I erected a monument to myself not made by hands. "A.S. Pushkin. "The people's path will not overgrow to him ...""
The fact is that the priest himself did not change anything. He only restored the pre-revolutionary publishing version.
After the death of Pushkin, immediately after the removal of the body, Vasily Andreevich Zhukovsky sealed Pushkin's office with his seal, and then received permission to transfer the poet's manuscripts to his apartment.
All subsequent months, Zhukovsky was engaged in the analysis of Pushkin's manuscripts, preparing for the publication of the posthumous collected works and all property matters, becoming one of the three guardians of the poet's children (in the words of Vyazemsky, the guardian angel of the family).
And he wanted the works that could not be censored in the author's version to still be published.
And then Zhukovsky starts editing. That is, change.
Seventeen years before the death of the genius, Zhukovsky presented Pushkin with his portrait of her with the inscription: “To the winner-student from defeated teacher on that highly solemn day on which he finished his poem Ruslan and Lyudmila. March 26, 1820, Good Friday"
In 1837, the teacher sits down to correct the student's compositions, which cannot pass in any way. attestation commission.
Zhukovsky, forced to present Pushkin to posterity as "a loyal subject and a Christian."
So in the fairy tale “About the priest and his worker Balda”, the priest is replaced by a merchant.
But there were more important things as well. One of Zhukovsky's most famous improvements to Pushkin's text is the famous " I erected a monument to myself not made by hands».
Here is the original Pushkin text in the original spelling:
Exegi monumentum
I erected a monument to myself not made by hands;
A folk path will not grow to him;
He ascended higher as the head of the rebellious
Alexandria pillar.
No! I won't die! Soul in the cherished lyre
My ashes will survive and decay will run away -
And I will be glorious as long as in the sublunar world
Live will be at least one drink.
Rumors about me will spread throughout the great Rus',
And every tongue that exists in it will call me:
And the proud grandson of the Slavs, and the Finn, and now wild
Tunguz, and friend of the Kalmyk steppes.
And for a long time I will be kind to the people,
That I aroused good feelings with a lyre,
That in my cruel age I glorified freedom,
And he called for mercy for the fallen.
By the command of God, O muse, be obedient:
Not afraid of resentment, not demanding a crown,
Praise and slander were accepted with indifference
And don't argue with the fool.
This poem by A.S. Pushkin devoted a huge literature. (There is even a special two-hundred-page work: Alekseev M.P. "Pushkin's poem" I erected a monument to myself ...". L., "Nauka", 1967.). In its genre, this poem goes back to a long age-old tradition. Can be analyzed than the preceding Russian and French translations and arrangements of the Ode (III.XXX) by Horace differ from Pushkin's text, what Pushkin introduced into the interpretation of the theme, etc. But it is not worth competing with Alekseev within a short post.
The final Pushkin text is already self-censored. If you look at
draft versions , then we see more clearly what Alexander Sergeevich actually wanted to say more precisely. We see direction.The original version was: That following Radishchev I glorified freedom»
But even looking at the final version, Zhukovsky understands that this poem will not pass the censorship.
What is at least this one mentioned in the poem " Alexandria pillar". It is clear that this does not mean the architectural miracle "Pompeius Pillar" in distant Egyptian Alexandria, but the column in honor of Alexander the First in the city of St. Petersburg (especially when you consider that it is next to the expression "the head of the rebellious").
Pushkin contrasts his “not-made” glory with a monument of material glory, created in honor of the one whom he called “the enemy of labor, inadvertently warmed by glory.” A contrast that Pushkin himself could not even dream of seeing in print, like the burned chapter of his “novel in verse.”
The Alexander Column, shortly before Pushkin's poems, was erected (1832) and opened (1834) near the place where the poet's last apartment was later located.
The column was glorified as a symbol of indestructible autocratic power in a number of pamphlets and poems by "overcoat" poets. Pushkin, who avoided being present at the opening ceremony of the column, fearlessly declared in his poems that his glory was higher than the Pillar of Alexandria.
What does Zhukovsky do? It replaces " Alexandria" on " Napoleonova».
He ascended higher as the head of the rebellious
Napoleonic pillar.
Instead of the confrontation "Poet-Power", the opposition "Russia-Napoleon" appears. Nothing too. But about something else.
Another big problem with the line: " That in my cruel age I glorified freedom”is a direct reminder of the rebellious ode “Liberty” by young Pushkin, that glorified “freedom” that caused his six-year exile, and later - careful gendarmerie surveillance of him.
What does Zhukovsky do?
Instead of:
And for a long time I will be kind to the people,
That in my cruel age I glorified freedom
And mercy to the fallen called
Zhukovsky puts:
That I aroused good feelings with lyre,
And mercy to the fallen called
How wrote about these substitutions, the great textologist Sergei Mikhailovich Bondi:
The replacement of one verse in the penultimate stanza by another composed by Zhukovsky completely changed the content of the entire stanza, gave a new meaning even to those Pushkin's verses that Zhukovsky left unchanged.
And for a long time I will be kind to those people ...
