I
October has already come - the grove is already shaking off
The last leaves from their naked branches;
The autumn chill has died - the road freezes through.
The murmuring stream still runs behind the mill,
But the pond was already frozen; my neighbor is in a hurry
In the departing fields with his hunt,
And they suffer winter from mad fun,
And the barking of dogs wakes the sleeping oak forests.

II
Now it's my time: I don't like spring;
The thaw is boring to me; stink, dirt - I'm sick in the spring;
The blood is fermenting; feelings, the mind is constrained by melancholy.
In the harsh winter I am more satisfied,
I love her snow; in the presence of the moon
As an easy sleigh run with a friend is fast and free,
When under the sable, warm and fresh,
She shakes your hand, glowing and trembling!

III
How fun, shod with sharp iron feet,
Glide on the mirror of stagnant, smooth rivers!
And the brilliant anxieties of the winter holidays?..
But you also need to know honor; half a year snow yes snow,
After all, this is finally the inhabitant of the lair,
Bear, get bored. You can't for a century
We ride in a sleigh with the young Armides
Or sour by the stoves behind double panes.

IV
Oh, red summer! I would love you
If it weren't for the heat, and dust, and mosquitoes, and flies.
You, destroying all spiritual abilities,
you torment us; like fields, we suffer from drought;
Just how to get drunk, but refresh yourself -
There is no other thought in us, and it is a pity for the winter of the old woman,
And, seeing her off with pancakes and wine,
We make a wake for her with ice cream and ice.

V
The days of late autumn are usually scolded,
But she is dear to me, dear reader,
Silent beauty, shining humbly.
So unloved child in the native family
It draws me to itself. To tell you frankly
Of the annual times, I am glad only for her alone,
There is a lot of good in it; lover is not vain,
I found something in her a wayward dream.

VI
How to explain it? I like her,
Like a consumptive maiden to you
Sometimes I like it. Condemned to death
The poor thing bows without grumbling, without anger.
The smile on the lips of the faded is visible;
She does not hear the yawn of the grave abyss;
Still purple color plays on the face.
She is still alive today, not tomorrow.

VII
Sad time! oh charm!
Your farewell beauty is pleasant to me -
I love the magnificent nature of wilting,
Forests clad in crimson and gold,
In their canopy of the wind noise and fresh breath,
And the heavens are covered with mist,
And a rare ray of sun, and the first frosts,
And distant gray winter threats.

VIII
And every autumn I bloom again;
The Russian cold is good for my health;
I again feel love for the habits of being:
Sleep flies in succession, hunger finds in succession;
Easily and joyfully plays in the heart of blood,
Desires boil - I'm happy again, young,
I am full of life again - this is my body
(Allow me to forgive unnecessary prosaism).

IX
Lead me a horse; in the expanse of the open,
Waving his mane, he carries a rider,
And loudly under his shining hoof
The frozen valley rings and the ice cracks.
But the short day goes out, and in the forgotten fireplace
The fire burns again - then a bright light pours,
It smolders slowly - and I read before it
Or I feed long thoughts in my soul.

X
And I forget the world - and in sweet silence
I am sweetly lulled by my imagination,
And poetry awakens in me:
The soul is embarrassed by lyrical excitement,
It trembles and sounds, and searches, as in a dream,
Finally pour out free manifestation -
And then an invisible swarm of guests comes to me,
Old acquaintances, fruits of my dreams.

XI
And the thoughts in my head are worried in courage,
And light rhymes run towards them,
And fingers ask for a pen, pen for paper,
A minute - and the verses will flow freely.
So the ship slumbers motionless in motionless moisture,
But chu! - the sailors suddenly rush, crawl
Up, down - and the sails puffed out, the winds are full;
The mass has moved and cuts through the waves.

XII
Floats. Where are we to sail?

Let's listen to how Innokenty Mikhailovich Smoktunovsky reads Alexander Sergeyevich Pushkin's poem "Autumn" in the film "I visited again ..."

Analysis of the poem by A.S. Pushkin "Autumn"

The work is a vivid classic example of landscape lyrics, which is combined with the philosophical reflection of the author. It amazingly conveys images of autumn pictures of nature, peasant life, personal experiences of the poet, features of his work. Through the image of the nature of the native side, the existential experiences of the author are visible.

When it was written and to whom it is dedicated

The poem is one of the fruits of the so-called "Boldino autumn" in the work of A.S. Pushkin, the period of the most figuratively rich and famous of his works. "Autumn" was written during the stay of Alexander Sergeevich in Boldino in 1833, when the famous "Belkin's Tale" was also born. The poem is dedicated to the poet's favorite season and his lyrical searches.

Composition, size and genre

The work "Autumn" has a clear composition, divided into 12 stanzas, united by a common theme, but devoted to its different variations. Such a structure makes Pushkin's famous work related to large musical forms that combine variations on one theme into harmonious cycles.

The first stanza is devoted to the depiction of October pictures of nature, created by the author with special love. Admiring the beauty of withering is in every image: in the last leaves falling from the trees of the grove, on a frozen road, in a tired hunter and the barking of his dogs.

