Analysis of Bryusov's work. Analysis of the poem “Creativity”. TV from literature. Analysis of the poem “Creativity” by Bryusov

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Our mission today is to get to know the work of V. Bryusov, to understand how symbolism emerged from his creativity.

Nina we will listen to you biography information Valery Yakovich Bryusov, and then we’ll talk about his creativity, about his poetry.

- Let's guess what symbolism is ? (Literary and artistic direction, which respects the mystique of understanding light unity through symbols). RECORD

Features of symbolism:

1 . Lozung: “Mystery for mystice”

2 . Mystical place

3 Image - symbol

4 . Expanded artistic expression

5 . Mutual contribution to mysticism and religion

6 . Object of worship - Eternal Femininity

7 . The greatest form of creativity is music

8 .Vocabulary emphasizes metaphors, broader expressions, and complex phrase structures.

1 . Bryusov was determined to create a new poetic school in Russia, based on the influence of the French Symbolists. Symbolism was no longer a literary school, and ancient symbolism had to be refined, refined by poetic elements, in order to better understand the light of the day.

From the beginning of its existence, symbolism emerged as a heterogeneous stream. D. Merezhkovsky and V. Bryusov became the “senior symbolists”, who understood symbolism as a literary school. The Moscow wing, which grouped around Bryusov, was surrounded by a new literary trend. Its main principle is “mystery for mystice.” One of the iconic achievements of Bryusov is "Creativity" (1895) :

What are the features of this verse?

Significantly characteristic vocabulary and images: shadows, sleep, silence, nothing, temnitsi, month; light-colored: violet, black (chervony); sound recording: clearly expressed aliteration - the sound of smooth sonorous voices “l”, “m”, “n”, “r”, which always sounds like a flow of sounds that is enchanting. Music for symbolists is the greatest form of creativity, which gives maximum freedom of self-expression and creativity. Symbolism was maximized using musical compositional techniques in poetry. There is a significantly original way of connecting stanzas: the remaining row becomes different at the next stanza. It is significant that, as the image of creativity is gradually created, the statements in the name of the verse are reminiscent of the images of Plato’s philosophy: activity is unknown, it is difficult to guess from the blabbering shadows and sounds.

Sing - the symbolism was oriented to a particular reader. This is not a student, but a student of creativity, a singer. It is important to convey the thoughts of the author, and to be in the readership of his thoughts and thoughts, to understand his thoughts, to develop intuition, to form associations.

2 . For Bryusov, symbolism became a subtle and even precise means for expressing the most diverse moods and details, the creation of complex images and the isolation of peoples and lands in one hero. Inheriting this vision, he sings, immersed in history and mythology, and takes away knowledge, becoming stagnant in his creativity. Working with vivid images, Bryusov tries to find the principles of change, hidden by history. The symbolist sings and accepts current world as “fucking-dr_bny, wrong, negarny.” Every day, today and tomorrow, Bryusov is trying to find the right thread of the story. The textbook highlight of this theme is “Assargadon”, which, as a lyrical hero, has a strong, uninterrupted peculiarity, the Assyrian king - the conqueror of the 7th century. Assargadon, and more precisely Esarhaddon. On the wall in Syria there are inscriptions about his poor victories. Assargado n (17 breast 1897)

1. What kind of specialties earned respect? (The beginning and end of the sonnet are avoided; repetitions are used to enhance the expression)

2. Who is the lyrical hero? What does he reveal about himself? (The lyrical hero is brave, important, he does not know the defeats, the military failures, how to stand above the odds. Assargadon is a commander, built to help his mind, strength, energy to overcome historical challenges)

3. Describing Assargadon, Bryusov’s vikorist’s story, can you find them? (Russian people characterize the tsar as a person who forgot about simple people, what made the world proud)

4. What about the happy lyrical hero? Why? (No. Unrespectful of their greatness, of their own)

5. What form did he choose to sing for his lyrical work? (sonnet form)

6. Let's guess what a sonnet is? (there are at least 14 rows, which interferes with the washing system)

7. What features of the composition did you note? (the first two stanzas are an affirmation of the greatness of the king’s power, the remaining stanzas are the hints of his ruinous rule)

8. What is your goal for Assargadon? (He cries out pity, his life is ruinous, and mankind is created to die.)

3. At the next day "Sonnet before form" (6 rubles 1895) Bryusov explains his views on creativity.

On the subject: The sonnet has a top of 14 rows, which creates a system of rimming.

Thin Volodar ligaments

Between the contour and the smell of a flower.

What is a contour?

Circuit, external look, figure, image and so on.

How do people seem to perceive everything you named?

Zorom.

By smell.

What do we call the light that is perceived by the eye?

Can you add some smell?

This is invisible, this is invisible light. Why are the links thin? Who has the meaning of this word?

Thin - ice catchable, invisible and so on.

Why are the authorities? What is the root of this word?

Vlada is strength.

The contour and smell cannot be dissolved.