Here Zhukovsky only rearranged the words of Pushkin's text (“And for a long time I will be kind to the people”) in order to get rid of Pushkin's rhyme “to the people” - “freedom”.
That I aroused good feelings with lyre ...
The word "kind" has many meanings in Russian. In this context ("feelings of good") there can only be a choice between two meanings: "good" in the sense of "good" (cf. the expressions "good evening", "good health") or in the moral sense - "feelings of kindness towards people." Zhukovsky's alteration of the next verse gives the expression "good feelings" precisely the second, moral meaning.
That by the charm of living poetry I was useful
And he called for mercy on the fallen.
The "living charm" of Pushkin's poems not only pleases readers, gives them aesthetic pleasure, but (according to Zhukovsky) also brings them direct benefit. What is the use, it is clear from the whole context: Pushkin's poems awaken feelings of kindness to people and call for merciful treatment of the "fallen", that is, those who have sinned against moral law Don't judge them, help them."
It is interesting that Zhukovsky managed to create a stanza that is completely anti-Pushkin in its content. He changed. He replaced Mozart with Salieri.
After all, it is the envious poisoner Salieri, who is sure that talent is given for diligence and zeal, demands the benefit of art and reproaches Mozart: “What is the use if Mozart lives and still reaches new heights?” i.d. But Mozart does not care about the benefit. " There are few of us chosen, happy idlers, neglecting contemptible benefits, one beautiful priests." And Pushkin has a completely Mozartian attitude towards usefulness. " Everything would be good for you - you value the weight of an idol Belvedere».
And Zhukovsky puts " That by the charm of living poetry I was USEFUL»
In 1870, a committee was established in Moscow to collect donations for the installation of a monument to the great Russian poet A.S. Pushkin. As a result of the competition, the jury chose the project of the sculptor A.M. Opekushin. On June 18, 1880, the grand opening of the monument took place.
On the pedestal on the right side was carved:
And for a long time I will be kind to those people,
That I aroused good feelings with my lyre.
In this form, the monument stood for 57 years. Already after the revolution, Tsvetaeva, who was in exile,
The Bolsheviks will correct the lines on the monument.
Oddly enough, it was the most cruel year of 1937 that would become the year of the posthumous rehabilitation of the poem "I erected a monument to myself not made by hands."
old text cut down, the surface was polished, the stone around the new letters was cut to a depth of 3 millimeters, which created a light gray background for the text. In addition, instead of couplets, quatrains were carved, and the outdated grammar was replaced with a modern one.
This happened on the centennial anniversary of Pushkin's death, which was celebrated in the USSR on a Stalinist scale.
And on the 150th anniversary of the birth, the poem experienced another truncation.
One hundred and fifty years since the birth of Pushkin (in 1949) the country celebrated not as loudly as the bicentennial, but still quite pompously.There was, as usual, a solemn meeting at the Bolshoi Theatre. Members of the Politburo and others, as it was customary to say then, "noble people of our Motherland" sat on the presidium.
A report on the life and work of the great poet was made by Konstantin Simonov.
Of course, both the entire course of this solemn meeting and Simonov's report were broadcast on the radio throughout the country.
But the broad masses of the people, especially somewhere out there, in the outback, did not show much interest in this event.
In any case, in a small Kazakh town, on the central square of which a loudspeaker was installed, no one - including the local authorities - expected that Simonov's report would suddenly arouse such burning interest among the population.
The loudspeaker wheezed something of its own, not very intelligible. The area, as usual, was empty. But by the beginning of the ceremonial meeting, broadcast from the Bolshoi Theater, or rather, by the beginning of Simonov's report, the entire square was suddenly filled with a crowd of horsemen who galloped up from nowhere. The riders dismounted and silently froze at the loudspeaker.
Least of all were they like connoisseurs of belles-lettres. They were very simple people, poorly dressed, with tired, haggard faces. But they listened to the official words of Simonov's report as if their whole life depended on what the famous poet would say there, at the Bolshoi Theater.
But at some point, somewhere around the middle of the report, they suddenly lost all interest in him. They jumped on their horses and galloped off - just as unexpectedly and as swiftly as they appeared.
These were Kalmyks exiled to Kazakhstan. And they rushed from the far places of their settlement to this town, to this square, with one single goal: to hear if the Moscow speaker will say when he quotes the text of Pushkin's "Monument" (and he will certainly quote it! this?), the words: “And a Kalmyk friend of the steppes.”
If he had uttered them, it would have meant that the gloomy fate of the exiled people was suddenly illuminated by a faint ray of hope.
But, contrary to their timid expectations, Simonov did not utter these words.
"Monument" he, of course, quoted. And even read the corresponding stanza. But not all. Not to the end:
The rumor about me will spread throughout the great Rus',
And every language that is in it will call me,
And the proud grandson of the Slavs, and the Finn, and now wild
Tungus…
And - everything. On "Tungus" the quote was cut off.
