I remember wonderful moment, You appeared before me, Like a fleeting vision, Like a genius pure beauty A.S. Pushkin. K A. Kern... Michelson's Large Explanatory and Phraseological Dictionary
genius- I, M. genie f., German. Genius, floor. geniusz lat. genius. 1. According to the religious beliefs of the ancient Romans, God is the patron saint of man, city, country; spirit of good and evil. Sl. 18. The Romans brought incense, flowers and honey to their Angel or according to their Genius... ... Historical Dictionary of Gallicisms of the Russian Language
- (1799 1837) Russian poet, writer. Aphorisms, quotes Pushkin Alexander Sergeevich. Biography It is not difficult to despise the court of people, but it is impossible to despise your own court. Slander, even without evidence, leaves eternal traces. Critics... ... Consolidated encyclopedia of aphorisms
I, m. 1. The highest degree of creative giftedness and talent. Pushkin’s artistic genius is so great and beautiful that we still cannot help but be carried away by the wondrous artistic beauty of his creations. Chernyshevsky, Works of Pushkin. Suvorov is not... ... Small academic dictionary
Aya, oh; ten, tna, tno. 1. outdated Flying, quickly passing by, without stopping. The sudden buzz of a passing beetle, the slight smacking of a small fish in a planter: all these faint sounds, these rustles only deepened the silence. Turgenev, Three meetings... ... Small academic dictionary
appear- I will appear, I will appear, I will appear, past. appeared, owl; appear (to 1, 3, 5, 7 meanings), nsv. 1) Come, arrive where. by free will, by invitation, by official need, etc. To appear unexpectedly out of the blue. Show up without an invitation. Came only to... ... Popular dictionary of the Russian language
proclitic- PROCLICTIC [from Greek. προκλιτικός leaning forward (to the next word)] linguistic term, unstressed word, transferring its stress to the shock behind it, as a result of which both of these words are pronounced together, as one word. P.… … Poetic dictionary
quatrain- (from the French quatrain four) type of stanza (see stanza): quatrain, stanza of four lines: I remember a wonderful moment: You appeared before me, Like a fleeting vision, Like a genius of pure beauty. A.S. Pushkin... Dictionary of literary terms
TO ***
I remember a wonderful moment:
You appeared before me,
Like a fleeting vision
Like a genius of pure beauty.
In the languor of hopeless sadness
In the worries of noisy bustle,
A gentle voice sounded to me for a long time
And I dreamed of cute features.
Years passed. The storm is a rebellious gust
Dispelled old dreams
And I forgot your gentle voice,
Your heavenly features.
In the wilderness, in the darkness of imprisonment
My days passed quietly
Without a deity, without inspiration,
No tears, no life, no love.
The soul has awakened:
And then you appeared again,
Like a fleeting vision
Like a genius of pure beauty.
And the heart beats in ecstasy,
And for him they rose again
And deity and inspiration,
And life, and tears, and love.
A. S. Pushkin. “I remember a wonderful moment.” Listen to the poem.
This is how Yuri Solomin reads this poem.
Analysis of Alexander Pushkin’s poem “I Remember a Wonderful Moment”
The poem “I Remember a Wonderful Moment” joins a galaxy of unique works in Pushkin’s work. In this love letter, the poet sings of tender sympathy, feminine beauty, and devotion to youthful ideals.
Who is the poem dedicated to?
He dedicates the work to the magnificent Anna Kern, the girl who made his heart beat twice as fast.
The history of creation and composition of the poem
Despite the small size of the poem “I Remember a Wonderful Moment,” it contains several stages from the life of the lyrical hero. Capacious, but so passionate, it reveals the state of mind of Alexander Sergeevich in the most difficult times for him.
Having met the “fleeting vision” for the first time, the poet lost his head like a youth. But his love remained unrequited, because the beautiful girl was married. Nevertheless, Pushkin discerned purity, sincerity and kindness in the object of his affection. He had to hide his timid love for Anna deeply, but it was this bright and virgin feeling that became his salvation in the days of exile.
When the poet was in southern exile and in exile in Mikhailovskoye for his freethinking and bold ideas, he gradually began to forget the “sweet features” and “gentle voice” that supported him in solitude. Detachment has filled the mind and worldview: Pushkin admits that he cannot, as before, feel the taste of life, cry, love, and only experiences mournful pain.
The days pass boringly and dullly, a joyless existence cruelly takes away the most valuable desire - to love again and receive reciprocity. But this faded time helped the prisoner grow up, part with illusions, look at “former dreams” with a sober look, learn patience and become strong in spite of all adversity.
An unexpected insight opens a new chapter for Pushkin. He meets again with an amazing muse, and his feelings are ignited by conscious affection. The image of Anna haunted the talented writer for a very long time in moments of fading hope, resurrecting his fortitude, promising sweet rapture. Now the poet’s love is mixed with human gratitude to the girl who returned his smile, fame and relevance in high circles.
It is interesting that “I Remember a Wonderful Moment” is a lyrical work that over time acquired a generalized character. In it, specific personalities are erased, and the image of the beloved is viewed from a philosophical point of view, as a standard of femininity and beauty.
