"About beauty human faces»
Russia has long been famous for its poets, true masters of words. The names of Pushkin, Lermontov, Tyutchev, Fet, Yesenin and other equally talented people are known throughout the world. One of the masters of words who lived in the twentieth century was the poet N. A. Zabolotsky. His work is as multifaceted as life. Unusual images, the magical melody of the verse are what attracts us to his poetry. Zabolotsky passed away very young, in the prime of his creative powers, but left a magnificent legacy for his descendants. The themes of his work are very diverse.
In the poem “On the Beauty of Human Faces” II.L. Zabolotsky acts as a master psychological portrait. The various human faces he described in this work correspond to various types characters. Through the external mood and emotional expression of N.A.’s face. Zabolotsky strives to look into a person’s soul, to see his inner essence. The poet compares faces to houses: some are magnificent portals, others are miserable shacks. The technique of contrast helps the author to more clearly outline the differences between people. Some are sublime and purposeful, filled with life plans, others are wretched and pitiful, and others generally look aloof: all in themselves, closed to others.
Among the many different faces-houses N.A. Zabolotsky finds one unsightly, poor hut. But from her window flows the “breath of a spring day.”
The poem ends with an optimistic ending: “There are faces - the likeness of jubilant songs. From these notes, shining like the sun, a song of heavenly heights is composed.”
ABOUT THE BEAUTY OF HUMAN FACES
There are faces like lush portals,
Where everywhere the great is seen in the small.
There are faces - like miserable shacks,
Where the liver is cooked and the rennet is soaked.
Other cold, dead faces
Closed with bars, like a dungeon.
Others are like towers in which for a long time
Nobody lives and looks out the window.
But I once knew a small hut,
She was unprepossessing, not rich,
But from the window she looks at me
The breath of a spring day flowed.
Truly the world is both great and wonderful!
There are faces - similarities to jubilant songs.
From these notes, like the sun, shining
A song of heavenly heights has been composed.
Read by Igor Kvasha
The poem “On the Beauty of Human Faces” was written by Zabolotsky in 1955 and published for the first time in the magazine “ New world"for 1956, in No. 6.
In the last years of his life, Zabolotsky was extremely suspicious. He was afraid that he would be arrested again, he was afraid of his friends betraying him. It is not surprising that the poet peered into people’s faces, reading their souls and trying to find sincere ones.
Genre of the poem
The poem belongs to the genre philosophical lyrics. The problem of true, spiritual beauty worried Zabolotsky during this period of time. For example, one of the most famous poems poet - the textbook “Ugly Girl”.
In 1954, the writer suffered his first heart attack and was faced with the insincerity and hypocrisy of his loved ones. Last years In life, he greatly appreciated everything that was real, true, including beauty.
Theme, main idea and composition
The philosophical theme is stated in the title of the poem.
The main idea: the beauty of human faces lies not in external features, but in the soul, reflected in the gaze, in the expression.
The poem consists of four stanzas. The first two describe four types of unpleasant faces. In the third stanza a face appears that gives joy. The last stanza is a generalization: the lyrical hero is delighted with the grandeur and harmony of the universe, in which there are faces of the divine, heavenly beauty, reflecting the divine nature of man.
Paths and images
The main trope of the poem is a comparison formed using the words “similarity” (2 times), “like” and “as” (1 time each).
The first type of person is “like lush portals.” With the help of antonyms in the second line, the lyrical hero reveals the “mystery” of these persons: “The great is seen in the small.” Impersonal verb“It seems” immediately reveals the “secret” of such a Significant Person (the Gogol parallel suggests itself), which consists in the fact that in fact there is no secret, there is only pompous arrogance. The “beauty” of such persons is external, hypocritical.
The other type of person is ugly even in appearance. They are like miserable shacks, but the inside is disgusting, filled with stench and dirt, offal (metaphor “the liver is boiled and the rennet gets wet”).
The second quatrain is entirely dedicated to dead faces and dead souls. Here is the third type of person: the lyrical hero characterizes them with the epithets “cold, dead.” They are compared to the closed bars of a prison. These are the faces of indifferent people. But there are souls that are “even deader” (and here again Gogol’s artistic logic can be traced), and this is the fourth type: abandoned towers (a fresh metaphor) of a once mighty fortress built for centuries, now, alas, meaningless and uninhabited. No one has been looking into the windows of these towers (a metaphorical image of human eyes) for a long time, because “no one lives” in the towers - and who could live there? Of course, the soul. Means, mental life of a person who is physically still alive has long ceased, and his face involuntarily betrays this death of the soul.
We see the development of the metaphor of windows (in the meaning of eyes), but in a positive sense, in the third stanza, which describes the face of a person who remains alive not only in body, but also in soul. Such a person does not build with his face fortresses with impregnable towers, there is no ostentatious grandeur in his face, his “hut” is “unpretentious” and “poor”, but the context of the entire poem gives these seemingly purely negative epithets the opposite - positive - meaning, and the metaphor The “breath of a spring day” that “flows” from the window of the hut completes the image of a delightful, spiritual face.