I also listened then (on the radio, of course) to this report. And he also drew attention to how strangely and unexpectedly the speaker halved Pushkin's line. But I learned much later about what is behind this broken quote. And this story about the Kalmyks who rushed from distant places to listen to Simonov's report was also told to me later, many years later. And then I was only surprised to note that when quoting Pushkin's "Monument" the speaker for some reason lost his rhyme. And I was very surprised that Simonov (after all, a poet!) for no reason at all suddenly mutilated a beautiful Pushkin line.
The missing rhyme was returned to Pushkin only eight years later. Only in the 57th (after the death of Stalin, after the XX Congress), the exiled people returned to their native Kalmyk steppes, and the text of Pushkin's "Monument" could finally be quoted in its original form.Even from the stage of the Bolshoi Theatre.”
Benedict Sarnov
«
I reread Pushkin's poem "Monument". Awesome thing! And contagious. After him, many poets in one form or another also began to build poetic monuments for themselves. But this memorial mania did not come from Pushkin, but from the depths of centuries from Horace. Lomonosov was the first in Russian literature of the 18th century to translate Horace's verse. This translation sounds like this:
I erected a sign of immortality for myself
Above the pyramids and stronger than copper,
What a stormy aquilon cannot erase,
Neither many centuries, nor caustic antiquity.
Not at all will I die; but death will leave
Great is my part, as I end my life.
I will grow in glory everywhere
While the great Rome owns the light.
From Horace this monument mania also went. Based on the text of Horace, Derzhavin also wrote his "Monument".
I erected a wonderful, eternal monument to myself,
It is harder than metal and higher than pyramids;
Neither his whirlwind, nor thunder will break the fleeting,
And time will not crush him.
So! - all of me will not die, but a large part of me,
Fleeing from decay, after death he will live,
And my glory will grow without fading,
How long will the universe honor the Slavs?
The rumor will pass about me from the White Waters to the Black ones,
Where the Volga, Don, Neva, the Urals pour from the Riphean;
Everyone will remember that among innumerable peoples,
How from obscurity I became known for that,
That I was the first to dare in a funny Russian syllable
Proclaim the virtues of Felitsa,
In the simplicity of the heart to talk about God
And tell the truth to kings with a smile.
O muse! be proud of just merit,
And whoever despise you, despise those yourself;
With a leisurely, unhurried hand
Crown your forehead with the dawn of immortality
Behind him writes his famous "Monument" Pushkin
I erected a monument to myself not made by hands,
The folk trail will not grow to it,
He ascended higher as the head of the rebellious
Pillar of Alexandria.
No, all of me will not die - the soul is in the cherished lyre
My ashes will survive and decay will run away -
And I will be glorious as long as in the sublunar world
At least one piit will live.
Rumors about me will go throughout the great Rus',
And every language that is in it will call me,
And the proud grandson of the Slavs, and the Finn, and now wild
Tungus, and a Kalmyk friend of the steppes.
And for a long time I will be kind to the people,
That I aroused good feelings with lyre,
That in my cruel age I glorified freedom
And he called for mercy on the fallen.
By the command of God, O muse, be obedient;
Not afraid of resentment, not demanding a crown,
Praise and slander were accepted indifferently
And don't argue with the fool.
The attentive reader will notice that these three poetic monuments are in many ways similar to each other.
Then off we go. A good monument to himself is erected by the poet Valery Bryusov, where he confidently declares that his monument “cannot be knocked down” and that his descendants will “rejoicely call”
My monument stands, from the stanzas of consonant complex.
Scream, run amok - you can't knock him down!
The disintegration of melodious words in the future is impossible, -
I am and shall always be.
And the camps of all fighters, and people of different tastes,
In the closet of the poor, and in the palace of the king,
Rejoicing, they will call me - Valery Bryusov,
Speaking of a friend with friendship.
In the gardens of Ukraine, in the noise and bright dream of the capital,
To the thresholds of India, on the banks of the Irtysh, -
Burning pages will fly everywhere,
in which my soul sleeps.
For many I thought, for all I knew the torments of passion,
But it will become clear to everyone that this song is about them,
And, in distant dreams in irresistible power,
Glorify proudly every verse.
And in new sounds the call will penetrate beyond
Sad homeland, and a German, and a Frenchman
Dutifully repeat my orphaned verse,
Gift of supportive Muses.
What is the glory of our days? - casual fun!
What is the slander of friends? - contempt blasphemy!
Crown my brow, glory of other centuries,
Leading me into the world temple.
The poet Khodasevich also hoped that
"In Russia new and great,
They will put up my two-faced idol
At the crossroads of two roads
Where is the time, wind and sand…"
But Akhmatova in the poem "Requiem" even indicated the place where to erect a monument to her.
And if ever in this country
They will erect a monument to me,
I give my consent to this triumph,
But only with the condition - do not put it
Not near the sea where I was born:
The last connection with the sea is broken,
Not in the royal garden at the treasured stump,
Where the inconsolable shadow is looking for me,
And here, where I stood for three hundred hours
And where the bolt was not opened for me.
Then, as in blissful death I fear
Forget the rumble of black marus,
Forget how hateful the door slammed
And the old woman howled like a wounded animal.
And let from motionless and bronze eyelids
Like tears, melted snow flows,
And let the prison dove roam in the distance,
And the ships are quietly moving along the Neva.