Epithets, metaphors, comparisons
In the message, the author uses the reinforcing effects of poetry. Artistic media trowels are interspersed in every stanza. Readers will find vivid and living examples of epithets - “wonderful moment”, “heavenly features”, “fleeting vision”. Precisely chosen words reveal the character of the heroine being described, paint her divine portrait in the imagination, and also help to understand in what circumstances the great power love.
Blinded by naive dreams, the poet finally sees the light and compares this state with storms of rebellious impulses that bitingly tear the veil from his eyes. In one metaphor he manages to characterize all catharsis and rebirth.
Meanwhile, the Russian classic compares his angel with the “genius of pure beauty” and continues to worship him after returning from exile. He meets Anna as suddenly as the first time, but this moment is no longer filled with youthful love, where inspiration blindly follows feelings, but with wise maturity.
At the very end of the poem “I Remember a Wonderful Moment,” Alexander Sergeevich exalts a man’s sympathy for a woman and emphasizes the importance of platonic love, which gives people the opportunity to rethink the past and accept a future in which “life, tears, and love” coexist peacefully.
I remember a wonderful moment (M. Glinka / A. Pushkin) Romancelisten.Performed by Dmitry Hvorostovsky.
Anna Kern: Life in the name of love Sysoev Vladimir Ivanovich
"GENIUS OF PURE BEAUTY"
"GENIUS OF PURE BEAUTY"
“The next day I was supposed to leave for Riga with my sister Anna Nikolaevna Wulf. He came in the morning and, as a farewell, he brought me a copy of the second chapter of “Onegin” (30), in uncut sheets, between which I found a four-fold sheet of paper with verses:
I remember a wonderful moment;
You appeared before me,
Like a fleeting vision
Like a genius of pure beauty.
In the languor of hopeless sadness,
In the worries of noisy bustle,
And I dreamed of cute features.
Years passed. The storm is a rebellious gust
Dispelled old dreams
Your heavenly features.
In the wilderness, in the darkness of imprisonment
My days passed quietly
Without a deity, without inspiration,
No tears, no life, no love.
The soul has awakened:
And then you appeared again,
Like a fleeting vision
Like a genius of pure beauty.
And the heart beats in ecstasy,
And for him they rose again
And deity and inspiration,
And life, and tears, and love!
When I was about to hide the poetic gift in the box, he looked at me for a long time, then frantically snatched it away and did not want to return it; I forcibly begged them again; I don’t know what flashed through his head then.”
What feelings did the poet possess then? Embarrassment? Excitement? Maybe doubt or even remorse?
Was this poem the result of a momentary infatuation—or a poetic epiphany? Great is the secret of genius... Just a harmonious combination of a few words, and when they sound in our imagination, a light heart immediately appears, as if materializing out of thin air. female image, full of enchanting charm... A poetic love letter to eternity...
Many literary scholars have subjected this poem to the most thorough analysis. Disputes about various options its interpretations, which began at the dawn of the 20th century, are still ongoing and will probably continue.
Some researchers of Pushkin’s work consider this poem to be simply a mischievous joke by the poet, who decided to create a masterpiece using only the cliches of Russian romantic poetry of the first third of the 19th century love lyrics. Indeed, out of one hundred and three of his words, more than sixty are well-worn platitudes (“tender voice”, “rebellious impulse”, “divinity”, “heavenly features”, “inspiration”, “heart beats in ecstasy”, etc.). Let's not take this view of a masterpiece seriously.
According to the majority of Pushkinists, the expression “genius of pure beauty” is an open quote from V. A. Zhukovsky’s poem “Lalla-Ruk”:
Oh! Doesn't live with us
A genius of pure beauty;
Only occasionally does he visit
Us from heavenly heights;
He is hasty, like a dream,
Like an airy morning dream;
And in holy remembrance
He is not separated from his heart!
He is only in pure moments
Being comes to us
And brings revelations
Beneficial to hearts.
For Zhukovsky, this phrase was associated with a number of symbolic images - a ghostly heavenly vision, “hasty, like a dream,” with symbols of hope and sleep, with the theme “ pure moments being”, the separation of the heart from the “dark region of the earth”, with the theme of inspiration and revelations of the soul.
But Pushkin probably did not know this poem. Written for the holiday given in Berlin on January 15, 1821 by the Prussian King Frederick on the occasion of the arrival from Russia of his daughter Alexandra Feodorovna, the wife of Grand Duke Nikolai Pavlovich, it appeared in print only in 1828. Zhukovsky did not send it to Pushkin.
However, all the images symbolically concentrated in the phrase “genius of pure beauty” again appear in Zhukovsky’s poem “I used to be a young Muse” (1823), but in a different expressive atmosphere - expectations of the “giver of chants”, longing for pure genius beauty - when his star twinkles.
I used to be a young Muse
Met in the sublunary side,
And Inspiration flew
From heaven, uninvited, to me;
Pointed to everything earthly
It is a life-giving ray -
And for me at that time it was
Life and Poetry are one.