The second stanza is a frank declaration of the poet's love for the autumn season, its advantage over other seasons. The opposition of autumn to other seasons of the year continues in the third and fourth stanzas. The lines are filled with bright pictures of winter amusements, spring drops, and withering summer.

The poet dedicates the fifth stanza to late autumn, which is especially dear to him, despite the fact that most people scold him. The description of the quiet beauty of the beloved season continues until the ninth stanza.

The author shares revelations with the reader, drawing a beautiful girlish portrait of autumn with the help of paths, talking about her favorite pastime on horseback in the fields, beautiful multi-colored wilting of foliage. The author admits that he loves Russian cold, from which the blood boils, a pleasant difference between the freezing air in the fields and the warm comfort of a home fireplace. Gradually, Pushkin focuses on his experiences and thoughts.

The tenth and eleventh stanzas are dedicated to the poet's revelation of his lyrical experiences and the birth of poetry. Pushkin reveals the "holy of holies" to the reader, making it clear the features of the birth of poetic lines. Inspired by the modest beauty of late autumn, Alexander Sergeevich shares his thoughts with the reader in a frank dialogue, telling how vivid images and thoughts turn into talented lines.

The last twelfth stanza is a unique ending, leaving the final thought to the reader's judgment. It contains only the question “Where are we going to sail?”, the answer to which Pushkin leaves the reader to decide for himself.

According to the genre of writing, the work is considered an excerpt, for its fuzzy ending. Also, "Autumn" refers to the genre of landscape lyrics with elements of philosophical existential meditation. We can consider the poem as an appeal, because the author conducts a frank dialogue with the reader. And the main artistic goal of the passage is to lead the reader through the atmospheric pictures of nature to the creative revelation of the author.

The work is written in iambic six-foot, which gives a measured pace to the narration, inherent in autumn slowness.

Images and trails

The main images of the poem are autumn and other seasons, as well as the image of a lyrical hero with his lively thoughts and poetic lines.

To depict the beauty of autumn, the author uses vivid metaphors: “forests clad in crimson and gold”, “consumptive maiden”, “poor thing bows without grumbling and anger”, “old acquaintances, the fruits of my dream”. No less remarkable are the author's epithets: "grave's breath", "light rhymes", "dull time".

Mikhail Leonovich Gasparov, providing the materials published today at our urgent request, recalled that they were not intended for publication, but were composed in the form of help - advice for a colleague: "There is no concept here, just careful reading."
We believe that this publication will be of interest to a teacher who is engaged in the analysis of poems with his students - that is, most likely to every teacher.
These materials can be used in a variety of ways. For example, invite students to independently answer one of the questions asked by the researcher and compare the results. Or introduce high school students to the article and ask them to think about how the observations made by the scientist affect the perception of the poem. Or just read the publication and, hopefully, have fun, because (to paraphrase the great poet) following the thought of a real scientist is “science is the most entertaining.”

M.L. GASPAROV

"Autumn" by A. Pushkin: careful reading

There are eleven stanzas in "Autumn", not counting one discarded and one unfinished. Here is their content:

1. Autumn in its concreteness, present.
2. Fall through Contrast: spring and winter.
3. Fall through Contrast: winter.
4. Fall through Contrast: summer and winter.
5. Fall through Similarity: child before dislike.
6. Fall through Similarity: maiden before death.
7. Autumn in general, always.
8. Me: my inner feelings.
9. Me: my outward behavior.
10. Me: my creative experiences.
(10a. I: imagination).
11. Me: creating poetry.
(12. Me: choice of topic.)

The last, 12th stanza breaks off at the initial words - where it comes to the content of the poems, the content of the created world. This is the justification for the subtitle "Excerpt". Both she and another stanza about the same (10a) were written and discarded: an epigraph remained a hint of them “Why doesn’t my dormant mind then enter? - Derzhavin ". Probably, this should be understood: the world created by the poet is so great that it defies description.

The grouping of stanzas is partly emphasized by verse and stylistic features.

(1) Poetic size"Autumn" - iambic six-foot; in it, the main sign of rhythm is caesura: the more traditional masculine is felt as more solid, the more innovative feminine - as more unsteady and smooth. The number of dactylic caesuras by stanza (including the discarded 10a and the unfinished 12):

1-7th stanzas - autumn: 1, 2, 2, 2, 4, 3, 4;
8-12th stanzas - 2, 3, 3, (6), 3, (4).

In each thematic passage, dactylic caesuras grow from beginning to end. The average number of lines with "romantic" dactylic caesuras is: autumn I – 1; contrast – 2; similarity – 3,5; autumn II– 4, I'm in front of poetry – 3,5; I'm over poetry- 4. Maximum dactylic caesuras - in stanza 10a; maybe it seemed to Pushkin excessive, and partly for this reason the stanza was discarded. Preparation of the rhythmic climax - in stanza 10, dactylic caesuras with internal rhyme: And awakens... The soul is shy...(cf. in stanza 6, before the end of the first part of the poem - Sometimes I like it ... The poor thing tends ...). The culmination is at the end of stanza 11, the beginning of the creation of poems: The mass has moved and cuts through the waves, dactylic caesura with an unstressed beginning of the second half-line create a spectacular prolonged unstressed interval. (S. M. Bondi drew attention to the fact that he marks a thematic milestone.)