On the subject:

symbolism of beams creative literary

So the diamond is invisible to us, yet

Under the edges there is no life in diamonds.

What is a diamond?

Robbery diamond.

What do you call a person who digs a diamond in a diamond?

Come out, the jeweler shows up, but we don’t care.

On the subject:

T like the images of everlasting fantasies,

Why should I run? , like the sky is gloomy,

Skam'yaniv , live for a hundred years

At the end of the phrase.

Try to capture the image of a flower, just a flower. This is very important. Images, thoughts, people seem to be cunning, fluid, the stench flows itself. How can you pin them down?

“Vigostrena phrase” - tse yaka?

Harmonious, proportional, sophisticated.

Can you guess the diamond?

(Version option.)

Who is telling this?

And I want all my dreams to

Those who have reached the word and the light,

Found your own basil and rice.

What does the phrase mean: “The dreams have reached the word”?

(Options for versions.)

And “the world has gone light”?

You can get a little more of them.

On the subject:

Find out the first synonym for the word “rice”.

What is the value of a diamond in a diamond?

Once again we marvel at the title of the sonnet (“Sonnet before form”).

Who can give shape to a diamond?

Dreams, fantasies, thoughts?

Hello my friend, having cut open the volume of the singer,

Sink into the new and stringent sonnet,

And writers of calm beauty!

What are the key words here?

Vp'єtsya, stringency, beauty.

What's so good?

Kvitka, diamond, sonnet.

On the subject:

And who is the prisoner of beauty?

That jeweler sings.

On the subject:

As we exchanged words, the jeweler sings to give form to her experiences and to a precious stone, in order to infuse those that are invisible to others, and infuse them with the laws paint it.

And the symbolists boldly believed that her creativity could change life more beautifully, not just decorate, but change itself, and, first of all, people.

They respected themselves as the creators of symbols - diamonds, looking through them at the light, reading with insight and following the first-class curves, conquered by the beauty of their creations.

Their hopes were fulfilled - different nutrition. But in the history of foreign literature about Valery Bryusov, more than two rows have been written.

4. - Mystery according to Bryusov, is valuable in its own right. Artistic gift and creativity are worshiped like a deity. To illustrate this, let's read the chapter “To the young poet » (1 5 lipnya 1896)

And now let’s comment on it. How can she sing, what kind of wickedness is her mother guilty of? Based on this question, quickly follow the quotes from the text. (“Don’t live in the same way, only the one who will come is the realm of the poet”, “don’t sing to anyone, love yourself endlessly”, “worship mysticism, only that one, irrespectively, aimlessly”).

How is Bryusov's meta-verse? (Bazhanna helped the youngsters “with burning eyes” to love themselves, to trust in the power of power, with the honor of conquering the duties of the poet, to carry the ensign of poetry to the end, to worship mysticism, so that the mischief of those whom you follow will not trip you up, not for extinguish the heat of your youth heart).

Can you say that it should sound like a manifesto? Why?

How do you respect how many rocks Bryusov suffered? When did you write this verse? (23 rocks)

Why did your thoughts change? (At the top, the lyrical hero gives advice to future poets, but perhaps the mature one sings)

What does Bryusov allow himself to do? (in his own right, whose symbolism is valid for a long time)

What kind of elements of the poet can you see? (Creative goodness, self-satisfaction)

5 . ІсThe story of the sonnet « Fatal series"

And Bryusov has a marvelous collection of sonnets, “Row of Fate.” The wreath itself is one of the most important poetic forms, and not everyone can get away with its strict rules. Bryusov - the master of the world - needed all this year to create fifteen sonnets in one day to create this wine, so that, with the help of the author himself, one day per sonnet!

Dovidka abouteveryday sonnet"Fatal Wine".

(A collection of sonnets is an architectonic form of a poem that consists of 15 sonnets. A collection of sonnets will be like this: the thematic and compositional key (basis) and the main sonnet (or main line), which concludes with itself; this, this the eleventh behind the rack, the sonnet is written earlier for others, for some, the first sonnet begins with the first row of the main and ends with another row, the first vertex of another sonnet repeats the remaining row of the first sonnet and ends with this sonnet with the third row of the main, and so on - until the rest, 14 th sonnet, which begins with the rest. row of the main and will end with the first row, closing the ring of rows. In this way, the 15th main sonnet is composed of rows that have consistently passed through all 14 sonnets.

Kozhen iz completed the cycle of dedications to real characters - women, whom whenever he loves sings.

A good knowledge of the form of a collection of sonnets (diagram compiled by the teacher) Visnovok: The title of the sonnet is hooting with yogo shape, There are so many reasons that the composition predicts the flower. And this gives no power to the master.

6 . Virsh "Stepping guns" Valery Bryusov wrote about the whole river and finished the 10th sickle of 1905.

In “The Adventing Gunas” the most inflamed and again reveal its pre-revolutionary plans and understandings. Replacing, plundering, destroying, depriving - the axis of the main sense of the revolution, which is what Bryusov believes. What will happen next, what concrete light will come from the ruins of the past, what will happen in reality - everything appeared to Bryusov in an abstract form.