But the giver of chants
Haven't visited me for a long time;
His longed return
Should I wait until again?
Or forever my loss
And the harp will not sound forever?
But everything that is from wonderful times,
When he was available to me,
Everything from the dear dark, clear
I saved the days gone by -
Flowers of a secluded dream
And life best flowers, -
I place it on your sacred altar,
O Genius of pure beauty!
Zhukovsky provided the symbolism associated with the “genius of pure beauty” with his own commentary. It is based on the concept of beauty. “The beautiful... has neither name nor image; it visits us in the best moments of life”; “it appears to us only in minutes, solely to speak to us, to revive us, to elevate our soul”; “Only that which is not there is beautiful”... The beautiful is associated with sadness, with the desire “for something better, secret, distant, that connects with it and that exists for you somewhere. And this desire is one of the most inexpressible proofs of the immortality of the soul.”
But, most likely, as the famous philologist Academician V.V. Vinogradov first noted in the 1930s, the image of the “genius of pure beauty” arose in Pushkin’s poetic imagination at that time not so much in direct connection with Zhukovsky’s poem “Lalla-Ruk” or “I am a young Muse, it happened,” as much as under the impression of his article “Raphael’s Madonna (From a letter about the Dresden Gallery),” published in the “Polar Star for 1824” and reproducing the legend widespread at that time about the creation of the famous painting “The Sistine Madonna”: “They say that Raphael, having stretched his canvas for this painting, did not know for a long time what would be on it: inspiration did not come. One day he fell asleep thinking about the Madonna, and surely some angel woke him up. He jumped up: she is here, shouting, he pointed to the canvas and drew the first drawing. And in fact, this is not a painting, but a vision: the longer you look, the more vividly you are convinced that something unnatural is happening before you... Here the soul of the painter... with amazing simplicity and ease, conveyed to the canvas the miracle that took place in its interior... I... clearly began to feel that the soul was spreading... It was where it can only be in the best moments of life.
The genius of pure beauty was with her:
He is only in pure moments
Genesis flies to us
And brings us visions
Inaccessible to dreams.
...And it certainly comes to mind that this picture was born in a moment of miracle: the curtain opened, and the secret of heaven was revealed to the eyes of man... Everything, even the very air, turns into a pure angel in the presence of this heavenly, passing maiden.”
The almanac “Polar Star” with Zhukovsky’s article was brought to Mikhailovskoye by A. A. Delvig in April 1825, shortly before Anna Kern arrived in Trigorskoye, and after reading this article, the image of the Madonna firmly established itself in Pushkin’s poetic imagination.
“But the moral and mystical basis of this symbolism was alien to Pushkin,” says Vinogradov. – In the poem “I Remember a Wonderful Moment,” Pushkin used the symbolism of Zhukovsky, bringing it down from heaven to earth, depriving it of a religious and mystical basis...
Pushkin, merging the image of his beloved woman with the image of poetry and preserving most of Zhukovsky’s symbols, except for religious and mystical ones
Your heavenly features...
My days passed quietly
Without a deity, without inspiration...
And for him they rose again
Both deity and inspiration...
builds from this material not only a work of a new rhythmic and figurative composition, but also a different semantic resolution, alien to Zhukovsky’s ideological and symbolic concept.”
We must not forget that Vinogradov made such a statement in 1934. This was a period of widespread anti-religious propaganda and the triumph of the materialistic view of the development of human society. For another half a century, Soviet literary scholars did not touch upon the religious theme in the works of A. S. Pushkin.
The lines “in the silent sadness of hopeless”, “in the distance, in the darkness of imprisonment” are very consonant with “Eda” by E. A. Baratynsky; Pushkin borrowed some rhymes from himself - from Tatyana’s letter to Onegin:
And at this very moment
Isn’t it you, sweet vision...
And there is nothing surprising here - Pushkin’s work is full of literary reminiscences and even direct quotes; however, using the lines he liked, the poet transformed them beyond recognition.
According to the outstanding Russian philologist and Pushkin scholar B.V. Tomashevsky, this poem, despite the fact that it paints an idealized female image, is undoubtedly associated with A.P. Kern. “It’s not for nothing that in the very title “K***” it is addressed to the beloved woman, even if depicted in a generalized image of an ideal woman.”
This is also indicated by the list of poems compiled by Pushkin himself from 1816-1827 (it was preserved among his papers), which the poet did not include in the 1826 edition, but intended to include in his two-volume collection of poems (it was published in 1829). The poem “I remember a wonderful moment...” here has the title “To A.P. K[ern], directly indicating the one to whom it is dedicated.
Doctor of Philological Sciences N.L. Stepanov outlined the interpretation of this work that was formed in Pushkin’s times and has become a textbook: “Pushkin, as always, is extremely accurate in his poems. But, conveying the factual side of his meetings with Kern, he creates a work that also reveals the inner world of the poet himself. In the silence of Mikhailovsky solitude, a meeting with A.P. Kern evoked in the exiled poet memories of the recent storms of his life, and regret about the lost freedom, and the joy of a meeting that transformed his monotonous everyday life, and, above all, the joy of poetic creativity.”
