What makes people create, be creative? Where does the desire to create something come from? In a broad sense, where does the initial impulse to act in a person come from? (After all, any action is a kind of creativity. Even if the action is aimed at destruction rather than creation, it changes the picture of the world, which means on the scale of the whole, even an act of destruction looks like just another adjustment, another stroke on the universal canvas.)
It is obvious that in most cases, in order for something to happen (create), a conscious or unconscious desire for change must arise. For example, a person is dissatisfied with the current situation, wants things to be different, wants to avoid something or achieve some goal. He wants to change his life (or the life, for example, of his nation or even humanity), improve it, overcome the current state of affairs. It's clear. But what is this desire to “change” the situation? Where does it come from?
As a rule, it looks like something spontaneous. A person first feels some kind of unconscious discomfort, some kind of call, something strives to change his position, pick up a pen, paper, paints, camera. He calls this something "inspiration." Or, for example, he just wants to meet someone, have a nice time, cook something tasty to eat - in short, change something, achieve some goal.
If you look closely at such moments of “inspiration” that precede action, you will notice that at these moments a person does not feel satisfied, self-sufficient, complete, or whole. He needs to restore this missing integrity. And he finds a goal, the achievement of which, hypothetically, will help him become whole again.
What is behind this feeling of lack of integrity? After all, man is created in the image and likeness of God, which means such qualities as perfection and integrity are also inherent in him. Where then does the feeling of imperfection and the desire to create something come from?
The fact is that a person, if he is perceived as a being separate from God (as he most often perceives himself), has imperfect aspects that exist in time, subject to change, aging, transformation. These aspects are body and mind. For convenience and accuracy, we will call them “body-mind”, since they actually constitute a single mechanism.
Manifesting in the image of a person, God (aka Consciousness, Life, the Absolute, etc.) plays at limitations and overcoming these boundaries - he is identified with the body and, with the help of the brain and sense organs, begins to perceive himself from the position of perception “from this body.” He “invents” himself as a separate “I”, possessing the appearance of free will, individual needs, desires and interests. And he seems to forget about his perfection, limitlessness and immortality. God pretends to be a man with all his imperfections, accepts self-limiting conditioning, based on which he believes in what is “good” and what is “bad”, as a result of which he immediately develops preferences (mainly - so that it is like “good” and not How bad"). This is how Adam loses paradise (picks an apple). So that later throughout the history of mankind we can look for (and in some cases find) our way back home. Odysseus (the same Adam) experiences many adventures, hardships, suffering, obstacles, and experiences. A whole epic of formation. To return back to Ithaca of existence.
Most events in the manifest world of development (including most human actions and incentives to create or destroy something) arise as a result (reflection) of internal psychophysiological processes. These psychophysiological processes are the result of genetic programs, as well as emotional states largely determined by these programs, which, through repeated repetitions, have become our second nature (habit). Over time, these old emotions literally entered our blood and flesh, becoming traits of our characters. The totality of emotional blocks (and the corresponding unconscious mental programs and attitudes) and their interaction with each other constitutes the human personality (ego) and shapes his destiny.
Many of these emotional blocks and associated mental attitudes have their roots in events that happened to us in early childhood. And our current behavior (reactions, actions, interactions, lifestyle and context of life) stems from them. All these things are recorded in the brain in the form of neural circuits, and also in the body - in the form of physical tensions (clamps) and chemical reactions. As a result, the life of most adults (after 30 years) is 90 percent a well-functioning automatic process. The body literally becomes an automaton for the production of a strictly defined chemical set of substances and reactions. The result of these reactions is the life that this “body-mind” mechanism lives, the events that happen to it, and the actions that it performs. Including his “creations”. This is how our conditioning works.
Moreover, this predetermination and automaticity can be changed, because we are always free to stop identifying with these processes, to become aware of them and thereby stop feeding them, as a result of which they gradually die off. This is a very interesting topic, but I will not present it in detail here (I will refer those interested to the book by Dr. Joe Dispenza, “The Power of the Subconscious Mind.”