In 2006, in the year of the fortieth anniversary of Akhmatova's death, in St. Petersburg, on the Robespierre embankment, opposite the Kresty prison building, a monument was unveiled to her. Exactly where she indicated.
I. Brodsky erected a kind of monument to himself.
I erected a monument to myself,
Back to the shameful century
To love with your lost face,
And the buttocks to the sea of half-truths ...
Yesenin also, probably jokingly, built a monument to himself:
I erected a monument to myself
From bottled wine corks.
Corks were then called bottles of wine. Talking about the meeting with Yesenin in Rostov-on-Don in 1920, Yu. Annenkov recalled an episode that took place in the Alhambra restaurant. Yesenin pounding on the table with his fist:
- Comrade footman, cork!
Yesenin was erected a well-deserved monument by the people. And not alone. The folk trail will not overgrow to them.
But the poet A. Kucheruk stubbornly writes verse after verse, in order to also create a monument not made by hands. But he doubts “whether there will be a path to it?”
They tell me it's all in vain;
write poetry ... What are they for now?
After all, there are no beautiful ladies in the world for a long time.
And there are no knights among us for a long time.
For a long time to the verses all souls have cooled
down to minus two on the Kelvin scale...
Well, what are you clinging to them, really?
What, there are no other occupations on the Earth?
Or maybe you're a graphomaniac? Here you are scribbling
knocking lines into orderly rows?
Like a sewing machine, day and night
poems you sew full of water.
And I don't know what to say to that
because I'm really ready
with the energy of a poet
sing friends and crush enemies.
Verse after verse ready to write stubbornly,
but if so my country is blind,
let me create a monument not made by hands...
Will there be a path leading to it?
Watching how others create monuments for themselves, I also became infected with this monument mania and decided to create my own miraculous one.
I also erected a monument to myself,
Like Pushkin, like old Derzhavin,
Your last name under the nickname NIK
I have already glorified my creativity.
No, gentlemen, I'm completely fucking dying,
My creations will outlive me.
For always being faithful to goodness,
The descendants in the temple will light a candle for me.
And so I will be kind to the people,
That I was excited by the creativity of my heart,
What from enemies and all other freaks
I have defended Holy Rus' all my life.
My enemies will die of envy.
Let them die, it seems they should!
Their descendants will erase them from memory,
And NIK will thunder like a cannonade.
Rumors about me will spread everywhere and everywhere,
And both the Chukchi and the Kalmyk will remember me.
In a circle, my creations will be read,
A good man, they will say, was NIK.
(Joke)
But, like Kucheruk, I doubt whether there will be a path to my monument?
Reviews
Excellent work Nikolay Ivanovich! I read it twice. And one more time waking up to his wife. What is surprising, but your monument also fell into line, after all the great and not so great. So you are a good person, Nick. It's not even discussed. And this is the most important thing. main monument. Oh, and a sense of humor too! Thank you!
Comparative analysis of works by different authors
scenario plan Literature lesson in the 9th grade according to the program of V.Ya. Korovina.
Technology of educational research activities
on the comparative analysis of works of different authors.
Praise and slander were accepted with indifference / And do not dispute the fool
From the poem "Monument" (1836) by A. S. Pushkin (1799-1837).
Quoted: as advice to always and in everything to maintain self-esteem, to remain faithful to one's convictions and principles; create according to your vision of the world.
Encyclopedic Dictionary of winged words and expressions. - M.: "Lokid-Press". Vadim Serov. 2003 .
See what "Praise and slander were received with indifference / And do not dispute the fool" in other dictionaries:
Wed Praise and slander were accepted with indifference. A.S. Pushkin. Monument. Wed The reproach of the ignorant, the reproach of the people does not sadden the lofty soul. Let the wave of the seas make noise The granite cliff will not fall. M.Yu. Lermontov. I don't want. Wed Que j ai toujours haï les pensers du vulgaire! …
Praise and slander were accepted with indifference. Wed Praise and slander were accepted with indifference. A. S. Pushkin. Monument. Wed The reproach of ignorance, the reproach of people The high soul does not grieve. Let the wave of the seas rustle The granite cliff will not fall down. M. Yu. Lermontov. "I don't want".… … Michelson's Big Explanatory Phraseological Dictionary (original spelling)
Wed Do not be afraid of resentment, do not demand a crown; Praise and slander were accepted with indifference And do not dispute a fool. A.S. Pushkin. Monument. Wed But to cope with a fool, tell me, who knew how? R.R. Sumarokov. Cupid blind. Wed Mit der Dummheit kämpfen Gotter… … Michelson's Big Explanatory Phraseological Dictionary
- - was born on May 26, 1799 in Moscow, on Nemetskaya Street in the house of Skvortsov; died January 29, 1837 in St. Petersburg. On his father's side, Pushkin belonged to an old noble family, descended, according to the genealogy, from a native "from ... ... Big biographical encyclopedia
Y, well. 1. Glorification, praise. The Academy [in France] laid down as the first rule of its charter: the praise of the great king. Pushkin, On the insignificance of Russian literature. 2. Approval, praise. By the command of God, O muse, be obedient, Do not be afraid of resentment, do not ... ... Small Academic Dictionary
"And a Kalmyk friend of the steppes"
Every nation is unique. A. S. Pushkin tried to explain this by the influence of climate, the form of government, faith, which gives "each people a special physiognomy, which is more or less reflected in the mirror of poetry." “There is a way of thinking and feeling, there is a darkness of customs, beliefs and habits that belong exclusively to some people,” he wrote in the article “On Nationality in Literature”.