Another researcher, E. A. Maimin, especially noted the musicality of the poem: “It’s like a musical composition, given at the same time and real events in the life of Pushkin, and the ideal image of the “genius of pure beauty”, borrowed from the poetry of Zhukovsky. A certain ideality in solving the theme does not, however, negate the living spontaneity in the sound of the poem and in its perception. This feeling of living spontaneity comes not so much from the plot as from the captivating, one-of-a-kind music of the words. There is a lot of music in the poem: melodious, lasting in time, lingering music of the verse, music of feeling. And as in music, what appears in the poem is not a direct, not objectively tangible image of the beloved - but the image of love itself. The poem is based on musical variations of a limited range of images-motives: a wonderful moment - a genius of pure beauty - a deity - inspiration. By themselves, these images do not contain anything immediate, concrete. All this is from the world of abstract and lofty concepts. But in the overall musical design of the poem they become living concepts, living images.”
Professor B.P. Gorodetsky in his academic publication “Pushkin’s Lyrics” wrote: “The mystery of this poem is that everything we know about the personality of A.P. Kern and Pushkin’s attitude towards her, despite all the enormous reverence of the woman who turned out to be able to evoke in the soul of the poet a feeling that has become the basis of an inexpressibly beautiful work of art, does not in any way and in no way bring us closer to comprehending that secret of art that makes this poem typical of a great many similar situations and capable of ennobling and enveloping feelings with beauty millions of people...
The sudden and short-term appearance of a “fleeting vision” in the image of a “genius of pure beauty,” flashing among the darkness of imprisonment, when the poet’s days dragged on “without tears, without life, without love,” could resurrect in his soul “both deity and inspiration, / And life, and tears, and love” only in the case when all this had already been experienced by him earlier. This kind of experience took place during the first period of Pushkin’s exile - it was they who created that spiritual experience of his, without which the subsequent appearance of “Farewell” and such stunning penetrations into the depths of the human spirit as “The Spell” and “For the Shores of the Fatherland” would have been unthinkable distant." They also created that spiritual experience, without which the poem “I Remember a Wonderful Moment” could not have appeared.
All this should not be understood too simplistically, in the sense that for the creation of the poem, the real image of A.P. Kern and Pushkin’s relationship to her were of little significance. Without them, of course, there would be no poem. But the poem in the form in which it exists would not have existed even if the meeting with A.P. Kern had not been preceded by Pushkin’s past and the whole difficult experience of his exile. The real image of A.P. Kern seemed to resurrect the poet’s soul again, revealing to him the beauty of not only the irretrievably gone past, but also the present, which is directly and precisely stated in the poem:
The soul has awakened.
That is why the problem of the poem “I Remember a Wonderful Moment” should be solved, as if turning it the other way: it was not a chance meeting with A.P. Kern that awakened the poet’s soul and made the past come to life in new beauty, but, on the contrary, that process of revival and restoration mental strength poet, which began somewhat earlier, completely determined all the main characteristic features and internal content of the poem, caused by the meeting with A.P. Kern.”
Literary critic A. I. Beletsky, more than 50 years ago, first timidly expressed the idea that the main character of this poem is not a woman at all, but a poetic inspiration. “Completely secondary,” he wrote, “seems to us the question of the name of a real woman, who was then elevated to the heights of a poetic creation, where her real features disappeared, and she herself became a generalization, a rhythmically ordered verbal expression of a certain general aesthetic idea... The theme of love in this the poem is clearly subordinated to another, philosophical and psychological theme, and its main theme is the theme of different states inner world poet in the relationship of this world with reality."
Professor M.V. Stroganov went the furthest in identifying the image of Madonna and the “genius of pure beauty” in this poem with the personality of Anna Kern: “The poem “I remember a wonderful moment...” was written, obviously, on one night - from July 18 to 19 1825, after a joint walk between Pushkin, Kern and the Wulfs in Mikhailovskoye and on the eve of Kern’s departure to Riga. During the walk, Pushkin, according to Kern’s recollections, spoke about their “first meeting at the Olenins’, spoke enthusiastically about it, and at the end of the conversation said:<…>. You looked like such an innocent girl...” All this is included in that memory of the “wonderful moment” to which the first stanza of the poem is dedicated: both the first meeting itself and the image of Kern – “an innocent girl” (virginal). But this word - virginal - means in French the Mother of God, the Immaculate Virgin. This is how an involuntary comparison occurs: “like a genius of pure beauty.” And the next day in the morning Pushkin brought Kern a poem... The morning turned out to be wiser than the evening. Something confused Pushkin about Kern when he conveyed his poems to her. Apparently, he doubted: could she be this ideal example? Will she appear to them? - And I wanted to take away the poems. It was not possible to pick them up, and Kern (precisely because she was not that kind of woman) published them in Delvig’s almanac. All subsequent “obscene” correspondence between Pushkin and Kern can, obviously, be considered as psychological revenge on the addressee of the poem for his excessive haste and sublimity of the message.”