From what has been said here so far, this follows: the desire to become someone, achieve something, possess something, do (create) something (preferably something important and cool) is the opposite the side of an unconscious (in most cases), but very strong feeling of one’s own inferiority, inferiority, incompleteness, insolvency. And all these desires to “create”, all our desires to “achieve” are simply an attempt to escape from these feelings of inadequacy and the emotional states that accompany them. This is what makes most people do something (whatever it is - work from morning to night, write poetry, prose, journalism, use drugs, watch and make films, blog, record video messages, update Facebook and Instagram, engage in politics, have sex, take photographs, in short - to assert oneself in some way).
However, such creativity, resulting from an attempt to escape, is not genuine creativity. And, in any case, it is not clean.
The best works of art (and achievements) were not created from here. True creativity is not based on fear and feelings of inadequacy, but on love and fullness. It does not need spurring stimuli and motives born from the desire to escape from its imperfections, from pain and agony. True works of art (I wrote about them and their elements, which sometimes appear even in “impure” works) arise from completeness, love and lightness.
But this is a large part of the process of human evolution - we act and move to escape and hide from “ourselves” (from what we consider ourselves to be, from what we have filled ourselves with). From all our “needs” and “don’ts,” from all “I want” and “I don’t want,” from all “they will judge me,” “I don’t live up to expectations,” “they won’t accept me, they won’t appreciate me, they won’t love me.”
I’ll say it more directly: if you (try to admit this to yourself) are spurred on to creativity, for example, by the feeling that you are not doing what you could (or should) do, or, say, shame, guilt, fear of appearing weak, desire to prove something, to achieve something, a veiled or explicit desire for praise and approval, etc. - then the fruits of your creativity will contain the seed of lack of freedom and bitterness. Such a creation will be basically unreal, inanimate, although perhaps technically advanced and masterful. This creativity will be full of pain, the mustiness of the past, despair, dirt, destruction, complexes. It will be like a cemetery, like a corpse. Even if in form it turns out to be positive and “beautiful”. There will be no freshness and novelty in it (or almost none, unless Spontaneity sporadically intervenes in the process of such creation and does not momentarily transform dirt into beauty, pain into love, and so on, which, fortunately, does often happen).
Usually at the root of this vague (and often quite distinct) call to create something lies a latent desire to create something important, to leave a significant mark on history. In essence, this is the desire of the time-limited human mind to “preserve”, the fear of death, the desire for immortality. To that immortality, which is initially inherent in the Source of the mind, God, but is not inherent in the mind as a small limited instrument, with the help of which God forgets himself in a specific individual body, and then cognizes himself again.
Of course, any fear is also an expression of love - love of life, an unconscious desire for one’s true timeless, incorruptible constant original nature. That is, any creativity is ultimately an act of love. But mostly this love manifests itself through fear and confusion. We can say that human creativity (a significant part of it) is an act of longing for original love, an unconscious desire for love, for eternal life. The desire to escape from fears, to escape from hell, the agony of pain and suffering, a plea for forgiveness and permission to return to a lost paradise. Songwriter Yegor Letov, when asked why he doesn’t have love songs, replied: “All my songs are about love. More precisely about how bad it is when she’s not there.”
Osho has repeatedly said that “God is imperfect.” In this context: “Nothing is perfect. Imperfection has its own beauty because in imperfection there is life. If something is perfect, life will disappear from it. Life can only exist when something remains imperfect and needs improvement. Life is a desire to perfect the imperfect.” Osho, of course, was referring to God's ability to identify with form and temporality, the ability to play at it, the ability to pretend to be an evolving separate being. Life as an evolutionary process of becoming. God is so perfect that He can even allow Himself to express Himself as imperfect, unfinished, moving, changing, being born and dying. It is all-encompassing and includes every potential, every idea and concept, even ideas like “time”, “suffering” and “death”.
Most people are controlled by emotions, whether they want it or not, whether they admit it to themselves or hide it from themselves. Emotion is initially an impersonal movement of life force, energy. Being perceived by the “body-mind” personally (that is, as something "what's happening to me"), this movement takes the form of a specific sensation, and then a thought-interpretation, which gradually (as similar situations are repeated) is fixed in the “body-mind” system as an unconscious mental attitude. Mental attitudes are thoughts that have become beliefs, and already unconscious ones, that is, they are supported by blind faith, and therefore act latently and imperceptibly, are not realized, but are blindly accepted as a given. Such attitudes and beliefs are usually reproduced again and again as soon as something happens that at least somewhat resembles the composition of the circumstances of the event that first triggered the corresponding emotion. And after this, the same chemical scenario corresponding to this emotion begins to unfold in the body.