During the rocks of the first Russian revolution, Bryusov lost faith in the unity of human culture. He happened to physically realize that his companions and companions in literature stand on the border of two cultures - one and the other.

When talking about the “coming guns”, we must not talk about these barbarians, a whole bunch of whom Herzen passed on. At the same time, it sounds like a transference of the sounds that never failed to follow. One stanza begins like this:

Stack books in abundance,

Dancing by this joyful light,

Create a guide in the temple,

You are as innocent as children!

And we, the sages, sing,

Protect the prison and believe,

Vinesemo ignited light

Near the catacombs, deserts, ovens.

In other words, having transferred the spiritual sub-field, it is possible to destroy culture if the “advancing guns” create old “books of riches”.

Bryusov’s greatest and, arguably, most powerful masterpiece, “Advancing Guns,” miraculously demonstrates the ideology of the ancient age.

Devi, the guns are coming,

What gloom hangs over the world?

I feel your tupit chavunny

We will not yet discover the Pamirs.

And the poem ends like this:

Known without a trace, perhaps,

What only we knew.

Hello, whoever makes me poor,

I sing with a vital anthem.

Huns, both barbarians and ruiners of the old culture, revealing themselves as revolutionaries

7. - Also, in Bryusov’s early poetry one can see the rice of decadence. Let's first guess what this term literally means? (Decade is the secret name for the crisis phenomena of European culture of the 2nd half of the 20th century, meaning the mood of hopelessness, the unpleasantness of life, the tendencies of individualism. Constant themes include the motives of non-existence and death , dedicated to spiritual values and ideals).

Okay, let's read the verse "Dry leaves » (1 913) And the risks of decadence are clearly visible, and perhaps the risks of what we need to remember.

With great respect for the color scheme, what colors are important can be found in the text? (dark, black, blue, shining, clear)

What images are present in this verse (dry leaves, dark wind, blue sky, distant vision, black dust, spring flowers)

Which image appears to you differently from others, differently, and why? (spring flowers, smells create a cheerful mood, to be replaced by other images)

Ozh, how are the rice of decadence mi bachimo? (darkness, dark nature, theme of death)

Okay, what is destroying this rice? (the purity of life at the end, nature has died, so that it can rise again in the spring).

As an epigrapher before the lesson, we will take the words of the poet himself: “Since our scripture still allows one to read, since one can catch the sculptor’s mind behind the chosen tricks, then the soul of the creator has not died and for us to live” . How do you understand these words?

Valery Yakovich Bryusov is a Russian singer, prose writer, playwright and historian. One of the founders of Russian symbolism.

Starting at the Moscow private gymnasium of F. Kreiman, then moving to the gymnasium of the famous teacher L. Polivanov. For thirteen years now the Bryusovs have become writers. The number of interests of the high school student Bryusov is literature, history, philosophy, astronomy.

In 1892, he joined the Moscow University in the historical department of the historical and philological faculty, and began to study history, philosophy, literature, literature, literature (ancient and modern). At the end of 1892, young Bryusov became familiar with the poetry of French symbolism - Verlaine, Rimbaud, Malarme - which gave great influx Keep creativity away.

Born in 1894-1895 There is a small collection of “Russian Symbolism”, most of which were written by Bryusov himself.

In 1895, the Bryusovs saw the book “Masterpieces”, in 1897 - the book “This Is” about the world of subjective-decadent experiences, which voiced his centrism.

In 1899, having graduated from the university, he became involved in literary activity. For two years he worked as the editorial secretary of the magazine "Russian Archives". After organizing the publication “Scorpio”, which began to publish “new literature” (the works of modernists), Bryusov took an active part in organizing almanacs and the magazine “Teresi” (1904-1909), the leading magazine of Russian symbolism.

In 1897, the Bryusovs became friends with Joanna Runt. Vaughn was the companion and closest assistant to the singer until his death.

In 1900, the book “The Third Watch” was published, after which Bryusov, having rejected recognition, sings like a great man. In 1903 he published the book “The City and the World”, in 1906 he published “Winok” - his most beautiful poetic books.

At the rocks of the first world war, Bryusov was at the front as a correspondent for one of the St. Petersburg newspapers, writing patriotic ideas, but suddenly turning away from the front, realizing all the stupidity of this war for Russia .

In writing sonnets, he sees the collection “Afterwards”, working on the grandiose work “Dreams of Humanity”. Then the biography of Valery Bryusov enters the stage of work on the Virmen culture. He publishes a collection of “The Poetry of Virmenia” (1916), including “Chronicle of the Historical Shares of the Virmenia People”, statistics.

Poetic creativity was also very intense and productive: at the beginning of the 20s, five books of new achievements were published, among the most recent – “These are the days” (1921).

