"Verbalism" Konstantin Balmont
There is a tired tenderness in Russian nature,
The silent pain of hidden sadness
Hopelessness of grief, voicelessness, boundlessness,
Cold heights, leaving gave.Come at dawn to the slope of the slope, -
Coolness smokes over the chilly river,
The bulk of the frozen forest is blackening,
And the heart hurts so much, and the heart is not happy.Motionless reed. The sedge does not tremble.
Deep silence. Silence of rest.
The meadows run far, far away.
In all fatigue - deaf, dumb.Enter at sunset, as if into fresh waves,
In the cool wilderness of a village garden, -
The trees are so gloomy-strangely silent,
And the heart is so sad, and the heart is not happy.As if the soul asked for what it wanted,
And they hurt her undeservedly.
And the heart forgave, but the heart froze,
And cries, and cries, and cries involuntarily.
Analysis of Balmont's poem "Verbalism"
The image of Russian nature is present in the works of many poets, and in most cases, landscape lyrics are filled with beauty and peace. However, Konstantin Balmont sees the world not in such joyful and pure colors, to which we are all accustomed. The thing is that the poet is trying to compare what is revealed to his eyes with his inner feelings. And as a result, a picture that is far from optimistic emerges, which the author paints in his poem “Non-verbose”, created in 1900.
The very name of this work indicates the peculiarities of the Slavic nature, which is distinguished by silence and restraint. Even when it hurts and feels bad, we prefer to hide it from others.. The poet considers the surrounding world to be the source of such behavior, arguing: “There is a tired tenderness in Russian nature, the silent pain of hidden sadness.” It is precisely the environment in which the Russian person lives, as if conducive to despondency and longing. In any case, Balmont sees precisely this side of nature, arguing that the image of a morning river in the fog, an empty garden or a frozen sedge invariably gives rise to pain in a person’s soul. “In all fatigue - deaf, dumb,” the author notes, referring to the fact that very often meadows and forests, even so dear to the Slavic soul, set a person in a pessimistic mood, instill melancholy and sadness in his soul. This is due to the fact that the soul asks for something else, but cannot get what it wants, because all around is the same dull landscape, endless, like the very existence of the Universe, gloomy and devoid of charm.
Of course, Balmont exaggerates and exaggerates his own experiences, refusing to notice that the world around him can still be amazing in its beauty. But a sunny day, drops of dew on the leaves of trees or a warm spring breeze do not find a response in the soul of the poet. “And the heart forgave, but the heart froze, and cries, and cries, and cries involuntarily,” Balmont notes. The author does not want to admit even to himself that sometimes such despondency rolls over any person, and there may be various reasons for this. For the poet, this is a personal drama associated with an unsuccessful marriage and a suicide attempt. Time will pass, and Balmont will again be able to realize that life can be truly beautiful. However, at the time of writing this poem, the surrounding nature gives rise to only sadness in the author’s soul, and he subconsciously looks for features in it that can enhance this depressing feeling.
The image of the native side, Russian nature is present in the poems of almost every poet. Most often, these are landscape lyrics, full of peace and beauty. Konstantin Dmitrievich Balmont, Russian poet and prose writer, a key figure in symbolism in poetry, sees the world around him differently. In his poem "Non-verbality", created by the poet in 1900, the picture of Russian nature is devoid of bright and joyful tones, it is sad and gloomy. Kupriyanovsky wrote about this time as follows: “In the conditions of great changes in public life Russia is undergoing significant shifts in the attitude of the Russian symbolists. Since the mid 1900s real life more and more intrudes into their work, and Russia, sometimes in a mystified form, becomes their theme. Balmont can be considered its initiator.
Through the prism of the landscape, Balmont wants to convey philosophical meanings and thoughts about Slavic culture, about its people. Russian people, especially a small person, for many years endured the tyranny of the state system, class inequality and poverty, without having the right to vote and freedom. This is expressed in the following lines: “There is a tired tenderness in Russian nature, the silent pain of hidden sadness.” native nature often gives rise to longing in a person’s soul, an empty garden and a morning river hidden in clouds of fog instill inescapable sadness in the heart. The poem was written as if "without a verb", without action, as if the inexpressibility of feeling froze in it.
The soul of a Russian person - that's what the poet wants to talk about. About the heart of a Russian person that “cries involuntarily”, which is not happy with the vast expanses native land, and the trees that are “so gloomy-strangely silent”, the blackening “mass of the frozen forest” inspire sadness in him. A person was deprived of the opportunity to speak out, to open his soul, to open up, speechlessness is the impossibility of speaking, this is a forced silence. “The wordlessness of peace” is the wordlessness of longing that permeates the landscape around the hero and himself. The mood of this poem echoes the tragic events in the life of Balmont, who is experiencing an unsuccessful marriage and a failed suicide that chained him to bed. The work expresses both the personal drama of the poet and the tragic situation of the Russian people.