So, interpreting what is happening in the same way as we once did in similar circumstances (even if they are completely different, but have something in common), each time we bring to life similar living conditions and day after day we experience again and again your past. (Especially if this is associated with some unwanted emotion. We do not want a repetition of what was once experienced, but it is our reluctance that attracts this event, since experiencing this reluctance, we begin to think in the same way as then, that is, we activate those very mental attitudes that trigger precisely this unwanted emotion and generate a favorable environment for reproducing a similar event, which we did not want. Ouroboros.)
In a word, the repetition of the “emotion-thought-emotion” cycle gradually and gradually takes deep roots in us (at the neural and cellular levels), and the emotion becomes part of the “body-mind”, forming another layer of the layer cake called “personality”, in the center of which there is one single mental attitude, the original thought-belief “I am this body.”
You can look at it from the other side: the identification of Consciousness with the “body-mind” is a belief in the reality of experienced and experienced emotions and their constant reproduction, which has become a habit and has become a character.
The emotions lodged in the body are the history of the individual, this is the personality as such, believing in the reality of these stories and again and again and again experiencing and reproducing these stories. Without these stories there is simply no identity.
The key to freedom (and also to free, not automatic creativity) is to stop believing in the significance of these stories, to stop considering them to be yourself, to rise above all emotional and psychological states and the mental attitudes behind them. Stop giving them meaning and allow them to be experienced fully - without resistance, struggle and identification either with them or with the seemingly separate entity with which they occur. That is, in the literal sense, accept them, “carry your cross,” allowing everything to come and go, but without identifying with these stories (that is, without accepting emotions and other energetic movements of the manifested world as your own and yourself).
This is Christ’s “Thy will be done!” - readiness to even go to the cross, if this is exactly what needs to be lived as this specific moment. This is not even self-sacrifice, but complete trust, the search for the Kingdom of Heaven before all earthly goods.
“Seek first the Kingdom of God and His righteousness, and all these things will be added to you. Do not worry about tomorrow, for tomorrow will worry about its own things: enough for each day is its own care.” (Matt. 6:24-34)
Desires and expectations are the result of conditioning, that is, the past. They were formed on the basis of “knowledge” of what is “good” and what is “bad”.
Desires and expectations are rooted in the past (which no longer exists, it has passed) and shift attention to the future (which does not yet exist).
Desires and expectations are associated with the hope that it will be exactly the way you want, and the belief that it should be the way you want.
Reasoning and feeling on the basis of your old knowledge about what is good for you and what is not, you, based on past experience, generate ever new expectations and desires and thereby reject what is, do not notice the present or argue with it.
I repeat once again: all ideas about how it SHOULD be (what you should be, what life should be, what this moment should be) are the result of mental attitudes from the past, that is, the result of conditioning. And trying to change what is happening based on this, trying to adjust the moment (life itself) to suit your ideas and plans - this is hell. Arguing with what is. Such “creativity” is doomed to failure.
Only without having any desires and expectations and no fixed knowledge at all, we return to the Kingdom of Heaven.
Jesus Christ “saved humanity from death” when he showed by his example that this was entirely possible for a human being.
Refusing the fruit of the tree of the knowledge of good and evil. Trusting entirely in the moment, in God, in Life, saying “Thy will be done,” humbling ourselves and not knowing anything other than what Is, we are again Adam and Eve, and we are in heaven. And without even knowing what is, but simply being with it, as it is (that is, without comparisons, without understanding what is happening, without stories, interpretations and comments).
But is it possible to create from such a state? Yes.
When you have only one desire left - the desire “Thy will be done!”, all other desires and expectations disappear. By ourselves. Only one desire remains - to be one with God, with life, with the flow of life. Be one with His will. And if this remaining desire is sincere and genuine and there are no more attempts behind it to retroactively fulfill anything else at the same time, then such a desire is immediately satisfied.
