dream, fondling with caress, sounds roar - personification;
like blades of patching - comparison; purple hands, a naked moon, transparent stalls, the shadow of patching trembles - a metaphor;
in sonorous silence, azure moon - an epithet).
The poet-theurge through a mosaic of symbols: vivid metaphors, unusual comparisons, epithets, oxymorons - leads us into the unreal world, into the eternal, perfect world. In poetry, the Symbolists rooted not accessible to everyone, rather elitist, in the words of Innokenty Annensky, "a fluent language of hints and understatements." In the poetry of the Symbolists, whole nests of word-symbols, word-signals appear, which are given a special mystical meaning.
The second sign: Unusual content is clothed in an unusual form.
3) Question: Was the meaning of the poem clear at the beginning of the lesson? What allowed us to grasp the depth of the content of the poem? (analysis from different angles)
The third sign: Calculation for an elite (prepared) reader.
4) But not only an unusual mood, unusual symbolic forms attracted Bryusov's attention to symbolism.
Exercise: Determine the main idea of the poem "To the Young Poet" by analyzing the "precepts" of the author:
“Do not live in the present, only the future is the domain of the poet”;
“Do not sympathize with anyone, love yourself infinitely”;
"Worship Art".
The first testament confirms the idea of two worlds.
The second one shows adherence to the traditions of poetry of the 19th century: the definition of the special role of the poet's personality, its brightness, and primacy. “In poetry, in art, the very personality of the artist is in the first place, any communication with the soul of the artist is a pleasure,” writes V. Ya. Bryusov.
And the third shows that the Symbolists had great faith in art, in its supreme role, transforming earthly existence. They put art above life. And it is Bryusov who owns the words: "Art, perhaps, is the greatest power possessed by mankind."
IV. Conclusion. Summing up, the signs of symbolism can be arranged in the following logical scheme
(Appendix, slide number 6):
V. The results of the lesson.
D / z: compare the poems of V. Bryusov "Dagger" (1903) and K. Balmont "Fantasy" (1894), determine the features of the poet's poetic skill.
Bryusov is better to start with brief information about the poet, especially since he is an outstanding personality.
Valery Bryusov burst into the world of poetry at the end of the nineteenth century as a representative of the "young", new poetry (symbolism), created by him following the example of the French Verlaine, Malarmet and Rimbaud. But not only symbolism interested the young poet at that time. Somehow he puzzled the audience with his outrageous monostiche about pale legs, thus declaring the artist's right to unlimited creative freedom.
Fortunately for connoisseurs of poetry, Bryusov did not limit himself only to experiments: he developed his poetic talent, filling his works with historical events and images from his own life. Often, he made the characters of history or myths the heroes of his poems, being under the influence. The appearance of more and more collections was an illustration of how Bryusov's poetic skill grew and strengthened.
But the poet valued freedom above all else. In his early poem called "Creativity" there is no specific hero, or rather, he is a contemplative. And the reader sees what is happening through his eyes.
But the analysis of Bryusov's poem "Creativity", like any other work, must begin with an indication of the day and year of its creation. It was written on the first of March 1895 and was included in the collection of "young" poems "Masterpieces".
An analysis of Bryusov's poem once again confirms the author's main idea that the artist is free to choose a theme, and even the mystical process of creation can become one.
The fact that the work refers to symbolism says a lot. For example, the vocabulary that the author uses to depict strange, unusual images: the blades of patching (leaves spread out in the form of five), like purple bizarre hands on the enamel wall, draw not lines, but sounds, without disturbing the “vociferous silence”.
A strange fantasy world appears before the reader: transparent pavilions (“kiosks”) appear from nowhere, “uncreated” creatures, shining in the light of two moons, or rather, the azure moon and the “naked” (without clouds) month. And this whole process is shrouded in secrets and dreams.
Analysis of Bryusov's poem revealed the use of such expressive means as color painting and sound painting. The text allegedly contains violet and azure colors, and for some reason the enamel wall is associated with white, although, apparently, the quality of its surface was meant - smoothness. The sonority of the frequently repeated "l", "r", "m" and "n" is designed to create a feeling of slowness, smoothness of movements, as if everything is happening under water. The music in this poem is amazing!
Compositionally, it is constructed in an original way: the last line of the quatrain becomes the second in the next four lines. An analysis of Bryusov's poem shows that the lines, repeating themselves, interlock with each other, creating a continuous stream of fantastic consciousness and feelings.
Bryusov unfolds the poem "Creativity" slowly, as if to say that nothing is created immediately, you can never know anything for sure. The images are unsteady, fuzzy, they are gradually guessed by the lyrical hero. Perhaps this painful process of searching for the essence is called the “torment of creativity”?
All Bryusov's poems devoted to the process of creation are united by one main idea: creativity is infinite and free, it cannot be comprehended, it is afraid of clarity and loudness. As soon as an illusory image appears in a bright light under the gaze of an inquisitive critic, it immediately crumbles, giving no opportunity to study it closely and carefully. Such is its airy and fragile nature!