In Pushkin's works there are names of many peoples, both well-known and little-known; some of these peoples appear under the names that are still preserved, and others under the old ones that existed in former times. And above all, these are the names of the peoples, captured in his far-sighted "Monument":
The rumor about me will spread throughout the great Rus',
And every language that is in it will call me,
And the proud grandson of the Slavs, and the Finn, and now wild
Tungus, and a Kalmyk friend of the steppes.
The choice by the poet of the names of the peoples given in the "Monument" is not accidental, as happens with other poets for rhyme, but is deeply thought out. In the four names of peoples, in essence, the entire vast territory of Russia is covered. "Proud grandson of the Slavs" represents Russians, Ukrainians, and Belarusians; Finn - a representative of the peoples living in the vast territory of the north of the country; Tungus - the peoples of Siberia and Kalmyks - the south and southeast, the Mongol-Turkic peoples. True, while working on this poem, the poet did not immediately identify the four indicated peoples. As the draft shows, only two names that appear in all versions of the poem were indisputable for him - these are “Russian” and “Finn”. "Tungus" and "Kalmyk", included in the initial version, were then replaced and such options were outlined: "and a Finn, a Georgian, a Kirghiz", and "a Finn, a Georgian and now a wild Circassian". Apparently, the poet settled on the names of the most representative peoples, more precisely, on the names of the peoples who inhabited the vast territory of the country - from the shores of the Baltic to the Sea of \u200b\u200bOkhotsk, from the Arctic Ocean to the Caspian Sea. This only emphasizes the awareness of A. S. Pushkin in matters of ethnology, his knowledge of history different peoples, and he knew the history of the Kalmyks well from the manuscript of N. Ya. Bichurin, about which he wrote in the notes to the "History of Pugachev": L. T.) an excerpt from his still unpublished book on the Kalmyks. At the same time, Pushkin, according to the researcher A. I. Surzhok, “adheres to his own, completely independent concept about the tragic departure of the Kalmyks from Russia” 1: “worn out of patience, they decided to leave Russia…” due to harassment. She went to her original homeland, to Dzungaria, only a part of the Kalmyks. Having lost many fellow tribesmen on the way, they reached Dzungaria. “But the frontier chain of Chinese guards menacingly blocked their entrance to their former fatherland, and the Kalmyks could only penetrate into it with the loss of their independence” (notes to Pugachev’s History).
There is no need to talk much about the “proud grandson of the Slavs”: the poet devoted many lines to him in his works.
A. S. Pushkin was proud of his people, the Russian man, primarily the peasant, who formed the basis of the Russian people. “Look at the Russian peasant,” he wrote, “is there even a shadow of slavish humiliation in his steps and speech? There is nothing to say about his courage and intelligence. His receptivity is known. Agility and dexterity are amazing. The traveler travels from region to region in Russia, not knowing a single word of Russian, and everywhere he is understood, his requirements are fulfilled, and conditions are concluded with him. You will never meet in our people what the French call un badaud; you will never notice in him either rude surprise or ignorant contempt for someone else ”(“ Journey from Moscow to St. Petersburg ”).
Finn A. S. Pushkin has a clearly collective name, that is, it refers not only to the Finns proper (Suomi, as they call themselves), who make up the main population of Finland, but also to their relatives Karelians, Estonians and other peoples of the Finnish language group. Earlier, in pre-revolutionary times, they were also called Chukhons (Finnish population surrounded by St. Petersburg):
Your chukhonochka, she-she,
Byron's Greek women are dearer,
And your Zoil is a straight Chukhonets.
"To Baratynsky"
In our country, the peoples of the Finnish group (Karels, Estonians, Maris, Mordvins, Udmurts, Komi) make up more than 4 million people, and the area of the republics formed by these peoples is 1375 thousand square meters. kilometers, that is, over 1/4 of the European territory of the USSR.
Tungus , or, as they are now called by the self-name of the people, the Evenks, although they represent a small people (only 28 thousand people), forming an autonomous district as part of the Krai from ancient times, the Evenks testify, in particular, to numerous Evenki geographical names, primarily a number of large rivers - the Yenisei, Lena, Yana, which are based on the Evenki word ene meaning "big river". The Evenk is indeed a representative of the peoples of all Siberia, and has long been no longer a “wild” representative of it, but no less enlightened than other peoples.
But in the pre-revolutionary past, the Evenks, like many other small peoples, did not have their own written language and were, one might say frankly, completely illiterate, led a nomadic lifestyle, conical plagues in the camps served as their dwellings.