This happens simultaneously (and is already timeless). All other desires simply lose their strength and power over you, because they all come from conditioning, from the past. The desire to be with God, as God, to be one with Him - if it is desired by the whole being, and not just at the level of the mind - it empties the space for what Is, removing all fears and other voices and sounds of the past. This is acceptance and letting go. Not as some kind of spiritual practice, not as an exercise. And how is being. It is simply pure non-resistance to any emotions, thoughts or situations that previously seemed undesirable. This is the lack of fight against them. There is not a hint of a desire for any emotion or situation to go away or remain. It is simply pure awareness of the situation and living it completely, without any control, without struggle, without judgment and resistance. And this is “Golgotha”, this is “to bear your cross”, “to remain one with God”, this is “Ithaca”, home, this is “to hold on to the feet of the Guru”, “to be as I Am”, “ remain empty."
This is “Thy will be done!” And from here, from unity with God and his will, true creativity flows. Because you become synchronized with God's will, you become an empty flute in the hands of Krishna, a pure instrument for His incarnation, for His Creation, which happens in every moment. He creates through you. Right now, out of time. Your creations, your “intentions,” and indeed your every manifestation are inspired by God. And this You no longer exists as “you”. Everything, including you, becomes Him.
And only then can you truly create, truly live and truly be free.
The poet always, voluntarily or unwittingly, comes into contact with state power. From this, as history has shown, nothing good comes of it for the poet and nothing useful for the authorities.
However, the hope for an enlightened ruler never left the people of art. Therefore, Alexander Pushkin turns to Nicholas the First, who had just ascended the throne, with a peculiar interpretation of “Felitsa”, addressed at one time by G. Derzhavin to Catherine the Second. The poet gives advice to the king, reminds him, teaches him a little, flatters him a little, and asks for just a little. No longer believing in an enlightened monarchy, the poet hopes at least for a “kindly” one. You need to have a certain courage and enormous talent to teach the monarch, but still A. Pushkin makes some moral compromise, drawing a parallel between the “rebellions and executions” of the “beginning of the glorious days of Peter” and the bloody end of the Decembrist uprising, where most of the victims were close to the poet people. Cruel? But, firstly, A. Pushkin was a true son of his era (monarchical, for let us remember Pushkin’s “slavery that fell due to the tsar’s mania”). Secondly, the poet, setting such a high bar for Nicholas the First, wants to soften the fate of his friends by instilling in the monarch that it is possible to “attract hearts with truth” and “tame morals with science.” However, one cannot blame the poet for wanting to see a tsar with a wise soul on the throne: an educated, conscientious autocrat is the ideal of the Russian people.
In our time, the idea that the most perfect works of poetry survive the time of their creation and that in the spiritual life of mankind poetry has immeasurably greater significance than the exploits of kings and conquerors seems self-evident. It was not like that under Pushkin. Ruling Russia valued human dignity and civic merit according to the table of ranks, but its creator, Peter I, did not provide for the rank of poet. This Russia expressed its attitude towards Pushkin through the mouth of the Minister of Education S.S. Uvarov. When he learned that in the “Literary Supplements” to the newspaper “Russian Invalid” a short notice of Pushkin’s death was published, beginning with the words: “The sun of our poetry has set!”, he ordered the editor of the newspaper to be summoned to the censorship committee and given a stern reprimand. “Why this publication about Pushkin? What is this black frame around the news of the death of a non-official person who did not occupy any position in the public service... “The Sun of Poetry!!” - For mercy's sake, what is this honor for? “Pushkin died... in the middle of his great career!” What kind of field is this? Was Pushkin a commander, a military leader, a minister, a statesman?! Writing poems does not yet mean... going through a great race!