Literary critic S. A. Fomichev, who examined this poem from a religious and philosophical point of view in the 1980s, saw in it a reflection of episodes not so much of the poet’s real biography, but rather of an internal biography, “three successive states of the soul.” It was from this time that a clearly expressed philosophical view of this work emerged. Doctor of Philological Sciences V.P. Grekh-nev, based on the metaphysical ideas of the Pushkin era, which interpreted man as a “small universe”, organized according to the law of the entire universe: a three-hypostatic, God-like being in the unity of the earthly shell (“body”), “ soul" and "divine spirit", saw in Pushkin's "wonderful moment" a "comprehensive concept of being" and, in general, "the whole of Pushkin." Nevertheless, both researchers recognized the “living conditioning lyrical beginning poems are a real source of inspiration" in the person of A.P. Kern.
Professor Yu. N. Chumakov turned not to the content of the poem, but to its form, specifically to the spatio-temporal development of the plot. He argued that “the meaning of a poem is inseparable from the form of its expression...” and that “form” as such “itself... acts as content...”. According to L. A. Perfileva, the author of the latest commentary on this poem, Chumakov “saw in the poem the timeless and endless cosmic rotation of the independent Pushkin Universe, created by the inspiration and creative will of the poet.”
Another researcher poetic heritage Pushkin S.N. Broitman identified in this poem the “linear infinity of semantic perspective.” The same L.A. Perfilyeva, having carefully studied his article, stated: “Having identified “two systems of meaning, two plot-shaped series,” he also admits their “probable multiplicity”; The researcher assumes “providence” (31) as an important component of the plot.”
Now let's get acquainted with the rather original point of view of L.A. Perfileva herself, which is also based on a metaphysical approach to the consideration of this and many other works of Pushkin.
Abstracting from the personality of A.P. Kern as the inspirer of the poet and addressee of this poem and in general from biographical realities and based on the fact that the main quotes of Pushkin’s poem are borrowed from the poetry of V.A. Zhukovsky, who has the image of “Lalla-Ruk” (however, like other images of his romantic works) appears as an unearthly and immaterial substance: “ghost”, “vision”, “dream”, “sweet dream”, the researcher claims that Pushkin "genius of pure beauty" appears in his metaphysical reality as a “messenger of Heaven” as a mysterious intermediary between the poet’s author’s “I” and some otherworldly, higher entity - “deity”. She believes that the author’s “I” in the poem refers to the poet’s Soul. A "fleeting vision" To the poet's soul "genius of pure beauty"- this is the “moment of Truth”, the divine Revelation, which with an instant flash illuminates and permeates the Soul with the grace of the divine Spirit. IN "languishing hopeless sadness" Perfilyeva sees the torment of the soul’s presence in the bodily shell, in the phrase “A gentle voice sounded to me for a long time”– archetypal, primary memory of the soul about Heaven. The next two stanzas “depict Being as such, marked by soul-wearying duration.” Between the fourth and fifth stanzas, providence or the “Divine Verb” is invisibly revealed, as a result of which “The soul has awakened.” It is here, in the interval of these stanzas, that “an invisible point is placed, creating the internal symmetry of the cyclically closed composition of the poem. At the same time, it is a turning point, a return point, from which the “space-time” of Pushkin’s small Universe suddenly turns, starting to flow towards itself, returning from earthly reality to the heavenly ideal. The Awakened Soul regains the ability to perceive deities. And this is the act of her second birth - a return to the divine fundamental principle - “Resurrection”.<…>This is the discovery of Truth and the return to Paradise...
The intensification of the sound of the last stanza of the poem marks the fullness of Being, the triumph of the restored harmony of the “small universe” - the body, soul and spirit of man in general or personally of the poet-author himself, that is, “the whole of Pushkin.”
Summing up her analysis of Pushkin’s work, Perfilyeva suggests that it, “regardless of the role that A.P. Kern played in its creation, can be considered in the context philosophical lyrics Pushkin, along with such poems as “The Poet” (which, according to the author of the article, is dedicated to the nature of inspiration), “Prophet” (dedicated to the providence of poetic creativity) and “I have erected a monument to myself not made by hands...” (dedicated to the incorruptibility of spiritual heritage). Among them, “I remember a wonderful moment...” is indeed, as already noted, a poem about “the whole fullness of Being” and about the dialectics of the human soul; and about “man in general”, as a Small Universe, organized according to the laws of the universe.”
It seems that foreseeing the possibility of the emergence of such a purely philosophical interpretation of Pushkin’s lines, the already mentioned N. L. Stepanov wrote: “In such an interpretation, Pushkin’s poem is deprived of its vital concreteness, that sensory-emotional principle that so enriches Pushkin’s images, gives them an earthly, realistic character . After all, if you abandon these specific biographical associations, the biographical subtext of the poem, then Pushkin’s images will lose their vital content and turn into conventionally romantic symbols, meaning only the theme of the poet’s creative inspiration. We can then replace Pushkin with Zhukovsky with his abstract symbol of the “genius of pure beauty.” This will deplete the realism of the poet’s poem; it will lose those colors and shades that are so important for Pushkin’s lyrics. The strength and pathos of Pushkin’s creativity lies in the fusion, in the unity of the abstract and the real.”