Seen as a well-known translation, translations of Vermen poetry and Verhaeren's poems are especially common. Bryusov, having worked extensively in the learned Russian language, made significant contributions to the research of the creativity of Pushkin, Fet, Gogol, Blok and others. , in seminars on the history of the Ancient Landscape and in. M. Gorky called Bryusov “the most cultural writer in Russia.”

On June 9, 1924, before reaching the age of 51, Bryusov died near Moscow from a lobar leg. Congratulations on Novodivychy Tsvintari.

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Analysis of the poem “Creativity” by Bryusov

The works of Valery Yakovich Bryusov are rich in symbolism and imagery. The smells are not immediately understood by the reader the first time, you need to delve into them, re-read them several times in order to fully understand and absorb their rich meanings. For an unprepared reader, this book “Creativity” may seem like the madness of a divine person.

“Creativity” was written in the birch of 1895. This went back to the first collection of Masterpieces. Whose poem sings reflects the process of creating something new, a creative process that is not entirely understandable to the inhabitant. The very stupidity and imagery makes the reader feel like God.

The top has no clear lyrical hero, no logically connected phenomena. Everything is presented – images, symbols, process. The singing world of creativity is represented by logic, it is ephemeral, illogical, disjointed. The creative walk is filled with darkness, darkness, unsettled unceasing creatures and shadows. The chamber is only revealed when the process is completed, when the creator reaches what is needed and reveals his or her form to the light.

It speaks of insignificance and evokes a kind of mysticism and the composition of the top: the remaining row of the next row is repeated in another row of the next one. This is created by the cyclical nature, the closed nature of creation. The images in the work are created with the help of their own vocabulary - “purple hands on the enamel wall”, “patched shovels”, “tinkling-sounding silence”.

Bryusov's vikoristic approach is as uncharacteristic of literature as a colorist and a sound writer. The entire text is permeated with violet and black shades, the enamel wall creates the appearance of white, but is consistent with its color and texture. Aliteration creates a musicality in the work, regardless of the presence of any dynamics. Sings loudly, representing the wondrous, fantastic light of the creative process, filled with color, sound and, not surprisingly, ringing-sounding silence.

The text is written in four-footed trochaic, the foot is double-folded with a head in the 1st fold, the rima is crossed, with a human and female figure. How the literature receives victorious epithet (“violet hands”, “on the enamel wall”), metaphors (“ringing-sounding silence”, “month of nakedness”), isolation (“kiosks are growing up”, “sounds are lapping”, “shadow is trembling”) ).

Creativity is illusory and infinite, and cannot be touched by the world again. The illusory image grows, disintegrates in the bright light under the gaze of the critic, not allowing itself to be looked at by an outside eye, because such is its nature.