(2) faces. Autumn in the 1st stanza is presented impersonally, objectively; the only reference to the author is my neighbor. In stanzas-contrasts my goes into I(2), then in we(3), then in I and we(4). At the end of contrasts, a second person appears - a rhetorical appeal you summer(4); in similarity stanzas it becomes more intimate (you,) reader(5) and you(5–6). Autumn in the 7th stanza is already entirely personally colored: Pleasant to me yours farewell beauty. The last stanzas, about himself, of course, all contain I, but with two curious variations, at the beginning and at the end. In stanza 7, along with I there is a distance from the reader you: Let me forgive... In stanza 11 I missing - thoughts, rhymes, pen, poetry and the ship exist as if by themselves. And in the begun stanza 12 instead of I appears merging with the reader we: the created world of poetry existed, as it were, at first only for the poet, then by itself, and, finally, for everyone.

(3) Style. Attention is drawn to him by the climactic line of stanza 8: ...organism...unnecessary prosaism. This encourages listening to stylistic anomalies in other stanzas as well. There are no prosaisms in the 1st stanza. They appear only in stanzas-contrasts. In the 2nd colloquial prose - stink, dirt- and book - in the presence of the moon. In the 3rd - only colloquial: turn sour(instead of miss). In the 4th weakened colloquial yes dust, yes mosquitoes and book mental abilities. After that, the declared “prosaism” (bookish) in stanza 8 is the only one: of course, he emphasizes the thematic overlap of this stanza with “contrasting” 2–4. Instead, stylistic anomalies become different. Switching point - in the 6th stanza: semantic shift Grave abyss she does not hear the pharynx, visual image pharynx compatible with auditory hears. And then, just as in the first half of the poem three stanzas were marked by prosaisms, so in the second three were marked by tautologies. in the 9th loudly ... the frozen valley rings; in the 10th in sweet silence I am sweetly lulled, and a lulled soul looking, as in a dream, to pour out; in the 11th the ship slumbers motionless in motionless moisture. (In a fragment of the 12th - Floats. Where are we to sail?- not a tautology, but also a repetition of a word.) A tautology can be a sign of both colloquial and poetic style; here the context prompts us to see in it a poetic style, contrasting with the initial prose.

So we see that the poetic and stylistic signs help to highlight the main thematic parts of the work: “autumn” and “I”, “autumn itself” and “contrasts to autumn”.

<Художественный мир стихотворения>

Now you can move on to an overview of the artistic world of the poem stanza by stanza.

<1-я строфа. Осень в ее конкретности, теперешняя>

Autumn in the 1st stanza, as said, is concrete, present. A specific month is named - October- and verb actions are listed: less often in the past tense (stepped, breathed, froze, asleep), twice as often in the present (shakes off, freezes, murmur runs, hurries, suffers, wakes up). The sensibility of time is emphasized by hysterosis (an artistic technique of anticipation. – Ed.) the grove shakes the leaves from its bare branches, word naked used in the approximate sense of "uncovering". The perceptibility of space is ordered: the sheets being shaken are vertical; the road and the stream are a horizontal line; pond - horizontal plane; the outgoing fields are an even wider horizontal plane. The stanza began grove(perception through sight), ends oak forests(perceived through hearing). Images of movement alternate with images of rest and are intensified: shakes off - breathed - (freezes) - runs - (froze) - hurries to crazy fun. At the end of the stanza, this tension of movement and rest finds expression in a new dimension - in sound. This increase in the dynamics of meaning is contrasted by an increase in rest in rhythm: in the first half of the stanza there are two words with a dactylic ending, in the second - five.

The movement of attention in the 1st stanza is from natural phenomena to cultural phenomena. The grove is only nature; the road is a trace of culture that has become part of nature; the mill is already culture, but the pond next to it is the support of culture in summer and part of nature in winter; neighbor-hunter - a culture that consumes nature; mentioned unnecessarily winter unite the hunter and the mill into a cultural whole. Half of the stanza is about nature, half is about a neighbor. This introduces the main theme of the poem: nature, autumn as an approach and stimulus to culture, I. Here the culture is still consumerist, in stanzas about I she becomes creative. Start ... the grove shakes off refers as a subtext to "October 19, 1825", the forest drops its crimson dress; and then in stanzas about I will appear a forgotten fireplace ... and I am in front of it... referring to blaze, fireplace, in my deserted cell.

<2–4-я строфы. Контраст>

In the contrasting stanzas 2-4, the seasons are considered both as part of nature and as part of culture. Spring is the heaviness of nature in man: I'm sick, blood is fermenting, feelings, mind are constrained by melancholy; next to it thaw, stench, dirt mentioned more briefly. Summer is the heaviness of nature around a person: heat, dust, mosquitoes, thirst(consonant verb suffering correlated with calculated suffer from winter); next to it mental abilities mentioned only briefly. Winter is the tediousness of society with its amusements: sleighs, skates, pancakes and wine: if spring and summer are heavy with an excess of evil, then winter, on the contrary (paradoxically), with an excess of good. Here is the most tangible literary subtext in the poem: “The First Snow” by Vyazemsky.