But even using the most complex literary and philosophical constructions, it is difficult to dispute the statement of N. I. Chernyaev, made 75 years after the creation of this masterpiece: “With his message “K***” Pushkin immortalized her (A. P. Kern. - V.S.) just as Petrarch immortalized Laura, and Dante immortalized Beatrice. Centuries will pass, and when many historical events and historical figures will be forgotten, the personality and fate of Kern, as the inspirer of Pushkin’s muse, will arouse great interest, cause controversy, speculation and be reproduced by novelists, playwrights, and painters.”
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From the book “Shelter of Thoughtful Dryads” [Pushkin Estates and Parks] author Egorova Elena Nikolaevna From the book They say that they have been here... Celebrities in Chelyabinsk author God Ekaterina VladimirovnaFrom child prodigies to genius, the future composer was born on April 11, 1891 in Ukraine, in the village of Sontsovka, Yekaterinoslav province (now the village of Krasnoye, Donetsk region). His father Sergei Alekseevich was an agronomist from the small landed nobility, and his mother Maria Grigorievna (née
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From the book Bach author Vetlugina Anna MikhailovnaChapter first. WHERE GENIUS GROW The history of the Bach family is closely connected with Thuringia. This area in the center of Germany is incredibly culturally rich and diverse. “Where else in Germany can you find so much goodness in such a tiny area?” - said
From the book by Sophia Loren author Nadezhdin Nikolay Yakovlevich79. Geniuses joke In Altman's film there are a huge number of characters, but there are many fewer actors. The fact is that fashion figures, like many actors, do not play in this film. They don't have roles - they act as... themselves. In cinema, this is called a “cameo” - appearance
From the book by Henry Miller. Full length portrait. by Brassaï“An autobiography is clean water novel” At first, Miller’s free handling of facts confused me, even shocked me. And not just me. Hen Van Gelre, a Dutch writer and passionate admirer of Miller's work, has published Henry Miller International for many years.
To the 215th anniversary of the birth of Anna Kern and the 190th anniversary of the creation of Pushkin’s masterpiece
Alexander Pushkin will call her “the genius of pure beauty”, and will dedicate immortal poems to her... And he will write lines full of sarcasm. “How is your husband’s gout doing?.. Divine, for God’s sake, try to get him to play cards and have an attack of gout, gout! This is my only hope!.. How can I be your husband? “I can’t imagine this, just as I can’t imagine heaven,” the loving Pushkin wrote in despair in August 1825 from his Mikhailovsky in Riga to the beautiful Anna Kern.
The girl, named Anna and born in February 1800 in the house of her grandfather, Oryol governor Ivan Petrovich Wulf, “under a green damask canopy with white and green ostrich feathers in the corners,” was destined for an unusual fate.
A month before her seventeenth birthday, Anna became the wife of division general Ermolai Fedorovich Kern. The husband was fifty-three years old. Marriage without love did not bring happiness. “It is impossible to love him (my husband), I am not even given the consolation of respecting him; I’ll tell you straight - I almost hate him,” only the diary could young Anna believe in the bitterness of her heart.
At the beginning of 1819, General Kern (in fairness, one cannot fail to mention his military merits: more than once he showed his soldiers examples of military valor both on the Borodino field and in the famous “Battle of the Nations” near Leipzig) arrived in St. Petersburg on business. Anna also came with him. At the same time, in the house of her aunt Elizaveta Markovna, née Poltoratskaya, and her husband Alexei Nikolaevich Olenin, president of the Academy of Arts, she first met the poet.
It was a noisy and cheerful evening, the youth were amusing themselves with games of charades, and in one of them Queen Cleopatra was represented by Anna. Nineteen-year-old Pushkin could not resist complimenting her: “Is it permissible to be so lovely!” The young beauty considered several humorous phrases addressed to her impudent...
They were destined to meet only after six for long years. In 1823, Anna, leaving her husband, went to her parents in the Poltava province, in Lubny. And soon she became the mistress of the wealthy Poltava landowner Arkady Rodzianko, a poet and friend of Pushkin in St. Petersburg.
With greed, as Anna Kern later recalled, she read all Pushkin’s poems and poems known at that time and, “admired by Pushkin,” dreamed of meeting him.
In June 1825, on her way to Riga (Anna decided to reconcile with her husband), she unexpectedly stopped in Trigorskoye to visit her aunt Praskovya Aleksandrovna Osipova, frequent and welcome guest which was her neighbor Alexander Pushkin.
At Auntie’s, Anna first heard Pushkin read “his Gypsies,” and literally “wasted with pleasure” both from the marvelous poem and from the poet’s very voice. She retained her amazing memories of that wonderful time: “...I will never forget the delight that gripped my soul. I was in ecstasy...”
And a few days later, the entire Osipov-Wulf family set off on two carriages for a return visit to neighboring Mikhailovskoye. Together with Anna, Pushkin wandered through the alleys of the old overgrown garden, and this unforgettable night walk became one of the poet’s favorite memories.