CREATIVITY Valery Bryusov

The shadow of uncreated creatures moves in my sleep, like a shovel to patch on the enamel wall. Violet hands On the enamel wall Sounds sleepily recline In the ringing-sounding silence. And the openings of the kiosks, In the ringing-sounding silence, The twinkles are growing, silent, At the dark of the month. The month of nudity is coming. During the dark month... The sounds of mooning sleepily, The sounds of caressing before me. The secret places of creation caress me with affection, And tremble the shadow of the patches on the enamel wall. 1 bereznya 1895 rub. In the last years of the nineteenth century, symbolism as a literary direction flourished in France, becoming almost unknown in Russia. In 1892, Valery Bryusov, who started at the Moscow gymnasium, read an article about the French symbolists and was inspired by the idea of creating a similar direction for mysticism on the Russian soil. “What if I decided to write a treatise on spectral analysis in my Homeric style? I wouldn’t be tired of words and expressions. The same thing, I decided to write a Fin de siçcle in Pushkin’s language!” - write Bryusov to the schodennik of 1893 fate. For Bryusov, symbolism of the 90s is the “poetry of tensions,” a foggy and cunning reality that appeals to the senses of people, as incomprehensible and distant from logic as poetry itself. Vin begins with translations, most importantly the works of Verlaine, and spends a little time working on the foundation of symbolism. When in 1895 the book "Creativity" came out into the world, it overwhelmed Russia, which it reads, to the depths of its orthodox soul. How loudly, and having kicked Bryusov. His whole image, his manner of speaking, his whole life at that time followed one goal: to antagonize the public, to convey that everything is possible, to turn respect - to himself, to poetry, to symbolism. Symbolism began to pour mysticism into life, and the mysticism of life, brightening the vision, a clear facet that reinforced classical poetry, a whole world of mentality, and real life. Versh "Creativity" is entirely consistent with the intended goals. Literary enormity, authors and critics have recognized three collections under the blasphemous title “Russian Symbolism” as a recent development, and the style of the young authors is being pushed aside. Regardless of the form, Bryusov’s vertices are entirely consistent with classical phenomena. “Creativity,” which shocked the enormity, is written in a classic four-foot trochaic, with overlapping verses, with female and human rimes that alternate, with five stanzas in several rows... The classicism of the form is reinforced beyond belief replaced modernism. Particularly in the storm of calling out “the last month”, V. Solovyov’s parody of Bryusov’s poem. The month of nudity is coming In the dark month... Later, we tried to find out a rational, more logical explanation for the painted landscape: “the dark month” is the whole light behind the window, similar to the month in the light Let's go on the last month. Maybe so. However, it seems to me that Bryusov could completely master the harsh logic, depicting the “month” as metaphysical, a symbol of the new creation, perhaps, the Creation... “The month of nudity will come with the dark month...” The versatility and openness of the Symbolists who voted for poetry - the broadness, the nakedness of the month. The whole story is an inflamed description of the secret process of nationalization, when the distant, incomprehensible sounds of the yet uncreated creation rattle in the shadows “on the enamel wall”, “the edges of the shovels are patched”. The sanctuary is already singing, it is already searching for the sound, it is being heard in a distant whisper, and in the everyday, mindless, at first glance, there are signs of the great, in the gray shadows on the enamel wall one can see the contours of sounds. The theme of creativity is clearly indicated in its title: “Creativity.” Already the first row: “The shadow of uncreated creatures...” - shout at the top of your voice about those whose creations have not been created until now, their very “uncreatedness” bears respect for the possibility of people, the possibility of being created as an axis. The tautological repetition makes it all the more powerful by emphasizing respect for the creation, in spite of its timeless uncreation. Creativity, curiosity, the creation of a new thing - an unclear, over-reasoned process, an uncontrollable logic, and, it would seem, invisible behind the meanings. Ale Bryusov takes the liberty to describe and talk about my unknown tensions, symbols, sketchy contours and the ripples of their mixing of watercolor colors. The whole verse “hides in your dreams”, visible through the clarity of the song, through the verbal measure, mute algae across the tide of green water. Inconsistency, but also a psychologically natural stream of thought: like and like the shadow of the uncreated, the shadows of the patchwork sway on the wall before the eyes of the singer. From the elusive expanse of creativity and metaphysics, we move with a jerk to the expanse of the real, which has reluctantly emerged from the metaphysical. Further, the metaphor is logical, since between the feathery shadows of indoor palm trees and the shadows of “uncreated creatures” a sign of equality is drawn. Violet hands On the enamel wall Sounds sleepily recline In the ringing-sounding silence. The painting, linked to the metaphysics of creativity and association, is evidently, even photographically, daubed with a metaphor: the shadows of brass, like purple hands, sway on the enamel wall. But now, Mitya sings again, displacing the boundaries of reality, making the sound visible, empowering and allowing a little silence. The metaphor flares up, violet hands crisscross the wall, the rhythm of the top that becomes popular. And the ring of silence deafeningly roars from the reader’s voice, two reinforcements with sound writing (“dink-sounding”, sound) and an oxymoron-speak (dzvinka-sounding sound). He sings already having caught the rhythm, the melody of the top, the work of thoughts is intense - and the serenity of the call is serene; as if a tedious glance moves to the window, passing by the signifi- cance of the city. Behind the window, illuminated by the “blue moon”, there are openings of kiosks, which in the uncertain light shimmer pearlescently, “glittering skies”. The first story is a prelude, it sets the mood, announces those “uncreated creatures” that are ready to be born. In another - the beginning of the work, the creative process is already gaining speed, sings, listens to silence, marvels in the shadows - the contours of the new are beginning to unfold. The third verse, the dissolution of the creation, which both formally and semantically may become the center of the entire verse, undeniably reflects the external landscape, but smoothes out the tension of the other stanza. Changing speed? No, no at all! The formal center with all the outward calmness (a carefree look that finds the corner of the tedium in the windowed landscape) and calmly rings the “ringing-sounding silence” of creative tension. Singing is not a robot. On the right, the process of