<Уподобительные 5–6-я строфы>

In the likening stanzas 5-6 (the middle of the poem!) the paradoxical logic reaches its climax. It's underlined: how to explain it? The basis implies a natural ethical feeling: “an undeservedly unloved child evokes sympathy”, “a maiden doomed to illness and death evokes sympathy”. But instead causes sympathy said first attracts(this is still ethics), then I (and you) like(this is aesthetics). Admiring morbidity is a feature of the new, romantic theme, in the poem it is most frank here. The paradox is shrouded in romantic vagueness: autumn is sweet at first visible beauty, then only understandable a lot of good and finally unspeakable I found something in her. In the literary subtext here is Pushkin's own elegy Alas, why does she shine ... She noticeably fades... (1820) and, more remotely, the consumptive muse of Delorme-Saint-Beuve from Pushkin's review of 1831. Transition from child to virgin– with intensification: the unloved can be corrected, the doomed irreparably, there are transient relationships, here is an existential essence. It is hinted at the same time that child and Virgo can be one and the same person: halfway between their images, the poet calls himself lover is not vain, although formally he is the lover of autumn here.

<7-я строфа. Осень вообще, всегдашняя>

After such preparation, the second stanza about autumn finally becomes possible - emotional and evaluatively colored. In stanza 1, autumn was concrete, the present one - in stanza 7 - is autumn in general, always. There, the picture was built on verbs - here on nouns, going in a list, and the only verb I love... as if brought forward out of brackets. There the picture came to life from beginning to end (the appearance of a neighbor, and suffer from winter), here it becomes more objective and colder (literally and figuratively). The paradox is emphasized in the very first exclamation Sad time! oh charm!(alliteration!); then, weaker, combined lush ... withering; and, almost imperceptibly, in crimson and gold clad forests. Crimson (porphyry) and gold are the colors of royal clothes, the disclosure of the word magnificent; but the crimson is also a consumptive blush, about which it was said in the previous stanza: still purple color plays on the face(an unusual word for complexion; in the Academic Dictionary there were two of its meanings - “scarlet, purple” and “reddish-blue.” After the previous stanza, the logic of the paradox is already clear: “I appreciate the beauty of autumn, because we have not long to admire it”; hence the metaphor with a touch of personification: parting beauty.

The movement of attention in stanza 7, as in stanza 1, begins with the trees, but does not go down, but up. Instead of specific October here at the beginning is a generalized it's time(with her beauty), then the equally generalized nature; and finally multiple forests less specific than grove, and metaphorical crimson and gold- how leaves. To begin with, an earlier moment is taken: the branches are not yet naked, but dressed in bright leaves and called canopy, for the end - apparently later: not only the first frosts (from which the pond is frozen etc.), and distant hoary winter threats. But there is no temporal transition here, rather it is a timeless coexistence. In between are the wind (noise and freshness), the sky (clouds) and the sun (opposed to the previous mist as a carrier of light, and subsequent frosts as a carrier of heat). At the beginning of the poem there was an autumn of the earth, now, in the middle, there is an autumn of the sky: the theme of nature, as it were, rises, leading to the theme of creativity. Here, for the first time, color appears in the image of nature, until now it was a colorless drawing. In a figurative sense, the color was mentioned in stanza 4, Oh, red summer!, for the blush of the face - in stanza 6 and finally here.

<8-я строфа. Я: мои внутренние ощущения>

From the already meaningful central paradox comes the thought of stanza 8: “as the beauty of a maiden is more miles before death and the beauty of autumn before winter, so the poet blooms before winter.” blooming- a metaphor from the natural world, therefore, primarily physical health is meant, and mental health is only a consequence of it: this is emphasized by the ending word organism with a comment. In the face of mortal cold, roads become palpable habits of being, the three needs of the body: sleep, hunger and carnal desires (plays blood) with their harmony (in a row... in a row). They are accompanied by emotions arising from each other: love of life, lightness, joy, happiness. The verbs that describe this are becoming more dynamic: sleep flies, blood plays, desires boil, generalization - I am full of life again. This is again characteristic: the natural world is cyclical in its cycle of extinction and renewal, hence - again... again... in succession... in succession... again.

All these sequences are inserted into a non-random frame: at the beginning it is said that all this healthy my health, and in the end - that there is a conversation about all this unnecessary, that is, useless prosaism. This is another step in the approach from the natural world, where the main thing is the benefit, to the creative world, where there is no benefit and there should not be (the theme of "The Poet and the Crowd", 1828). At the word useful named Russian cold- this is a reference to another subtext - the poem "Winter. What should I do in the countryside?..” (1829), which ended the storms of the north are not harmful to the Russian rose, like a Russian maiden is fresh in the dust of snow!; and before that, it included a neighbor, and hunting, and even attempts at creativity. This epithet Russian- an additional contrast between the natural world and the creative world, in which - as can be seen from the omitted stanzas 10a and 12 - everything is non-Russian: knights, sultans, corsairs, giants, Moldavia, Scotland, Normandy, with only one exception: you my ladies(in the subtext - the metamorphoses of Pushkin's Muse, described in the beginning of Chapter VIII of Onegin).