Finally, the fourth stanza begins with a line of faith and hope of the lyrical hero: “Truly the world is both great and wonderful!” Both epithets in this context shimmer with all shades of their meanings. These are not only evaluative epithets: “great” in the sense of greatness and “wonderful” in the sense of “beautiful.” But this is the belief that the world is so huge (“great” in the sense of size) and durable that the dull reality surrounding the lyrical hero is, as it were, very special case, caused by the current sad circumstances. Truly human faces are a miracle (and in this sense “wonderful”), they similar songs, created from notes, each of which shines, like a sun(two comparisons strung together).
Meter and rhyme
The poem is written in amphibrachic tetrameter, the rhyme is adjacent, female rhymes alternate with male rhymes.
Poem by N. A. Zabolotsky “On the beauty of human faces” (perception, interpretation, evaluation)
The poem “On the Beauty of Human Faces” was written in 1955. During this period, Zabolotsky’s lyrics are filled with a philosophical understanding of existence; in his poems he reflects on the eternal human values- good and evil, love and beauty. Poems can definitely be called poetry of thought - intense, even somewhat rationalistic.
In the poem “On the Beauty of Human Faces” two parts are contrasted with each other. In the first, the poet talks about the types of human faces, the features of which can reveal the character of their owner. Thus, “faces like magnificent portals” talk about people preoccupied with their own greatness, hiding their own insignificance behind external brightness. Others, on the contrary, are “like miserable shacks.” People with such faces evoke pity, oppressed by poverty, life's hardships and humiliation; they were unable to maintain a sense of self-worth. The lyrical hero’s rejection is caused by “cold, dead faces”, whose owners hide their souls from the world behind “bars”, and who knows what thoughts and feelings may be born in the “dungeons” of such a person.
Others are like towers in which no one has lived or looked out of the window for a long time. Not a house, not a dwelling, but precisely towers - empty, booming towers. The associations evoked by these lines evoke horror, creating the image of a gloomy, soulless person who carries a hidden threat.
All the faces described in the first part of the poem are compared by the poet to architectural structures: lush portals masking poverty spiritual world their owners, the bars of dungeons that hide anger, the empty towers that leave no hope for humanity. But even “the likes of pathetic shacks” are devoid of human beauty; people who have lost self-respect and pride cannot be beautiful in their pathetic aspirations, devoid of even a hint of spirituality.
The true beauty of a person, according to the poet, lies only in the “movement of the soul,” the constant desire for self-development, the wealth of feelings and thoughts, sincerity in all human manifestations. Which is revealed in the second part of the poem, which is in every way opposed to the first. The “small hut,” which is “unpretentious” and “not rich,” seems to be close in external description to the “miserable shacks,” but if in the shacks “the liver is boiled and the rennet gets wet,” then from the window of the hut “the breath of a spring day flowed.” What is meant here is the eternal spiritual youth of a person whose face is like a “hut”, the purity of his thoughts, the warmth of his soul.
The absence of external pomp and empty pomposity is emphasized by diminutive words: “hut”, “window”.
The culmination of the poem is in the last stanza, which begins with an exclamation about how “the world is both great and wonderful!” And in this statement there is not only admiration for the boundless beauty of the surrounding world, but also a comparison of it with the beauty of the spiritual world, inherent in spiritualized people, whose “faces are like jubilant songs” - the most beautiful faces for the lyrical hero of the poem. It is from such people that “the song of heavenly heights is composed,” that is, life harmony.
If the first part of the poem, in which words such as portal, shacks, towers, dungeons are heard, creates a somewhat depressing atmosphere, then the second, filled with the sun, shining notes, heavenly heights evokes joyful feelings and creates a feeling of spaciousness, true beauty.
Continuing the traditions of Russian literature, Zabolotsky considered in his works the problem of external beauty, which often hides spiritual poverty, and internal beauty - the beauty of the human soul, which can hide behind an unremarkable appearance, but manifest itself in every feature, every movement of the human face. The poem clearly shows the author’s position of a person who most of all reveres the beauty and richness of people’s inner world.
Composition
The poem “On the Beauty of Human Faces” was written in 1955. main topic stated already in the title. The author lovingly describes every facial expression, which speaks of his humanity and worldly wisdom. After all, true complacency can only come through a subtle understanding of life.
The poem is based on a metaphorical comparison, which leads to great poetry and lyricism of the images. It is written in iambic heterometers, the stanzas are not lightened by pyrrhic, which leads to a rather harsh intonation of reading, chanting. But this construction of stanzas has another purpose - the emphasis is on each word, so none of them is lost in general fabric works.
Anaphoric repetitions (“there are persons”; “others” - “others”) in the first and third lines have a symbolic meaning. Thus, the first and second, third and fourth characteristics merge into one negative image. The rhyme in the stanzas is pairwise. In the first two lines there is a masculine rhyme (“portals” - “small”), in the third and fourth - feminine rhyme(“long ago” - “window”). This corresponds to the figurative system of the poem - at the beginning of the poem, each person is given two lines.