creativity includes not only the room, but also all the light outside the window, objective reality . The expanse opens up, the hearing glance of the singer, the growing, knowing boundlessness - and fits in the wind, without losing boundlessness. A similar phenomenon occurs over time. In the third, Bryusov’s character changes the tempo, without changing the fluidity and without changing the rhythm. The undisturbed nature of the landscape is even more noticeable - the “openings of the kiosks” that grow ever larger in the light of the month - contrasting with the intensity of the poet’s thoughts, the fluidity of thoughts that are not depicted by Bryusov, is given an additional pressure on them - keep the bells quiet. The fourth stanza marks the upcoming stage: the contours have already become clear, most of the work has been fragmented, and - The month of nudity is coming. The bare month of creativity in contrast to the “black month” of the real world is simply darkened. Please go to this very reality, this space is as big as an hour, like a month. The metaphysical action of creativity again overlaps with the logical action that is familiar to us. "Month of Exposure" is symbolized by the creation of the creation. The poet succeeded in smearing the shadows of the sounds that swayed throughout the dreams, taming the element of the word - and the axis is already proudly saying: “sounds caress me,” - tamed sounds. Anaphoric cob - The sounds of mooning sleepily, The sounds of caressing until less... - a consistent tempo, vibrating, giving smoothness. He sings having completed his work, and now gets on with his work, watching the people. Sounds come to life in isolation, nurturing towards their creator, like a child or a gut, a creature begins to live, breathes - already on its own. The remaining, fifth verse turns us back to the beginning: the creation is created, sings having completed its role, allowing the verse to be born. The whole stanza is a string of repetitions that locks reality around the ring. There is a lot of new image here: the beginning of the stanza (“The Secret Places of Creations”) - with a few changes, the first row of the top. Another row of chotirivirsha ("To caress me with affection") - repeats the connection between the fifth stanza and the fourth. The image, painted on the final two rows - And the shadow of the patchwork on the enamel wall - this is the image that goes on the top of the cob and completes it, leading between. On the enamel wall and at the “great” world, nothing has changed for a century, and now the process of creativity has ended with the people of the new. “The shadow of uncreated creatures...” - sound on the cob of creation like a foggy obscenity. The secret places of creations caress me with affection! - he sings proudly in the remaining stanza. Two rows, created and uncreated, are juxtaposed one by one, and the same row repetition reinforces the idea of creation, creation, affirming the triumph of creativity. The entire top of the zagalom is sprinkled with a ring composition. Those, how to hum, unite, first the rest of the strophe, I have already shown. There is not a single repetition in the top fabric. The remaining row of the cutaneous stitch is repeated in the next stanza, in another row. The axis of the row is from the third in the direction: ...Begin to shovel the patch on the enamel wall. Violet hands On the enamel wall... A series that just sounded, when I tried to wash it became quiet, and still trembled on my tongue, in the air, in the wind, it seemed like the moon, already approaching the new stanza. Therefore, the whole world is permeated by the same thing for the young rows of Rome: in the dreams - the walls; stіni – quiet; quiet – months; Misyatsyu - before me; before me - stіni. In addition, it is necessary to note one more feature in the division of the poem into stanzas. On the one hand, this approach is very natural and logical. The first stanza transfers the camp of the singer to the cob of creation. Another - shows how the main contours of the future creation are formed, that tense structure, if the uncreated creation of any kind can turn back, from the outside, without being integrated. The third is the formal center of the top, the process of creativity itself. The fourth is the completion of the process. The heels are turned to the cob, the cob is closed, creation is created. At the same time, the hem - naturally in terms of shape and location - ultimately preserves remarkable integrity, tension, and unity. “Creativity” can be equated with a stretched string to tremble at the “ringing-resonant silence.” Nowadays, not only meanings and lexical repetitions come into play, but also images that flow into one another and intertwine with each other, like the shadows of patchwork on an enamel wall. The five parts, which are clearly visible, are soldered together, so that the skin of them, read side by side, inexorably draws along with itself all the others. The verse rings in a special rhythm, cunning and clear, silently chimerical, elegant and strict. One more thread that knits the entire thread - this is the color gama. The hands are shades of violet, the enamel wall exudes a bluish mother-of-pearl, the openings of the kiosks appear blue in the light of the bright month... The blue-violet serpanok of the month's night burns everything, then creeps up. “like dark oxamite of the cut and edges, then it appears sharply. , and the sharpness of the pale, dappled shadows intersects the regular lines of the room with the strict geometry of the walls, stele, and windows. .. The kiosks, lightly glistening with dark mother-of-pearl, melt in the monthly light, shone through. Bryusov’s “creativity” is similar to the paintings of the French impressionists, where the greatest clarity is not the contours of objects, but the contrast between light and dark. The artist’s respect on the border is not between the enamel wall and the window frame, but between the pale violet flames of the monthly light on objects and the contrasting dark shadows of the “hands” patched. This din stirs up the soul of the poet-artist. First of all, such an approach clearly demonstrates the commitment of symbolists - like artists and poets - to the world. in their reconstitution, there is a light that is primary, real, familiar to us, - and the dark light, the desires of sudden glances, but is revealed to those who can be seen in the face of the light. The first light is significant, but only the rest, the fragments from which another, relevant light is knocked out. 1st purpose creativity- show the greatness from the beginning, poke the sleeping enormity with its nose at the twists and turns of reality. Night, time to sleep, darkness and creativity - perfect hour in order to look at the actual reality. A marvelous, violet-blue, pearlescent light, immersed in Bryusov’s gaze, and a reference light, accessible only to the naked eye. Human intelligence is similar to this world: it is also cunning, long and subtle. From the depths of awareness - or from the greater reality - from the unconscious, wondrous, calm bottle, sounds, words, images rise, floating around the tops and turning back, from time to time and peace to come. 05/10/2004