<9-я строфа. Я: мое внешнее поведение>

Line 9 - turning point: it is of two halves, separated by an inconspicuous but(hardly noticeable, because the compositional boundary of the octave is not after the 4th, but after the 6th verse). The first half is a white day, latitude, dynamics; the second half - evening and night, a corner by the fireplace, concentration. The first completes the story about the natural world, the second begins the story about the creative world. In the natural world, the state of the poet led to the feeling I'm full of life again here it is full boils over the edges and finds expression in a horseback ride in the open. Such a jump was already in the 1st stanza; but there it was a purposeful action, the hunt of a neighbor, but here it is an action without a goal, only a discharge of vital forces - we again have a contrast between practical usefulness and creative self-goal. In the description of the jump, the rapid narrowing of space is remarkable: in the field of view - first everything expanse open, then only a horse with a rider (a view from the side!), waving its mane, then only horse hooves beating into the ice. (Flickering word at the end dol narrower than expanse, and additionally neutralized by consonance with the word ice.) This narrowing is accompanied by an exit into brilliance and sound (moreover, apparently, a double sound: a ringing flying along the valley, and a crackling remaining under the hoof). The sound was still only in the 1st stanza (barking), and shine - only in the 3rd stanza (mirror of rivers; humbly shining beauty in the 5th stanza clearly does not count).

This image of glitter is important because only it binds through the head. but two halves of the 9th stanza. A horse in a wide expanse is nature, a small fire in a cramped cell is culture. The picture of nature narrowed to the brilliance of a horse's hoof; the transition from nature to culture is given through obscuration, the day goes out, and the camel forgotten; the picture of culture begins with the brilliance of fire in this hearth. Further, the narrowing of the space continues, but with complications. Fire in the stove then a bright light pours, then smolders slowly, narrowing the illuminated space; it's the same rhythm sequence... sequence... same as in line 8. I read before him, the field of view narrows further, only the head with the book remains in it. Or long thoughts in my soul I feed, is it further contraction or expansion? For doom don't even need a book soul everything inside a person, from the point of view of the outside world, this is a narrowing; but the soul itself contains the whole world, and from the point of view of the inner, creative world, this is an expansion; it is underlined long. This interaction of the inner and outer world becomes the theme of the next stanza.

<10-я строфа. Я: мои творческие переживания>

Stanza 10 begins with an inward movement: and forget the world I go into silence, into a dream. But then there is a counter movement, and poetry awakens in me, from dream to reality: verb awakens means revival, movement, disclosure, i.e. ultimately expansion. Both movements, into and out of sleep, take place under the common canopy (in a common environment) of the imagination. Cramped between these movements the soul is embarrassed by lyrical excitement, from this flutters and from this sounds- the culmination of tension! There are no words in this sound yet, the words will be in stanza 11. Having reached this ultimate tension, the soul seeks to pour out freely(isn't it prosaic?), moving outward, as if over the edge, as between the 8th and 9th stanzas. But then again there is an oncoming movement, an invisible swarm of guests comes to me- where? It turns out that from myself, they old[,] fruits of my dreams. With what is this dream from the one mentioned above identical with soul or with imagination? According to the meaning of the word, it is rather with imagination: it is probably generated by the soul, and then, generated, receives an independent existence, lulls and constrains the soul, etc. It turns out a paradox: not the soul is the receptacle of the imagination, but the imagination is the receptacle of the soul. In this case, an explanation suggests itself: maybe the imagination is the creative world, already created and existing next to the real one, and the current act of autumn creativity is just adding new elements to it or streamlining those that already exist in it?

<Строфа 10а. Я: воображение>

Those that are already in it are listed in the discarded stanza 10a. These are the images that inhabit poetry, there are fifteen of them: fourteen fantastic in 5 lines and one realistic - young ladies! - in 3 lines. Fantastic images are opposed to each other in various ways. The knights are opposed to the sultans, as the West is opposed to the East; knights - monks, as secular - spiritual; sultans - to the Arapian kings, like whites - to blacks; monks (blacks) are probably also associated with black. (The dwarfs among them are still unclear: whether they are fabulous creatures, or real, albeit exotic, jesters; in any case, associations with Ruslan and Lyudmila are undeniable.) The eastern row continues in boldykhanakh; after the white and black lords they are yellow. The west row continues into Greek women with rosary; after secular and spiritual heroes, they combine both qualities in themselves. Greek women are opposed to corsairs as feminine to masculine and passive to active; at the same time, they join together the western row with the eastern one, uniting Western Christianity with eastern exoticism. (We assume that in corsairs Byronian associations predominate; if they are dominated by memories of Turkish corsairs of the 16th century, then the ratios will change.) The western row continues one more step Spaniards in coats(a rare word referring to a new subtext - "The Stone Guest"), this introduces two new dimensions: temporary ( in envelopes- this is a later time than the steel knights in armor) and "internecine" ( in envelopes they are no longer at war with the East, but fight each other in duels over ladies). The series intermediate between West and East continues Jews, they are similar Greek women with rosary according to this function, and are opposed to them by faith (and to the corsairs - by non-military). Actually the eastern row does not continue, in its place appear heroes and giants and introduce new relationships: giants - pure, ahistorical fabulousness (this comprehends dwarfs three lines above: therefore, they are also fabulous), and the heroes for the first time introduce, in addition to the West and East, a hint of a Russian theme. Finally, in the last line of a large list Princess prisoners can be victims of both eastern sultans (etc.), and fabulous giants, and countess titles echo the princesses, but can already belong not only to the exotic, but also to modernity - this is a transition to a contrasting image that balances this entire list: to my young ladies. Three whole lines are devoted to them, they are sharply highlighted by the appeal you..., their portrait is drawn with gradual approximation and enlargement: general appearance, face, eyes; their image is doubled, they are both literary heroines and memories of real love: Pushkin was famous as the discoverer of the image county ladies, but this was already in the years of his creative maturity, and the words favorites of my golden dawn refer to his early youth.