Looking at the poem: “I have erected a monument to myself, not made by hands, The people’s path to it will not be overgrown,” we can see that one of the main themes of the poem, in my opinion, is the theme of the king and the poet, the earthly ruler and the ruler of thoughts. A genius, with his creativity, erects a “monument not made by hands” for himself during his lifetime, because he is the voice of the people, their prophet. Not just anyone, but he himself erected a monument to himself. Hence the repeated “I” over and over again. Pushkin lived and worked in a “cruel age.” He was proud that his poetry was free, calling for political and spiritual freedom. The Alexandria Pillar is the tallest column in the world, the personification of obedience to the king and the power of the king himself. Pushkin was a courtier of the lowest rank, and at the same time he was a man of the highest calling and destiny. So what does “above the pillar of Alexandria” mean? This can also be interpreted as a victory of the “mysterious singer” over censorship, a victory over autocracy. Pushkin compares two monuments, a material monument and a spiritual monument. The poet comes into conflict with the “idol” of his time. Morally, Pushkin defeated this autocratic “idol” with the power of poetic words and high spirituality. Pushkin really conquered time and space
Disappointment in poetry, inspired by years of exile, passes, and the poet realizes that people need poetry. The hero of the poem “The Prophet” is reborn from a person tormented by “spiritual thirst” into a poet-prophet. Now his goal is to burn “the hearts of people” with a “verb,” because the whole power of the poet lies in the verb. The poem was written during a difficult period for the poet - in 1826, in those days when the government was deciding his personal fate. “The Prophet,” as the title implies, is oriented toward a historical perspective. “The Prophet” is somewhat delayed, but perhaps the most striking evidence of overcoming the spiritual crisis of 1823-1825 at its most painful site. We often compare two poems by Pushkin - “The Prophet” and “The Poet”. However, it is worth emphasizing the difference in the names and the difference in the created images of the poets. The lyrical hero in “The Poet” is a dual character, while in “The Prophet” the hero is the ideal image of the poet. In “The Prophet,” the hero first appears in the form of an ordinary person, then we observe his reincarnation, in fact, into a prophet. This transformation occurs quite quickly, without any long pauses or stops, as evidenced by the constantly repeating conjunction “and”:
And the sting of the wise snake
My frozen lips
He put it with his bloody right hand.
And he cut my chest with a sword,
And he took out my trembling heart,
And coal blazing with fire,
I pushed the hole into my chest.
After the so-called transformation, initially a person becomes a perfect poet - able to see, hear, speak, feel differently, like a true poet-prophet. However, it is worth remembering that the prophet speaks on behalf of God, and not what he feels or wants to say himself, but also the poet is given a gift from above, from God. The lyrical hero will “burn the hearts of people with a verb” by the will of God, which means that after reincarnation he no longer belongs to himself, from now on he is a herald of lofty thoughts, some divine ideas. The poem “Prophet” is solemn, it sounds like an ode, its vocabulary is high (“spiritual thirst”, “angels’ flight”, “God’s voice”). Also in the “Prophet” there is an image that in mythology is a symbol of the messenger of the gods:
The prophetic eyes opened
Like a frightened eagle.
The work is based on the motives of Chapter VI of the biblical book of the prophet Isaiah. The ancient Hebrew seers were often bold and fearless accusers, so it was not for nothing that the poet spoke in their language, using menacing, ponderous Church Slavonic words. However, Pushkin goes far from the plot of Holy Scripture, depicting allegorically the prophetic purpose of the poet.
The motif of a traveler in the desert appears in the poem, associated with Pushkin’s personal experiences, which also arose on the basis of his work on oriental images of the Koran. The motif of the prophet was also not new; it was outlined in the poet’s previous lyrics. In the same poem, both motifs are combined and reinterpreted.
A traveler, dragging through a dark desert and already tormented by spiritual thirst, a thirst for cleansing feelings and thoughts from filth, turns into a prophet, capable of revealing to people the highest truth, burning the hearts of people with a verb. He penetrates into the secrets of nature, acquiring new hearing, new vision, a new heart - “coal” blazing with fire, that is, he is transformed, becomes completely different.
However, the prophet, who has doomed new senses, is for the time being between life and death - “like a corpse in the desert I lay.” And only “God’s voice” awakens him to life, breathing both life and spirit into him.
It is clear that in order to become different, you need to get rid of your former self, a sinful and weak person, or, more precisely, to die. Only then will another be born, fulfilling the will of God. That is why the end of the poem sounds so powerful, acquiring a public declaration:
Arise, prophet and leader, and listen,
Be fulfilled by my will,
And, bypassing the seas and lands,
Burn the hearts of people with the verb.
The construction of phrases in the poem “Prophet” is unusual. Since the poet reproduces a biblical story, depicting in it the birth of a prophet from a common man, it is interesting to follow the syntax. But the poet is still a slave, only a conductor between the world of gods and the world of people. This is exactly what we see in the poem “Poet”:
But only a divine verb
It will touch sensitive ears,
The poet's soul will stir,
Like an awakened eagle. Pushkin again shows the poet’s inconstancy; he does not control himself and, at the first call, obeys the “divine verb.” On the other hand, it is from this moment that the “dynamic life” of the poet begins. Before inspiration came, he “tasted a cold dream” and was inactive. All he has is “sensitive hearing.” The poet’s task is to hear and convey to people the “verb” of the gods. He is a prophet on earth, because it is through him that the Gods convey their orders to people. This is his mission on earth.