It’s better to start with short information about the poet, especially since he is unique.

Valery Bryusov gained recognition from the world of the world at the end of the nineteenth century as a representative of the “young”, new poetry (symbolism), created by him behind the butt of the French Verlaine, Malarme and Rimbaud. The symbolism of the young singer is no less significant. He seemed to be sensitizing the public with his outrageous monostych about pale legs, declaring the artist’s right to unfettered creative freedom.

Fortunately for the appreciation of poetry, Bryusov did not limit himself to experiments: having developed his poetic talent, he again created historical poems and images from his life. Most often, the heroes of their peaks were the characters of history and myths that were under the influence of the influx. The appearance of new and new collections was an illustration of how the poetic mastery grew and grew. there is Bryusova.

Ale freedom tsinuvav sings over the mustache. The early poem under the title “Creativity” does not have a specific hero, or rather, he is a spy. I yogo ochima chitach bachit those scho vіdbuєtsya.

Apart from the analysis of Bryusov’s poem “Creativity”, as well as any other creation, it is necessary to publish from the designated day and fate of his creation. It was written in the first year of 1895 and went back to the collection of “young” works “Masterpieces”.

The analysis of Bryusov’s poem once again confirms the author’s main idea about those who are free to choose those who can induce the mystical process of creation.

There is a lot to say about those that reach the level of symbolism. For example, vocabulary, like a vikorist, is the author for depicting marvelous things, unusual images: the blades are patched (the leaves are brighter in appearance), and the violet chimera hands on the wall of the enamel chair are not lines, but sounds that do not disturb the “ringing-resonant silence.”

A marvelous fantastic light appears before the reader: new insights emerge from the gazebo (“kiosks”), the “uncreated” creation, the brilliance of two bright months, or rather, the dark month and the “naked” (without gloom) m Yes. And this whole process of reverie in secrets and dreams.

Analysis of Bryusov's work revealed a variety of such expression methods as color painting and sound writing. The text has violet and black colors, and the enamel wall seems to be associated with white, although perhaps it refers to the softness of its surface - smoothness. The sonority of the frequently repeated “l”, “r”, “m” and “n” is called out to create a feeling of fullness, smoothness of the rivers, and that everything appears to be under water. The music of this verse will bewitch you!

The composition is original: the remaining row of the next row becomes different from the next few rows. Bryusov's analysis shows that the rows, repeating, accumulate one after another, creating a strong flow of fantastic information and sensations.

Bryusov's verse “Creativity” flares up quite a bit, although nothing is created at once, and nothing can be known in a melodious manner. The images are cunning, unclear, and stinking, and the lyrical hero quickly guesses them. Perhaps this painful process of finding the essence is called “the agony of creativity”?

All of Bryusov’s achievements are dedicated to the process of creation, with one main idea: creativity is endless and free, which cannot be spared, for fear of clarity and complexity. Just as an illusory image appears in the bright light under the gaze of a meticulous critic, it immediately disintegrates, not allowing any possibility of respectfully and respectfully understanding it. Such a tendentious nature has been yogo!

Divided: Literature

Lesson objectives:

learn about the basic signs of symbolism from the applied analysis of the works of U. Ya. Bryusov; to know the secret places of creation; lay the foundation for further acquaintance with the personalities and individual poetic styles of symbolists;
develop skills in the analysis of poetic work, intelligently recognize the characteristics of artistic expression, and identify its role at the top.

Formy: heuristic Rozmova with elements of a lecture; analysis of the poetic works of V. Ya. Bryusov.

Lesson progress

I. Organizational moment

II. Enter the word of the teacher

I would like to reprint our lesson from the next rows:

The shadow of uncreated creatures
I'm swaying in my sleep,
Nemov shovel patching
On the enamel wall.
Violet hands
On the enamel wall
Sounds sleepy
At the ringing-sounding silence...
I openings of kiosks
At the ringing-sounding silence
Virgo, silent glare,
During the dark month.
Go to a month of nudity
At the end of the month...
The sounds are sleepy,
The sounds of caressing me.
Secret chambers of creatures
To caress me with affection,
And shake the dark patches
On the enamel wall.

Who can write the rows? “Madness, the place of which is only in a psychiatric hospital,” was the thought of many of the authors of these series. And having written this poem, Valery Yakovich Bryusov is one of the from the true representatives Srіbnogo viku.

I think you’ll have to wait, at the top everything is unimportant, it doesn’t fit into the original framework. “Violet hands”, like “cursing sounds”, “month of nakedness”, “sounds of caressing”... Lighthouse, absurdity!!!

Ale, looking at the paintings of Marc Chagall (Addatok, slide No. 2), the cubic figures of Picasso (Addatok, slide No. 3), or the unimportant figures of Vrubel (Addatok, slide No. 4), it’s amazing that the mystery itself was like that - absurd, crazy , but let’s not spare the sensation. This era at the turn of the century has produced new forms of mysticism. And in the literature of U. Ya. Bryusov to know his way - SYMBOLISM.