<11-я строфа. Я: создание стихов>

Stanza 11 begins again with an alternation of movements from outside and outside, but twice as fast - in space, not stanzas, but semi-stanzas. Three AND... in a row were in stanza 7, the most static; now they appear in the stanza of the most dynamic, worry... run... run. Thoughts wave in courage- This long thoughts from stanza 9 given in lyrical excitement stanzas 10. Rhymes run towards them- first, in stanza 10, from me to me there was a crowd of extra-verbal images, now - a swarm of consonant words shaping them. Fingers to pen, pen to paper- reciprocal movement outward, moving, moving material objects. Poems will flow- they will be followed by a movement that is no longer material, but materializing. So...- a direct description of creativity is supplemented by a description through similarity, as in stanzas 5-6, but four times faster - in the space of not two stanzas, but one half-stanza. There material nature was explained by comparison with man; here human creativity is explained by comparison with a material ship. The transition from inaction to action in stanzas 9-10 was made smoothly, here it is made instantly, through an exclamation but chu!.(Actually, chu! does not mean “look”, but “listen”: the visible picture of the ship is commented on by a word referring to the internally audible sound of the verses being composed.) The most remarkable thing in this stanza is the complete absence of a pronoun I: it was in each of the seven preceding stanzas, but here, at the turning point, it disappears, the materializing creative world already exists by itself. (At the beginning of the next stanza, he is mentioned where do we sail?) - in that we the ship of creativity unites (and on it the heroes - fruits of my dreams), both poet and reader.

<12-я строфа. Я: выбор темы>

The unfinished and discarded beginning of stanza 12 is the choice of the route, that is, the scenery for the poem being composed. All of them are exotic and romantic: first, the Caucasus and Moldavia, tested by Pushkin, then, further to the west, untouched Scotland, Normandy (with snow, i.e., probably not a French region, but the land of the Normans, Norway), Switzerland. Scotland is reminiscent of Walter Scott, Switzerland is more likely about Byron's "Childe Harold", "Manfred" and "The Prisoner of Chillon" than about Rousseau and Karamzin. Curiously, most of these countries are mountainous; however, in the sketches there are both Florida and the pyramids (with a picture). foreign words colossal and landscape accentuate the exotic. Is it possible to expect that this second wave of exoticism would be, like the first, in stanza 10a, interrupted by images similar to Russian young ladies? Hardly: a ship on a Russian background is impossible. The path of inspiration from autumn Russia to the big world is outlined and left to the reader's imagination. The rethinking of the epigraph is curious: Derzhavin Why does my dormant mind not enter then? opened the ending of "Life of Zvanskaya" with reflections on history (and then - the frailty of everything earthly and the eternity of the poet), in Pushkin it is revealed not to history, but to geography (and then to what?).

Noun dictionary

being (habits), world / manifestation
swarm (guests) / community
half a year, (whole) century, days, day, minute / time + (annual) times
shores
color, crimson, gold // noise, silence // stink
nature / heaven, sunbeam, moon / expanse, valley
moisture, waves // fire, light // dirt, dust
spring + thaw
summer / heat, drought,
winter, frost, snow, snow, ice + river mirror
autumn, october,
forests, oak forests, canopy, grove, branches, leaves / fields4, outgoing fields, meadows / stream / rocks, (eternal) snow / landscape
wind chill(wind), breath, haze, cold
road / sleigh run // ship, sails
horse, mane, hoof / dogs barking, bear, lair / mosquitoes, flies
hunting / winter / mill, pond
holidays, fun / iron (skates)
resident (lairs) / neighbor, acquaintances, guests / sailors, reader
knights, monks, corsairs, kings, princesses, countesses, sultans, boldkhans / dwarfs, giants / heroes / Greek women, Spaniards, Jews
under sable, in epanches // pancakes, wine, ice cream // stoves, stoves, glass // pen, paper, rosary
family / lover / child / maiden, ladies / Armides / old woman (winter),
body / legs, hand, fingers, heart, shoulders, head, temples, face, mouth, eyes / blood
life, dawn (youth), health, sleep, hunger, desires, withering, [consumptive] death, (grave) abyss - yawn
soul, spiritual abilities, habits
mind, thought4, thoughts, imagination, dream, its fruits
feelings, (lir.) excitement, melancholy, anxiety (holidays), anger, murmuring, threats (winter), courage / poor thing / love (to habits), favorites
(know) honor / beauty, charm
poetry, poems, rhymes, prose

"Autumn" Alexander Pushkin

I
October has already come - the grove is already shaking off
The last leaves from their naked branches;
The autumn chill has died - the road freezes through.
The murmuring stream still runs behind the mill,
But the pond was already frozen; my neighbor is in a hurry
In the departing fields with his hunt,
And they suffer winter from mad fun,
And the barking of dogs wakes the sleeping oak forests.