WITH Kalmyks the poet communicated directly, was a guest of the Kalmyk family in a steppe wagon, tasted the national dish, however, he, who was accustomed to Russian cuisine, did not like it. Here is how A. S. Pushkin describes his visit to a Kalmyk family on his way to the Caucasus in 1829: “The other day I visited a Kalmyk tent (a checkered wattle fence covered with white felt). The whole family was going to have breakfast; the cauldron was boiled in the middle, and the smoke came out through a hole made in the top of the wagon. A young Kalmyk girl, very good-looking, was sewing, smoking tobacco. I sat down next to her. "What is your name?" "***" - "How old are you?" - "Ten and eight." - "What are you sewing?" - Porta. - "To whom?" - "Myself". She handed me her pipe and began to have breakfast. Tea was brewed in a cauldron with mutton fat and salt. She offered me her ladle. I did not want to refuse and took a sip, trying not to take a breath ... I asked for something to eat it. They gave me a piece of dried mare; I was glad for that too. Kalmyk coquetry frightened me; I quickly got out of the wagon and drove from the steppe Circe ”(“ Journey to Arzrum ”).
Judging by the draft entry, the end of this visit to the Kalmyk wagon looked somewhat different. According to the original version of the record, the poet swallowed the piece of dried mare with great pleasure. “After this feat, I thought I was entitled to some reward. But my proud beauty hit me on the head with a Musiki instrument similar to our balalaika. Here is a message for her that will probably never reach her…”
"And a Kalmyk friend of the steppes"
Farewell, dear Kalmyk!
Just a little, to spite my ploys,
me a laudable habit
Not carried away among the steppes
Following your wagon.
Your eyes are, of course, narrow
And the nose is flat, and the forehead is wide,
You don't babble in French
You do not squeeze your legs with silk,
In English before the samovar
Do not crumble bread with a pattern.
You don't appreciate Shakespeare a little,
Don't fall into a dream
When there is no thought in the head,
You don’t gallop in the assembly ...
What needs? - Exactly half an hour,
While the horses were harnessed to me,
My mind and heart occupied
Your gaze and wild beauty.
Friends! not everything is the same:
Forget yourself with an idle soul
In a brilliant hall, in a fashionable box,
Or in a nomadic kibitka?
It is interesting to note that A. Blok “started” from this poem, creating a portrait of an Egyptian woman: “All the features of an Egyptian woman are far from any kind of “canon” of beauty. The forehead seems to be too large, it was not for nothing that she covered it with her hair. There is something Mongolian in the oval of the cheeks, almost what made Pushkin "forget himself with a passionate dream" in a "nomadic wagon" and dreamily cross out the manuscripts of poems with profiles.
A nomadic people in the past, the Kalmyks now form their own autonomous republic within the Russian Federation, within which 4/5 of the more than 170,000 of them live in the country. Now the Kalmyks, who have reached the same heights in education as other peoples of our multinational country, are not alien to all the achievements of human culture. In the capital of the republic, Elista, a monument was erected to A. S. Pushkin, the great internationalist poet, whose poems every Kalmyk turns to.
Many peoples appear in his works.
The poet dedicated a whole poem gypsies , which "… noisy crowd roam around Bessarabia. He spent two weeks in a gypsy camp.
“Living in Bessarabia,” writes V. A. Manuilov, “Pushkin studied gypsy language, got acquainted with gypsy songs, wrote down old Moldavian legends and songs ... "Black Shawl" - an artistic reworking of a Moldavian song ... "3 .
The unusual fate of the gypsies prompted A. S. Pushkin to give notes to the poem, in which he writes: “For a long time in Europe they did not know the origin of the gypsies; considered them to come from Egypt - until now in some lands and call them Egyptians. English travelers finally resolved all perplexities - it is proved that the gypsies belong to an outcast caste of Indians called bet. Language and what can be called their faith - even facial features and way of life - are true evidence of this. Their attachment to the wild freedom secured by poverty has everywhere tired of the measures taken by the government to transform the idle life of these vagabonds - they roam in Russia, as in England; men are engaged in crafts necessary for the first needs, trade in horses, drive bears, deceive and steal, women hunt divination, singing and dancing.
In Moldova, the gypsies make up the majority of the population ... "
The last statement of the poet, who did not have statistical data, is incorrect (gypsies did not make up the majority of the population of Moldova). It is no coincidence that he made an addition to his note about Bessarabia: “Bessarabia, known from the deepest antiquity, should be especially interesting for us.
She is sung by Derzhavin
And full of Russian glory.
But until now this area is known to us from the erroneous descriptions of two or three travelers.
As of 1833, Bessarabia had a population of 465,000 people 6 . Over the next half century, it increased to 1.6 million people, of which in 1889 about half were Moldovans and 18.8 thousand were gypsies.
Currently, in Moldova, out of 4 million people, Moldovans make up about 2/3 of its population, and there are a little more than ten thousand people, and they are in eighth place among other nationalities of this multinational republic (after Moldovans, Ukrainians, Russians, Gagauzes). , Bulgarians, Jews, Belarusians). Only 1/20 of all Roma in the USSR live in Moldova (according to the 1979 census, there were 209,000 of them in the country).