“Every night I walk through my garden and say to myself: here she was... the stone on which she tripped lies on my table near a branch of withered heliotrope. Finally, I write a lot of poetry. All this, if you like, is very similar to love.” How painful it was to read these lines to poor Anna Wulf, addressed to another Anna - after all, she loved Pushkin so passionately and hopelessly! Pushkin wrote from Mikhailovsky to Riga to Anna Wulf in the hope that she would convey these lines to her married cousin.
“Your arrival in Trigorskoye left an impression on me deeper and more painful than that which our meeting at the Olenins once made on me,” the poet confesses to the beauty, “the best thing I can do in my sad village wilderness is to try not to think.” more about you. If there was even a drop of pity for me in your soul, you, too, should wish this for me...”
And Anna Petrovna will never forget that moonlit July night when she walked with the poet along the alleys of the Mikhailovsky Garden...
And the next morning Anna was leaving, and Pushkin came to see her off. “He came in the morning and, as a farewell, brought me a copy of Chapter II of Onegin, in uncut sheets, between which I found a four-fold sheet of paper with poems...”
I remember a wonderful moment:
You appeared before me,
Like a fleeting vision
Like a genius of pure beauty.
In the languor of hopeless sadness,
In the worries of noisy bustle,
A gentle voice sounded to me for a long time
And I dreamed of cute features.
Years passed. The storm is a rebellious gust
Dispelled old dreams
And I forgot your gentle voice,
Your heavenly features.
In the wilderness, in the darkness of imprisonment
My days passed quietly
Without a deity, without inspiration,
No tears, no life, no love.
The soul has awakened:
And then you appeared again,
Like a fleeting vision
Like a genius of pure beauty.
And the heart beats in ecstasy,
And for him they rose again
And deity and inspiration,
And life, and tears, and love.
Then, as Kern recalled, the poet snatched his “poetic gift” from her, and she forcibly managed to return the poems.
Much later, Mikhail Glinka would set Pushkin’s poems to music and dedicate the romance to his beloved, Ekaterina Kern, Anna Petrovna’s daughter. But Catherine will not be destined to bear the name of the brilliant composer. She will prefer another husband - Shokalsky. And the son who was born in that marriage, oceanographer and traveler Yuli Shokalsky, will glorify his family name.
And another amazing connection can be traced in the fate of Anna Kern’s grandson: he will become a friend of the son of the poet Grigory Pushkin. And all his life he will be proud of his unforgettable grandmother, Anna Kern.
Well, what was the fate of Anna herself? The reconciliation with her husband was short-lived, and soon she finally broke with him. Her life is replete with many love adventures, among her fans are Alexei Wulf and Lev Pushkin, Sergei Sobolevsky and Baron Vrevsky... And Alexander Sergeevich himself, in no way poetic, reported his victory over an accessible beauty in famous letter to my friend Sobolevsky. The “Divine” inexplicably transformed into the “Whore of Babylon”!
But even Anna Kern’s numerous novels never ceased to amaze her former lovers with her reverent reverence “before the shrine of love.” “These are enviable feelings that never get old! – Alexey Vulf sincerely exclaimed. “After so many experiences, I did not imagine that it was still possible for her to deceive herself...”
And yet, fate was merciful to this amazing woman, gifted at birth with considerable talents and who experienced more than just pleasures in life.
At the age of forty, at the time of mature beauty, Anna Petrovna met her true love. Her chosen one was a graduate of the cadet corps, a twenty-year-old artillery officer Alexander Vasilyevich Markov-Vinogradsky.
Anna Petrovna married him, having committed, in the opinion of her father, a reckless act: she married a poor young officer and lost the large pension that she was entitled to as the widow of a general (Anna’s husband died in February 1841).
The young husband (and he was his wife’s second cousin) loved his Anna tenderly and selflessly. Here is an example of enthusiastic admiration for a beloved woman, sweet in its artlessness and sincerity.
From the diary of A.V. Markov-Vinogradsky (1840): “My darling has brown eyes. They look luxurious in their wonderful beauty on a round face with freckles. This silk is chestnut hair, gently outlines it and shades it with special love... Small ears, for which expensive earrings are an unnecessary decoration, they are so rich in grace that you will fall in love. And the nose is so wonderful, it’s lovely!.. And all this, full of feelings and refined harmony, makes up the face of my beautiful one.”
In that happy union, a son, Alexander, was born. (Much later, Aglaya Alexandrovna, née Markova-Vinogradskaya, would give the Pushkin House a priceless relic - a miniature depicting the sweet appearance of Anna Kern, her grandmother).
The couple lived together for many years, enduring poverty and adversity, but never ceasing to tenderly love each other. And they died almost overnight, in the bad year of 1879...
Anna Petrovna was destined to outlive her adored husband by only four months. And as if in order to hear a loud noise one May morning, just a few days before his death, under the window of his Moscow house on Tverskaya-Yamskaya: sixteen horses harnessed to a train, four in a row, were dragging a huge platform with a granite block - the pedestal of the future monument to Pushkin.