The Russian person is characterized by spiritual sensitivity, sadness deeply hidden inside, the boundlessness of the soul, its breadth and mercy, this is what the first quatrain of the poem says. Longing is a key concept of the Russian language and culture, writes Verzhbitskaya. The second quatrain is an appeal to a neighbor who can understand. The turning point of the work is the third quatrain, where hope is denied, the opportunity to act, to speak, to sound, to be heard is denied: "In all fatigue - deaf, dumb." The fourth quatrain plunges into the atmosphere of a cool wilderness that envelops a person, forcing his soul to freeze in silence. The fifth quatrain is a dream of a better life, of beauty and love, which the soul did not get: “It was as if the soul asked for what it desired, and they undeservedly hurt it.”
The work uses a large number of colorful epithets, such as "silent pain", "tired tenderness", "hopelessness of grief", "hidden sadness". There are also metaphors and personifications: “the heart is crying”, “the heart has forgiven”, “the soul asked for the desired”, “meadows run away far, far away”. Balmont's use of homogeneous subjects, repetitions of words with the "without" component, sentences similar in lexical content creates an almost musical rhythm in the poem. The poet also uses the alliteration of the letter "b" and the assonance of the letters "a", "e".
Konstantin Dmitrievich Balmont(1867-1942) - Symbolist poet, translator, essayist, one of the most prominent representatives of Russian poetry "Silver Age".
published 35 poetry collections, 20 books of prose, translated from many languages ( W. Blake, E. By, P. B. Shelley, O. Wilde, G. Hauptman, S. Baudelaire, G. Zuderman; Spanish songs, Slovak, Georgian epic, Yugoslav, Bulgarian, Lithuanian, Mexican, Japanese poetry).
I present to your attention one, in my opinion, of the most the most beautiful poetic works Russian poetry, at the same time sad, but explaining the Russian melancholy, the mystery of the so-called "Russian soul".
First, read slowly thoughtfully the text itself, without any explanations, we will taste the very essence with our soul, and then we will discuss ...
Voicelessness
There is a tired tenderness in Russian nature,
The silent pain of hidden sadness
Hopelessness of grief, voicelessness, boundlessness,
Cold heights, leaving gave.
Come at dawn to the slope of the slope, -
Coolness smokes over the chilly river,
The bulk of the frozen forest is blackening,
And the heart hurts so much, and the heart is not happy.
Motionless reed. The sedge does not tremble.
Deep silence. Silence of rest.
The meadows run far, far away.
In all fatigue - deaf, dumb.
Enter at sunset, as if into fresh waves,
In the cool wilderness of the village garden, -
The trees are so gloomy-strangely silent,
And the heart is so sad, and the heart is not happy.
As if the soul asked for what it wanted,
And they hurt her undeservedly.
And the heart asked, but the heart ached,
And cries, and cries, and cries involuntarily.
First quatrain.“There is in Russian nature…” - We are talking, first of all, about the nature of the soul of a Russian person, his essence, leaven. The poet shows it on the example of the tangible nature of plants, where he lives people with a "mysterious" soul.
What is inherent Russian man? Tired tenderness(sensitivity, openness, frankness, which was hurt, tormented and tired), The silent pain of hidden sorrow(deeply hidden sadness due to oppressive suffering, but silent, patient pain), Hopelessness of grief, voicelessness, boundlessness(woe that never ends, while none of those who mourn speak of it, but the vastness of the soul is Christian patience), Cold heights, leaving gave(the height of the soul is so strong that it is tearing away from the earth, cold and distant).
Second quatrain. Appeal to those who understand - Russian to a person.
Come at dawn to the slope of the slope, -
Coolness smokes over the chilly river,
The bulk of the frozen forest is blackening,
And the heart hurts so much, and the heart is not happy.
Coming at dawn hillside, you see that over a cold river, as if from a fire (which is actually burning, hot - a contradictory image inherent in nature "mysterious people"), cool smokes. Nearby bulk(image enemies, a mighty foe from fairy tales) of a lurking dark forest. From the familiar picture you see, your heart hurts a lot, your heart is not happy with what you see.
Third quatrain.turning point moment in body verse. In all phrases bones and phrases muscles goes negation good, the impossibility of action (complete inaction - wordlessness ):
Motionless reed. The sedge does not tremble.