And here is the apt remark of the poet about the numerous old Chisinau bazaar:
The money-loving Jew crowds among the crowd,
Under the cloak, a Cossack, the ruler of the Caucasus,
A talkative Greek and a silent Turk,
And an important Persian, and a cunning Armenian.
"Squeezing among the crowd..."
The peoples of the Caucasus are not bypassed by the attention of the poet. Having visited Georgia, he spoke about Georgians : “Georgians are a warlike people. They have proven their courage under our banners. Their mental capacity expect more education. They are generally cheerful and sociable” (“Journey to Arzrum”). In four concise phrases, a capacious description of the people with its potentialities is given, which were fully revealed only a century later - in Soviet times.
Passing through the land of ancient Armenia, A. S. Pushkin stopped for the night with people completely unfamiliar to him, who received him very kindly, to which he draws his attention: “The rain poured down on me. Finally, a young man came out of a nearby house Armenian and, after talking with my Turk, he called me to his place, speaking in fairly pure Russian. He led me up a narrow staircase to the second quarter of his house. In the room, furnished with low sofas and shabby carpets, sat an old woman, his mother. She came up to me and kissed my hand. Her son told her to build a fire and cook dinner for me. I undressed and sat down in front of the fire... Soon the old woman cooked me mutton with onions, which seemed to me the height of culinary art. We all went to bed in the same room; I lay down against the fading fireplace and fell asleep ... ". This is a small ethnographic sketch showing the life ordinary people Armenia.
Being in the Baltic states, the hero of the work unfinished by the poet (“In 179* I was returning ...”) notes: “From a distance a sad song of a young Estonians ».
Of course, A. S. Pushkin was familiar with Boldino neighbors - Mordovians , as well as our other neighbors - Chuvash And cheremis (now Mari). In the "History of Pugachev" he writes: "Mordovians, Chuvashs, Cheremis ceased to obey the Russian authorities." In Pugachev's army there were "... up to ten thousand Kalmyks, Bashkirs, yasak Tatars ...". The above was about kyrgyz-kaisakakh (Kazakhs).
More than two dozen names of the peoples of our country are found in the works of the poet.
Various peoples of foreign countries are also mentioned in the works of A. S. Pushkin: Arvanites, Bosniaks, Dalmatians, Vlachs, Ottomans, Adekhi, Saracens (Sarachins) and others, which indicates the wide geographical knowledge of the poet.
Arvanites - the Turkish name of the Albanians, under which they appear in the story "Kirdzhali": "... Arnauts in their tattered and picturesque outfit, slender Moldavian women with black-faced guys in their arms surrounded the karutsa" (karutsa - a wicker cart).
Bosniaks (Bosniaks) - residents of Bosnia, in the past a Turkish province, and now a republic within Yugoslavia: “Beglerbey with his Bosniaks came against us ...” (“The Battle of Zenica the Great” - from “Songs of the Western Slavs”).
Dalmatia - residents of Dalmatia, in the past an Austrian province near the Adriatic Sea, and now a region in Yugoslavia: “And the Dalmatians, seeing our army, their long mustache twirled, put on their hats on one side and said: “Take us with you: We want to fight the Busurmans” ”(“ The Battle of Zenitsa Velikaya ”- from“ Songs of the Western Slavs ”).
Wallachians - residents of the principality of Wallachia, which was under Turkish rule; then, after liberation, they became part of the Romanian nation, and Wallachia became part of Romania. The hero of the story "Kirdzhali", after whom it is named, says: "For the Turks, for the Moldavians, for the Vlachs, of course, I am a robber, but for the Russians I am a guest." And the origin of Kirdzhali "was the Bulgars."
Ottomans - the old name of the Turks (by name Turkish Sultan XVI century Osman I - the founder of the Ottoman Empire).
I was among the Dons,
I also drove a gang of Ottomans;
In memory of battle and tents
I brought a whip home -
this is how the poet recalls his participation in the battle near Arzrum, which he is silent about in Journey to Arzrum, placing only a drawing on which he depicted himself on a horse with a pike. This is the testimony of an eyewitness N. A. Ushakov: “The shootout on June 14, 1829 is remarkable because our glorious poet A. S. Pushkin participated in it ... Grabbing the pike of one of the killed Cossacks, he rushed against the enemy riders. One can believe that our Don people were extremely astonished when they saw in front of them an unfamiliar hero in a round hat and cloak. It was the first and last debut of the favorite of the muses in the Caucasus” 7 . By the way, having received from the author a book in which this episode is described, A. S. Pushkin answered him in June 1836: “I saw with amazement that you gave me immortality - with one line of your pen.”
This episode inspired Pushkin's poem "Delibash". Here is its beginning:
Skirmish behind the hills;
Looks at their camp and ours;
On the hill before the Cossacks
A red delibash winds.
Adehi - from the self-name "Adyge" of three kindred peoples - Kabardians, Circassians, Adyghes, who were also called Circassians earlier.
Not for conversations and jubilations,
Not for bloody meetings
Not for robbery fun
So early adekhi gathered
To the yard of Gasub the old man.