II
Now it's my time: I don't like spring;
The thaw is boring to me; stink, dirt - I'm sick in the spring;
The blood is fermenting; feelings, the mind is constrained by melancholy.
In the harsh winter I am more satisfied,
I love her snow; in the presence of the moon
As an easy sleigh run with a friend is fast and free,
When under the sable, warm and fresh,
She shakes your hand, glowing and trembling!

III
How fun, shod with sharp iron feet,
Glide on the mirror of stagnant, smooth rivers!
And the brilliant anxieties of the winter holidays?..
But you also need to know honor; half a year snow yes snow,
After all, this is finally the inhabitant of the lair,
Bear, get bored. You can't for a century
We ride in a sleigh with the young Armides
Or sour by the stoves behind double panes.

IV
Oh, red summer! I would love you
If it weren't for the heat, and dust, and mosquitoes, and flies.
You, destroying all spiritual abilities,
you torment us; like fields, we suffer from drought;
Just how to get drunk, but refresh yourself -
There is no other thought in us, and it is a pity for the winter of the old woman,
And, seeing her off with pancakes and wine,
We make a wake for her with ice cream and ice.

V
The days of late autumn are usually scolded,
But she is dear to me, dear reader,
Silent beauty, shining humbly.
So unloved child in the native family
It draws me to itself. To tell you frankly
Of the annual times, I am glad only for her alone,
There is a lot of good in it; lover is not vain,
I found something in her a wayward dream.

VI
How to explain it? I like her,
Like a consumptive maiden to you
Sometimes I like it. Condemned to death
The poor thing bows without grumbling, without anger.
The smile on the lips of the faded is visible;
She does not hear the yawn of the grave abyss;
Still purple color plays on the face.
She is still alive today, not tomorrow.

VII
Sad time! oh charm!
Your farewell beauty is pleasant to me -
I love the magnificent nature of wilting,
Forests clad in crimson and gold,
In their canopy of the wind noise and fresh breath,
And the heavens are covered with mist,
And a rare ray of sun, and the first frosts,
And distant gray winter threats.

VIII
And every autumn I bloom again;
The Russian cold is good for my health;
I again feel love for the habits of being:
Sleep flies in succession, hunger finds in succession;
Easily and joyfully plays in the heart of blood,
Desires boil - I'm happy again, young,
I am full of life again - this is my body
(Allow me to forgive unnecessary prosaism).

IX
Lead me a horse; in the expanse of the open,
Waving his mane, he carries a rider,
And loudly under his shining hoof
The frozen valley rings and the ice cracks.
But the short day goes out, and in the forgotten fireplace
The fire burns again - then a bright light pours,
It smolders slowly - and I read before it
Or I feed long thoughts in my soul.

X
And I forget the world - and in sweet silence
I am sweetly lulled by my imagination,
And poetry awakens in me:
The soul is embarrassed by lyrical excitement,
It trembles and sounds, and searches, as in a dream,
Finally pour out free manifestation -
And then an invisible swarm of guests comes to me,
Old acquaintances, fruits of my dreams.

XI
And the thoughts in my head are worried in courage,
And light rhymes run towards them,
And fingers ask for a pen, pen for paper,
A minute - and the verses will flow freely.
So the ship slumbers motionless in motionless moisture,
But chu! - the sailors suddenly rush, crawl
Up, down - and the sails puffed out, the winds are full;
The mass has moved and cuts through the waves.

XII
Floats. Where are we to sail?
. . . . . . . . . . . .
. . . . . . . . . . . .

Analysis of Pushkin's poem "Autumn"

In the vast autumn theme of Pushkin's heritage, a special place is given to the unfinished work of 1833. In it, the deep connection between seasonal changes in nature and the rise of creative forces, colored by personal experiences, receives poetic justification.

The stanza of the beginning opens with a landscape sketch, the specificity of which is indicated by the lexeme "October", which begins the text. The hero-observer carefully captures the natural changes caused by the breath of "autumn cold": leaf fall ends, the pond is covered with ice, the road freezes through, but the water in the stream has not yet frozen. The enumeration of the exact details of the surrounding space ends with a hunting scene, organized by the neighbor of the lyrical "I".