I will share the strongest musical impressions of recent days. Oddly enough, this is not some half-crazy free jazz saxophonist or trumpet player, which one might expect, but suddenly, out of the blue, a contralto opera singer, and so famous at that that one can only wonder how I managed to live to be fifty-two years old, never having heard this voice, not even knowing the name, but still it happened: I recognized it, heard it and, in the words of Kostya from “Pokrovsky Gates,” “fell in love like a little boy.”
Marian Anderson is the greatest performer of opera arias and Negro spirituals. As you can see, she is an African-American, that is, in our politically incorrect way, a black woman. By the way, this aunt hammered a solid nail into the coffin of racial segregation: it is widely known that when in 1939 a certain public organization “Daughters of the American Revolution”, for racist reasons, did not allow Marian Anderson to participate in their holiday concert, from the members of this stinking organization as a sign It was not just anyone who came out to protest, but Eleanor Roosevelt herself.
Osip Mandelstam has a poem written under the impression of a radio broadcast of a Marian Anderson concert.
I'm immersed in the lions' den and in the fortress
And I go lower, lower, lower
Under these sounds there is a rain of yeast -
Stronger than a lion, more powerful than the Pentateuch.
How close, how close your call comes -
Before the commandments, childbirth and first fruits -
Ocean low pearls
And Tahitian women's meek baskets...
My time is not yet limited:
And I accompanied the universal delight,
Like a sotto voce organ playing
Accompanied by a female voice.
Frankly, I never considered Osip Emilievich to be one of the great poets; I always considered his only undoubted creative success “... the bell torn out with meat strikes me,” but this is not about my literary tastes now. Smart banshur69 drew my attention to a mysterious circumstance, which may seem to some to be a manifestation of a prophetic gift, and to others - a violation of the space-time continuum. I mean the highlighted lines where it talks about “rich daughters”. The complete impression is that we are talking about those same racists - “daughters of the American Revolution.” That's just a damn thing! The poem is dated thirty-seventh year, that is, written two years before the above-mentioned events, and in the thirty-ninth, Mandelstam, as we know, was no longer alive, and this, therefore, also cannot be explained by a dating error.
And one more thing: finally I heard that same spiritual, the repeated line from which - he never said a mumblin' word- became, translated into German, the title of a novel by Heinrich Böll Und sagte kein einziges Wort(in Russian translation - “And he didn’t say a single word”). When you listen to Marian Anderson sing this spiritual, it seems that just a little more, and something will burst inside you.
1.1.1. The epigraph to the first chapter of the story, from which the above excerpt is taken, ends with the following question: “Who is his father?” How would you answer this question based on the text of the passage?
1.2.1. This poem is often compared to a parable. A parable always has a second, symbolic, allegorical meaning, hidden wisdom, which the reader (listener) must independently extract from the story told. What wisdom in this parable poem do you find important and why?
Read the fragment of the work below and complete tasks 1.1.1-1.1.2.
I lived as a teenager, chasing pigeons and playing leapfrog with the yard boys. Meanwhile, I was sixteen years old. Then my fate changed.
One autumn, my mother was making honey jam in the living room, and I, licking my lips, looked at the seething foam. Father at the window was reading the Court Calendar, which he receives every year. This book always had a strong influence on him: he never re-read it without special participation, and reading this always produced in him an amazing excitement of bile. Mother, who knew by heart all his habits and customs, always tried to shove the unfortunate book as far away as possible, and thus the Court Calendar did not catch his eye sometimes for entire months. But when he found it by chance, he would not let it out of his hands for hours at a time. So, the priest read the Court Calendar, occasionally shrugging his shoulders and repeating in a low voice: “Lieutenant General!.. He was a sergeant in my company!.. He was a holder of both Russian orders!.. How long ago have we been...” Finally, the priest threw the calendar on the sofa and plunged into reverie, which did not bode well.