"Tazit"
Sarachins (for the poet in the form of a magpie), or Saracens, originally (for ancient historians) the name of the nomadic tribes of Arabia, and then in general of all Arabs, and sometimes Muslims. The Sarachins proper are western Cumans.
Brothers in a friendly crowd
Going out for a walk
Shoot gray ducks
Amuse the right hand
Sorochina hurry in the field ...
"The Tale of the Dead Princess and the Seven Bogatyrs"
Noteworthy is the explanation of A. S. Pushkin about the “Arabs” and “Araps” in a letter to P. A. Vyazemsky (second half of 1835-1836): “Arab ( female does not have) a resident or native of Arabia, an Arabian. The caravan was plundered by the steppe Arabs.
arap, female arapki, so commonly called Negroes and mulattoes. Palace araps, Negroes serving in the palace. He leaves with three smart blacks».
The names of different peoples in A. S. Pushkin are organically woven into the fabric of works, in which apt characteristics and definitions are given, in one or two words creating their visible images: “Moldovan in a mustache and a ram's hat”.
A. S. Pushkin was an ardent champion of the equality of peoples, their friendship, and, naturally, did not consider it shameful for a person to belong to one or another people, if only he was decent.
It's not that you're a Pole:
Kosciuszko Lyakh, Mitskevich Lyakh!
Perhaps, be yourself a Tatar, -
And here I see no shame;
Be a Jew - and it does not matter;
"That's not the problem..."
The poet was proud of his ancestor (on the maternal side) - Hannibal, a native of Africa, the "Arap" of Peter the Great:
Decided Figlyarin, sitting at home,
That black grandfather is my Hannibal
Was bought for a bottle of rum
And fell into the hands of the skipper.
This skipper was that glorious skipper,
By whom our earth moved,
Who gave a mighty sovereign run
Rudder of the native ship.
This skipper was available to my grandfather.
And similarly bought arap
Has grown zealous, incorruptible,
The king is a confidante, not a slave.
And he was the father of Hannibal,
Before whom among the depths of Chesme
The mass of ships flared up
And Navarin fell for the first time...
"My Pedigree"
A. S. Pushkin, as a thinker, thought about the fate of not only the peoples of his country, but also the world. And this immense breadth of interests, the depth of penetration of his genius into all aspects of the life of the contemporary world was appreciated by the great Polish poet Adam Mickiewicz: “... Nobody can replace Pushkin. Only once is it given to a country to reproduce a person who, in such high degree combines such different and, apparently, mutually exclusive qualities. Pushkin, whose poetic talent surprised readers, captivated, amazed listeners with his liveliness, subtlety and clarity of mind, was gifted with an extraordinary memory, a correct judgment, refined and excellent taste. When he spoke about foreign and domestic policy, one could think that you were listening to a man who had become seasoned in state affairs and was saturated with daily reading of parliamentary debates. He made many enemies for himself with epigrams and biting ridicule. They took revenge on him with slander. I knew the Russian poet quite closely and for quite a long time; I found in him a character too impressionable, and sometimes frivolous, but always sincere, noble and capable of cordial outpourings. His errors seemed to be the fruit of the circumstances in which he lived; everything that was good in him flowed from the heart.
And the poet's heart beat restlessly in anxieties for the fate of large and small nations, for the future of mankind.
The friendship of free peoples is peace on Earth, which A. S. Pushkin passionately desired, foreseeing it in the future. In a note on the "Project of Perpetual Peace" by Abbé Saint-Pierre, referring to the time of his stay in Chisinau, he wrote:
"1. It is impossible that in time the ridiculous cruelty of war would not become clear to people, just as slavery, royalty, etc. became clear to them ... They will be convinced that our destiny is to eat, drink and be free.
2. Since constitutions - which are a great step forward of human thought, a step that will not be the only one - necessarily tend to reduce the number of troops, since the principle of armed force is directly opposed to every constitutional idea, it is possible that in less than 100 years not there will be a standing army.
3. As for the great passions and great military talents, the guillotine will remain for this, because society is not at all inclined to admire the great plans of the victorious general: people have enough other concerns, and only for this they put themselves under the protection of the laws "(" On Eternal Peace " ).
The development of the poet's freedom-loving views on the issue of "eternal peace" can be assumed to have been influenced by our countryman A. D. Ulybyshev. Academician M.P. Alekseev writes about this: “Back in St. Petersburg, among the members of the Green Lamp, at the end of 1819, he could hear the reading of a short work by his friend A.D. Ulybyshev called “Dream”, this early Decembrist “utopia ", wherein in question O future Russia liberated after the revolutionary upheaval from the oppression of the feudal-absolute regime” 9 . It was a leading document political thought in Russia.
A. S. Pushkin, together with the great Polish poet A. Mickiewicz, was convinced that the time would come
When peoples, forgetting strife,
Join a great family.
"He lived between us..."
“Let's hope that Pushkin was right this time too,” MP Alekseev concludes his study “Pushkin and the Problem of Eternal Peace.”
Search
We may notify you of new articles,