With his poem, Zabolotsky argues that the character of a person, his inner world You can read not only by the eyes, but also by the face. And in fact, there is an opinion that character is imprinted on the face with age. Even the location of wrinkles can tell a lot.
According to the composition, the poem can be divided into two parts: the first describes unpleasant persons, and the second describes loved ones and loved ones. This is an antithesis technique. The author uses contrast for an even more subtle and clear description of what is being described.
So, here is the portrait that opens the gallery of images in the first part of the poem:
There are faces like lush portals,
Where everywhere the great is seen in the small.
In two lines the poet painted a whole picture! The reader immediately imagines a full, slightly puffy face, an arrogant look, contemptuously lowered corners of the lips and a slightly turned up nose. This impression is created primarily by alliteration: “under”, “lush”, “por”. The combination of a dull “p” sound with vowels immediately creates an association with something soft and puffy. In addition, the epithet itself - “magnificent portal” - paints in the reader’s mind something unattainable and majestic.
The following image is drawn using the sound “ch” (“shack”, “liver”, “rennet”). It is not by chance that the author uses the word “likeness”; it perfectly characterizes the owner of such a face. Spiritual poverty is their main quality:
There are faces - like miserable shacks,
Where the liver is cooked and the rennet is soaked.
The second pair of negative characters, overall quality for which there is aloofness and coldness, is characterized as follows:
Other cold, dead faces
Closed with bars, like a dungeon.
Others are like towers in which for a long time
Nobody lives and looks out the window.
The most common combinations of sounds in these lines are “tr” and “s” (dead, grated, closed, which...). This creates the sound of an animal roar; “sh” (towers) - the hiss of a snake; “o” is an image of a vicious circle. In addition, the associative color scheme of these poems is gray.
In the second part of the poem the images are completely different. The first face apparently represents the image of the beloved woman. Its indispensable attributes are home and the warmth of love. In the poem they are paraphrased, and a “hut” appears, “the breath of a spring day”:
But I once knew a small hut,
She was unprepossessing, not rich,
But from the window she looks at me
The breath of a spring day flowed.
The unsightliness of the beloved face is contrasted with the splendor of the first image. Alliteration using the letter “e” (“her”, “me”, “spring”) symbolizes tenderness.
There are faces - similarities to jubilant songs.
From these notes, like the sun, shining
A song of heavenly heights has been composed.
In this poem, the poet appears as a good psychologist who notices the slightest shades and colors of the world. For him there are no unimportant details, everything is filled with meaning. And, most likely, his face is like a jubilant song. Only such a person can exclaim: “Truly the world is both great and wonderful!”
Analysis of the poem by N. A. Zabolotsky “On the beauty of human faces.”
The poet was always concerned with the question of what is more important in a person: his appearance, cover, or his soul, inner world. The poem “On the Beauty of Human Faces,” written in 1955, is dedicated to this topic. The word beauty is already in the title. What beauty does the poet value in people?
The poem can be divided into two parts. The first part is the lyrical hero’s reflection on the beauty of human faces: “There are faces like lush portals, Where everywhere the great appears in the small.”
In these lines, the poet uses unusual metaphors and comparisons. A portal is the main entrance of a large building, its facade. Let us pay attention to the epithet “lush” - elegant, beautiful. Not always appearance you can judge a person. After all, spiritual poverty can be hidden behind a beautiful face and fashionable clothes. It is no coincidence that the poet uses antonyms: “the great is seen in the small.”
Next comes a comparison contrasted with the first: “There are faces like miserable shacks, Where the liver is boiled and the rennet gets wet.” The epithet creates an unsightly picture, emphasizing poverty and squalor: “a pitiful shack.” But here we see not only external poverty, but also internal, spiritual emptiness. The identical construction of sentences in this quatrain (syntactic parallelism) and anaphora are used to strengthen and highlight the antithesis.
The next quatrain continues the author's philosophical reflections. The pronouns “other - other” are symbolic and emphasize monotony. Let us pay attention to the epithets “cold, dead faces” and the metaphor-comparison “closed with bars, like dungeons.” Such people, according to the author, are closed in on themselves, never share their problems with others: “Others are like towers in which no one lives for a long time and no one looks out the window.”
The abandoned castle is empty. Such a comparison emphasizes a person’s loss of dreams and hope. He does not try to change anything in his life, does not strive for the better. The second part is opposed to the first in emotional terms. The conjunction “but” emphasizes the antithesis. Bright epithets “spring day”, “jubilant songs”, “shining notes” change the mood of the poem, it becomes sunny and joyful. Despite the fact that the small hut is “unprepossessing and not rich,” it radiates light. The exclamatory sentence emphasizes this mood: “Truly the world is both great and wonderful!” For the poet, the main thing is the spiritual beauty of a person, his inner world, what he lives by: “There are faces - the likeness of jubilant songs, From these, like the sun, shining notes, a song of heavenly heights is composed.”
These lines express the idea of the poem. It is precisely such people, simple, open, cheerful, that attract the poet. It is these faces that the poet considers truly beautiful.