Who is Valery Bryusov? (Addendum, slide No. 5), The first Russian symbolist, his specialness is simply unique. “I don’t have to endure dozens of lives to figure out everything that’s in my soul,” the writer sings. The people are encyclopedically illuminated, who have been able to read from three years of reading, in 11 years, with a rare memory, she could even recount verbatim not only the beloved works of Edgar Poe, Jules Verne, but also the philosophical thoughts of Darwin , Laplace, Kant. From 1921 to fate - the result of this initiative was the creation of the Great Literary-Mystical Institute, which includes the history of Greek, Roman, Russian literature, the grammar of Indo-European languages and ... history of mathematics. The scale of his intellectual activity is Velensky. The thirst for creativity is tireless.

Born in 1894-1895 Bryusov publishes three collections of “Russian Symbolism”, which includes the greatest translations of French Symbolists, his own works and those of early poets. Right from this hour, I declared myself not only as a poet - a symbolist, but also as an organizer-propagandist of this movement.

Well, the purpose of our lesson is to analyze the poetic works of V. Ya. Bryusov, to identify the main risks of such literary method like symbolism.

III. Analysis of symbolism

1) I will go back to the previously read verse (the name of the verse is not announced to the students)

Zavdannya: write a comment about this work, try to understand what the author is trying to convey to the reader.

The verse, having overwhelmed the readers of that hour, seems to be stupid. The philosopher sings Vl. Solovyov wrote a parody, describing the “sublime month”. Dragging comments have been published up to this point: “The shades of home-made patch palms (preparation for bast shoes) are beaten in sparkling, enamel-like stoves, behind the great altar opposite the window, which predicts the dark month Ts, you can see the sky, let’s go to the rally now.

Everything, first of all, became clear, but the singer gives a special name to the verse - “Creativity”. This means that the author has shown the process of creativity, revealing the hidden secrets of “created creations”.

Zavdannya: write down the words, words that signify the path of creation.

"Uncreated creation"
“They are shaking in their dreams”
“Damn you in your dreams”
“Jingle-sounding”
“The mute glares are growing”
"Sounds of caressing"
"The sounds of mooning"
"Creation of creation"

Zavdannya: write again a short comment on the analysis carried out in full with the teacher.

(Visionary commentary: “In a dark room, everything transforms into a profound intensity. The creator sings behind the extreme light, another flows, one can hear the sounds of future peaks, images flow invisibly , the world is wondrous, not at all similar to the original one”).

“The creation of mysticism,” wrote Bryusov, “is the opening of the door to Eternity.” We have come to one of the main signs of symbolism - the household. The light is real, earthly, and the light is different, greater, more thorough. A poetic creation is entirely perceptible, inspired by a different, different light of the poet.

2) Having given meaning to the ideological idea of the author, he pursues creative and creative means, with the help of which the author creates artistic images.

(Special analysis: uncreated creatures - an oxymoron;

swaying in a dream, blue with joy, sounds roaring - isolation;

mute shovels patching - cleaning; violet hands, a month of nudity, the kiosks' visions, the dark shadow of patchwork - a metaphor;

the ringing-sounding silence, the dark month has an epithet).

The theurgist sings through a mosaic of symbols: vivid metaphors, unimaginable apologias, epithet, oxymorons to guide us into the unreal world, into the eternal world, thoroughly. Poetry’s symbolism was not rooted in everyone’s understanding, but the elitist, according to Innocent Annensky, “a language of tensions and non-proofs.” The poetry of symbolists has the purpose of nesting symbols, signals, which provide a special mystical place.

Another sign: An unconventional change is drawn into an unconventional form.

3) Feeding: Did the wise sense start the lesson? What allowed us to penetrate the depths of the top? (Analysis from different sides)

Third sign: Rozrakhunok for the elitary (preparation) reader.

4) It was not only the unexpected mood, the unusual symbolic forms that turned Bryusov’s respect to symbolism.

Zavdannya: Find out the main idea of the poem “To the Young Poet” by analyzing the author’s “testaments”:

“Don’t live for today, only what will come is the realm of singing”;
“Don’t sing to anyone, love yourself endlessly”;
"Worship the mysticism."

The first testament confirms the idea of a household.

The other shows the ancient tradition of poetry of the 19th century: the importance of the special role of the poet’s distinctiveness, vibrancy, personess. “Poetry, the mystique of the first place, has the very specialness of the artist, any fusion with the soul of the artist is a joy,” writes U. Ya. Bryusov.

And the third shows that the Symbolists had great faith in mysticism, which has a supreme role in transforming the earth. The stench put the mystery of life at risk. And Bryusov himself said the words: “Mystery, perhaps, is the greatest strength that humanity has.”

IV. Visnovok. Needless to say, signs of symbolism can be presented in a logical way

(Addendum, slide No. 6):

V. Lesson bags.

D/z: to revise the verses of U. Bryusov “Dagger” (1903) and before. Balmont “Fantasy” (1894), signifying the singularity of the poet’s poetic mastery.

Analysis of Bryusov's work. Analysis of the poem “Creativity”. TV from literature. Analysis of the poem “Creativity” by Bryusov

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Analysis of the poem “Creativity” by Bryusov