Deep silence. Silence of rest.
The meadows run far, far away.
In all fatigue - deaf, dumb.
reeds- motionless sedge- does not tremble (is she alive ???), if silence- then it is not just silence, but deep, super-silence. peace verbless - inactive, no action, application of force ... no physics ... one continuous metaphysics!
If meadows here - then they always run away far, far away: the boundlessness of the Russian plains, where once hesitated to go senselessly forward Napoleon without understanding Russians where I stumbled upon them like stumps and weeds, Hitler bogged down like in a swamp, mysterious Russian souls who do not spare their bodies ( your belly), with bare hands conquer iron weapons ...
"In all fatigue - deaf, dumb." Everyone is tired of this fatigue - Everybody, who lives here and who gets here. Fabulous place, bewitched, alienated, magical. Deaf, dumb- neither hear nor speak. Nobody hears, nobody speaks. But everyone is patient.
Fourth quatrain. That was "dawn", now begins "sunset", which is no different from dawn (again, a paradox, mystery).
Enter at sunset, as if into fresh waves,
In the cool wilderness of the village garden, -
The trees are so gloomy-strangely silent,
And the heart is so sad, and the heart is not happy.
You go at sunset (evening) again to the "cool" wilderness (at the very boron) village garden- but as in fresh waves ... swim, friend, swim. The image of trees "cuts" with a three-word epithet "gloomy-strange-silent": silence in the shadows, in a strange twilight. D at shi froze - do not speak for some reason, dying in the beginning of the night. And again repeat, as in second quatrain: "And the heart is so sad, and the heart is not happy" - only "pain" already replaced by "sadness". The dawn pain turns into sunset sadness, the feeling dissolves in the dusk, becomes barely distinguishable, weakens ...
Fifth quatrain. All these puzzles Russian nature, the Russian soul are "explained" like this:
As if the soul desired asked
And they hurt her undeservedly.
And the heart asked, but the heart ached,
And cries, and cries, and cries involuntarily.
Almost a request begins with a fabulous word "as if"… soul asked for what you want: about herself high purity, beauty, love. However, earthly realities hurt her undeservedly ( "humiliated and insulted")… soul and at hearts asked: at hearts, which is communicationsouls with the earthly world, but heart it just hurt... it hurts too...
"And cries, and cries, and cries involuntarily"- cries, because it is in captivity, in the earthly fetters of evil.
Now you can think about doing conclusion that in the poem sounds absolute hopelessness. But it's not. Despite the full real estate, inaction, wordlessness, we now know that there is some dream, which is somewhere there, in the heights of complete purity, inaccessibility, when viewed from dawn slope or sunset village garden(and they are only in Russia!)
E st dream, e exist, which means that there is place, where we are not but we can there
to be. Russian soul exactly that and mysterious, which is related to metaphysicalplace, but here, on Earth, languishing in anticipation of a meeting. That's immovable wordless, patient with enemies, constantly substitutes more and more new "cheeks" on the provocation of evil. The main thing is that there is a connection, this is the most important thing - and in that enlightenment. Here she is, solvedmystery!
Alexander Tenenbaum
There is a tired tenderness in Russian nature,
The silent pain of hidden sadness
Hopelessness of grief, voicelessness, boundlessness,
Cold heights, leaving gave.
Come at dawn to the slope of the slope, -
Coolness smokes over the chilly river,
The bulk of the frozen forest is blackening,
And the heart hurts so much, and the heart is not happy.
Motionless reed. The sedge does not tremble.
Deep silence. Silence of rest.
The meadows run far, far away.
In all fatigue - deaf, dumb.
Enter at sunset, as if into fresh waves,
In the cool wilderness of a village garden, -
The trees are so gloomy-strangely silent,
And the heart is so sad, and the heart is not happy.
As if the soul asked for what it wanted,
And they hurt her undeservedly.
And the heart forgave, but the heart froze,
And cries and cries and cries involuntarily.
Ignorance is pain. Silence is silence, the quiet peace of nature. We see how in this poem Balmont describes a static state surrounding nature predominantly nouns - "hopelessness, voicelessness, boundlessness ..." In the poem there are syntactic and semantic repetitions ("and the heart is not happy", "and cries and cries"), epithets ("gloomy-strange-silent trees", "tired tenderness" ), as well as metaphors (“heart hurts”, “soul is not happy”).
In this poem, the poet speaks of his beloved nature, but speaks with hidden pain. What is the cause of this pain? Why does the beauty of the surrounding nature not please us and the author? “It was as if the soul asked for what she desired, and they undeservedly hurt her.” As if we were waiting for a miracle, waiting for the sun - but we got the calm and smoothness of a silent day ...