Having learned the reason for the unusual street noise, Anna Petrovna sighed with relief: “Ah, finally! Well, thank God, it’s high time!..”
A legend remains to live: as if the funeral cortege with the body of Anna Kern met on its mournful path with a bronze monument to Pushkin, which was being taken to Tverskoy Boulevard, to the Strastnoy Monastery.
So in last time they met
Remembering nothing, not grieving about anything.
So the blizzard blows with its reckless wing
It dawned on them in a wonderful moment.
So the blizzard married tenderly and menacingly
The mortal ashes of an old woman with immortal bronze,
Two passionate lovers, sailing separately,
That they said goodbye early and met late.
A rare phenomenon: even after her death, Anna Kern inspired poets! And the proof of this is these lines from Pavel Antokolsky.
...A year has passed since Anna's death.
“Now the sadness and tears have ceased, and loving heart“I’ve stopped suffering,” Prince N.I. complained. Golitsyn. “Let us remember the deceased with a heartfelt word, as someone who inspired the genius poet, as someone who gave him so many “wonderful moments.” She loved a lot, and our best talents were at her feet. Let us preserve this “genius of pure beauty” with a grateful memory beyond his earthly life.”
Biographical details of life are no longer so important for an earthly woman who has turned to the Muse.
Anna Petrovna found her last refuge in the churchyard of the village of Prutnya, Tver province. On the bronze “page”, soldered into the gravestone, are the immortal lines:
I remember a wonderful moment:
You appeared before me...
A moment and an eternity. How close are these seemingly incommensurable concepts!..
"Farewell! Now it’s night, and your image appears before me, so sad and voluptuous: it seems to me that I see your gaze, your half-open lips.
Goodbye - it seems to me that I am at your feet... - I would give my whole life for a moment of reality. Farewell…".
Pushkin’s strange thing is either a confession or a farewell.
Special for the Centenary
Genius of pure beauty
Genius of pure beauty
From the poem “Lalla ruk” (1821) by the poet Vasily Andreevich Zhukovsky (17\"83-1852):
Oh! doesn't live with us
A genius of pure beauty;
Only occasionally does he visit
Us with heavenly beauty;
He is hasty, like a dream,
Like an airy morning dream;
But in holy remembrance
He is not separated from his heart.
Four years later, Pushkin uses this expression in his poem “I Remember a Wonderful Moment...” (1825), thanks to which the words “genius of pure beauty” will become popular. In his lifetime publications, the poet invariably highlighted this line from Zhukovsky in italics, which, according to the customs of that time, meant that we were talking about a quote. But later this practice was abandoned, and as a result this expression began to be considered Pushkin’s poetic find.
Allegorically: about the embodiment of the ideal of female beauty.
Encyclopedic Dictionary of winged words and expressions. - M.: “Locked-Press”. Vadim Serov. 2003.
Synonyms:
See what “Genius of pure beauty” is in other dictionaries:
Princess, madonna, goddess, queen, queen, woman Dictionary of Russian synonyms. genius of pure beauty noun, number of synonyms: 6 goddess (346) ... Synonym dictionary
I remember a wonderful moment, You appeared before me, Like a fleeting vision, Like a genius of pure beauty. A. S. Pushkin. K A. Kern... Michelson's Large Explanatory and Phraseological Dictionary (original spelling)
- (Latin genius, from gignere to give birth, to produce). 1) the power of heaven creates in science or art something out of the ordinary, makes new discoveries, points out new paths. 2) a person who has such power. 3) according to the ancient concept. Romans... ... Dictionary of foreign words of the Russian language
genius- I, M. genie f., German. Genius, floor. geniusz lat. genius. 1. According to the religious beliefs of the ancient Romans, God is the patron saint of man, city, country; spirit of good and evil. Sl. 18. The Romans brought incense, flowers and honey to their Angel or according to their Genius... ... Historical Dictionary of Gallicisms of the Russian Language
GENIUS, genius, husband. (lat. genius) (book). 1. Higher creativity in scientific or artistic activity. Scientific genius of Lenin. 2. A person who has a similar ability. Darwin was a genius. 3. In Roman mythology, the lowest deity,... ... Dictionary Ushakova
- ... Wikipedia
- (1799 1837) Russian poet, writer. Aphorisms, quotes Pushkin Alexander Sergeevich. Biography It is not difficult to despise the court of people, but it is impossible to despise your own court. Slander, even without evidence, leaves eternal traces. Critics... ... Consolidated encyclopedia of aphorisms
In a strict sense, use in literary work an artistic image or a verbal expression from another work, designed for the reader to recognize the image (the line by A. S. Pushkin “Like a genius of pure beauty” is borrowed from ... ... encyclopedic Dictionary
Cm … Synonym dictionary
Books
- My Pushkin..., Kern Anna Petrovna. “The genius of pure beauty…” and “our Babylonian harlot”, “Darling! Lovely! Divine!” and “ah, vile!” - paradoxically, all these epithets were addressed by A. Pushkin to the same person -...