Having parted with the role of a contemplator, in the next three stanzas the subject of speech confidently declares his preferences. Seasonal changes are associated with the characteristics of well-being. Spring melancholy and mental anxiety are replaced by persistent thirst and a desire to freshen up, generated by summer stuffiness and an abundance of insects. In a kind of ranking of the seasons, winter occupies a good position. The narrator is pleased with cheerful memories of winter fun, but is not satisfied with the duration of the cold. The author's irony grows at the end of the third stanza: to depict boredom, the verb "sour", typical of colloquial speech, is chosen. The enthusiastic description of a horse ride in the company of a frivolous girlfriend, presented in the previous episode, receives a playful reappraisal.

Confidently informing the reader about the positive emotions that the arrival of autumn causes, the lyrical subject explains his position with the help of two comparative turns. The quiet, humble beauty of autumn resonates in the soul. The latter is similar to the sympathy that a child ignored by parents or a mortally ill maiden evokes.

The textbook lines, glorifying the attractive power of the "dull time", are deliberately devoid of accurate detailing of the landscape. A vivid picture, generously colored with royal shades of gold and crimson, is complicated by a dramatic foreboding of the end, inevitable fading. The natural background stimulates the physical and mental strength of the hero.

Dynamic afternoon activities are contrasted with a calm evening atmosphere. The gradual awakening of poetry corresponds to a special detached state, when the mind yields to the power of the imagination. The beginning of the creative process is likened to the departure of a sailboat. The ambiguous open ending is also associated with the metaphor of the creative journey as a voyage, a journey into the vast world of fantasy.

No other season is represented as widely and vividly in Pushkin's work as autumn.

Pushkin repeated more than once that autumn is his favorite season. In autumn, he wrote best and most of all, he was “inspired”, a special state, “a blissful state of mind, when dreams are clearly drawn in front of you, and you acquire living unexpected words to embody your visions, when poems easily fall under your pen, and sonorous rhymes run towards harmonious thought” (“Egyptian Nights”).

Why is autumn so dear to the poet?

Pushkin in the poem "Autumn" says this about his attitude to this season:

The days of late autumn are usually scolded,
But she is dear to me, dear reader ...

In this poem, with wonderful descriptions of autumn nature, the poet wants to infect the reader with his special love for this season, and in the last lines of this unfinished passage, he shows with extraordinary persuasiveness and poetry how inspiration is born in his soul, how his poetic creations appear:

Sad time! oh charm!
Your farewell beauty is pleasant to me -
I love the magnificent nature of wilting,
Forests clad in crimson and gold,
In their canopy of the wind noise and fresh breath,
And the skies are covered with mist.
And a rare ray of sun, and the first frosts,
And distant gray winter threats ...
... And the thoughts in my head are worried in courage,
And light rhymes run towards them,
And fingers ask for a pen, pen for paper,
A minute - and the verses will flow freely.

("Autumn", 1833)

The poet knows how to find poetic features in the withering of autumn nature: the yellowing foliage of trees turns purple and gold in him. This is a loving perception of her by a person who really loves and knows how to notice the poetic features of autumn. No wonder the French writer Prosper Mérimée noted that "poetry blossoms in Pushkin from the most sober prose."

We meet many descriptions of autumn nature in the novel "Eugene Onegin". Familiar from childhood, the passage “Already the sky was breathing in autumn” introduces us to late autumn in the village. In this passage there is also a traveler rushing at full speed on a horse, frightened by a wolf, and a shepherd who worked during the summer suffering, and a village girl singing behind a spinning wheel, and boys skating along a frozen river.

Already the sky was breathing in autumn,
The sun shone less
The day was getting shorter
Forests mysterious canopy
With a sad noise she was naked,
Fog fell on the fields
Noisy geese caravan
Stretched to the south: approaching
Pretty boring time;
November was already at the yard.

(Chapter IV, stanza XL)

Another passage from the famous novel is imbued with a different mood. It also speaks of autumn, but there is no direct, simple depiction of pictures of nature and images of people closely related to the life of nature. In this passage, nature itself is poetically humanized, allegorically represented in the form of a living being.

... Golden autumn has come,
Nature is quivering, pale,
Like a victim, magnificently removed ...

(Chapter VII, stanza XXIX)

Indeed, in the fall, A.S. Pushkin experienced an extraordinary surge of strength. The Boldin autumn of 1830 was marked by an extraordinary upsurge and scope of the poet's creative genius. In the history of all world literature, it is impossible to give another example when a writer would have created so many wonderful works in three months. In this famous "Boldino autumn" Pushkin finished chapters VIII and IX of the novel "Eugene Onegin", wrote "The Tales of Belkin", four "little tragedies" ("The Miserly Knight", "Mozart and Salieri", "The Stone Guest", "Feast of time of the plague”), “History of the village of Goryukhino”, “The Tale of the priest and his worker Balda” about 30 poems (including such as “Demons”, “Elegy”, “Prank”, “My genealogy”), several critical articles and notes. The works of one "Boldino autumn" could perpetuate the name of the poet.

Pushkin lived in Boldin this autumn for about three months. Here he summed up the thoughts and ideas of previous years and outlined new themes, especially in prose.

The poet will visit Boldin two more times (in 1833 and 1834), also in autumn. And these visits left a noticeable mark on his work. But the famous "Boldino autumn" of 1830 remained unique in the poet's creative life.