But this silence, this peace, despite the seeming misfortune, actually brings peace and tranquility to the suffering soul.
The next book, bearing the pretentious title "The Liturgy of Beauty", is characteristic as a new attempt to return again to pantheism in its most extreme form, to the cult of the elements, to a kind of elemental monism, the artistic form of which is now dithyramb. The author himself called this book a book of "spontaneous hymns", identifying the worship of the elements with the liturgical service.
But now, after repeated attempts to see the protection of the blind elements, to ascend mystically to the fundamental principles of all that exists, to the contemplation of the two original, greatest Faces, after the deepest falls and tragic tortures of splitting, this new call for wholeness, spontaneity and pantheism sounds cracked and pitiful.
“The whole land is mine, and it has been given to me to walk on it,” these words of Apollonius of Tyana were put by the author as the epigraph of the “Liturgy of Beauty”; in the first poem, he speaks of the main task in this way: "extraordinary", under his brush, on the contrary, not a single head dares to make an ordinary turn, and also in the fact that he himself does not see and does not feel all the horror of his condition. If, on the one hand, Balmont was the first to create new types of verse, improve the technique of consonances and introduce new meters, the first to begin a reform of style, having an infinitely beneficial influence on subsequent poets, then on the other hand, the same Balmont brought each of his new strokes to a break, a new image to caricatures in his subsequent works, a number of which opens with the collection Liturgy of Beauty. It seems that he himself circled each contour with a second contour, thus giving each cherished image a monstrous caricature, he himself diligently emphasized every shortcoming of his impressionistic method of creativity, imitating himself, distorted himself.
There is a tired tenderness in Russian nature,
The silent pain of hidden sadness
Hopelessness of grief, voicelessness, boundlessness,
Cold heights, leaving gave.
Come at dawn to the slope of the slope, -
Coolness smokes over the chilly river,
The bulk of the frozen forest is blackening,
And the heart hurts so much, and the heart is not happy.
Motionless reed. The sedge does not tremble.
Deep silence. Silence of rest.
The meadows run far, far away.
In all fatigue - deaf, dumb.
Enter at sunset, as if into fresh waves,
In the cool wilderness of the village garden, -
The trees are so gloomy-strangely silent,
And the heart is so sad, and the heart is not happy.
As if the soul asked for what it wanted,
And they hurt her undeservedly.
And the heart forgave, but the heart froze,
And cries, and cries, and cries involuntarily.
Analysis of the poem "Verbalism" by Balmont
Writers and poets at all times turned to the image of Russian nature. First of all, in order to better express the state of mind in which the author creates. If he is happy and calm, then nature is portrayed as something harmonious, beautiful, pacifying. But if the poet is sad, if it is hard and painful for him, then in the world around him he sees only sadness and grief. “Verbalism” by Konstantin Balmont is one of such works.
The very word "verblessness" means the absence of a "verb", an action. Russian nature is portrayed by Balmont just like this: inactive, motionless, tired. She froze from grief, which cannot be expressed in anything - neither in a word, nor in a gesture. The world around the lyrical hero seems to be tired, he is unable to move, but can only stop, freeze in his sadness.
In this the author sees distinguishing feature and the character of a Russian person who experiences grief silently, inside, not trying to talk about it or simply not being able to do it. All the hardships and hardships, all the injustice of the world, the Russian man endures, being deprived of a voice to speak out. How wide and multifaceted his soul is, just as secretive and patient. The social subtext of the poem is thus also extremely strong.
In the first stanza of the work, nature is portrayed as boundless and endless, but absolutely silent and mute. As if the author's grief itself has no boundaries and cannot be expressed by anything. The landscape, of course, is full of both tenderness and sadness, but not bright and sublime, but hopeless and bitter. Like the soul of the poet himself is full of longing.
The next four stanzas expand on this idea. It doesn't matter the place or the time of the day. “And the heart hurts so much, and the heart is not happy” in the morning, at dawn, over the river. But "the heart is so sad, and the heart is not happy" also in the evening, at sunset, in the village garden. After all, it is not the surrounding world that makes a person unhappy. On the contrary, an unhappy person tends to see everything around him as dark and gloomy.
These experiences are definitely related to personal life Balmont. The poet survived a difficult break with his wife, attempted suicide, which ended with him being bedridden. It's hard to be a cheerful person while experiencing this.
At the end of the work, the poet says that the pain he has to live with is undeserved. And even having forgiven insults, he continues to suffer, and his heart froze and cries.