Suddenly he turned to his mother: “Avdotya Vasilyevna, how old is Petrusha?”
“Yes, I’ve reached my seventeenth year,” answered my mother. - Petrusha was born in the same year that Aunt Nastasya Garasimovna frowned, and when else...
“Okay,” interrupted the priest, “it’s time for him to go into service. It’s enough for him to run around the maidens and climb dovecotes.”
The thought of imminent separation from me struck my mother so much that she dropped the spoon into the saucepan and tears streamed down her face. On the contrary, it is difficult to describe my admiration. The thought of service merged in me with thoughts of freedom, of the pleasures of St. Petersburg life. I imagined myself as a guard officer, which, in my opinion, was the height of human well-being.
Father did not like to change his intentions or postpone their implementation. The day for my departure was set. The day before, the priest announced that he intended to write with me to my future boss, and demanded pen and paper.
“Don’t forget, Andrei Petrovich,” said mother, “to bow to Prince B. for me; I, they say, hope that he will not abandon Petrusha with his favors.
What nonsense! - answered the priest, frowning. - Why on earth would I write to Prince B.?
But you said that you would like to write to Petrusha’s boss?
Well, what's there?
But the chief of Petrushin is Prince B. After all, Petrusha is enrolled in the Semenovsky regiment.
Recorded by! Why do I care that it’s recorded? Petrusha will not go to St. Petersburg. What will he learn while serving in St. Petersburg? hang out and hang out? No, let him serve in the army, let him pull the strap, let him smell gunpowder, let him be a soldier, not a chamaton. Enlisted in the Guard! Where is his passport? give it here.
Mother found my passport, which was kept in her box along with the shirt in which I was baptized, and handed it to the priest with a trembling hand. Father read it with attention, placed it on the table in front of him and began his letter.
Curiosity tormented me: where are they sending me, if not to St. Petersburg? I didn’t take my eyes off Father’s pen, which was moving quite slowly. Finally he finished, sealed the letter in the same bag with his passport, took off his glasses and, calling me, said: “Here is a letter for you to Andrei Karlovich R., my old comrade and friend. You are going to Orenburg to serve under his command.”
So, all my bright hopes were dashed! Instead of a cheerful life in St. Petersburg, boredom awaited me in a remote and remote place. The service, which I had been thinking about with such delight for a minute, seemed to me like a grave misfortune. But there was no point in arguing. The next day, in the morning, a road wagon was brought to the porch; They packed it with a suitcase, a cellar with a tea set, and bundles of buns and pies, the last signs of home pampering. My parents blessed me. Father told me: “Goodbye, Peter. Serve faithfully to whom you pledge allegiance; obey your superiors; Don’t chase their affection; don’t ask for service; do not dissuade yourself from serving; and remember the proverb: take care of your dress again, but take care of your honor from a young age.” Mother, in tears, ordered me to take care of my health and Savelich to look after the child. They put a hare sheepskin coat on me, and a fox fur coat on top. I got into the wagon with Savelich and set off on the road, shedding tears.
A. S. Pushkin, “The Captain's Daughter”
Read the work below and complete tasks 1.2.1-1.2.2.
| Prophet We are tormented by spiritual thirst, In the dark desert I dragged myself, - And the six-winged seraph He appeared to me at a crossroads. With fingers as light as a dream He touched my eyes. The prophetic eyes have opened, Like a frightened eagle. He touched my ears, And they were filled with noise and ringing: And I heard the sky tremble, And the heavenly flight of angels, And the reptile of the sea underwater, And the valley of the vine is vegetated. And he came to my lips, And my sinner tore out my tongue, And idle and crafty, And the sting of the wise snake My frozen lips He put it with his bloody right hand. And he cut my chest with a sword, And he took out my trembling heart, And coal blazing with fire, He pushed the hole in the chest. I lay like a corpse in the desert, And God’s voice cried out to me: “Rise up, prophet, and see and listen, Be fulfilled by my will, And, bypassing the seas and lands, Burn the hearts of people with the verb.” |
A. S. Pushkin, 1826
1.1.2. Will Petrusha Grinev fulfill his father’s order given to him upon separation (when answering this question, give examples from other fragments of the story).
1.2.2. Why do you think there are so many outdated words and forms in this poem? Why do the author need them?
Explanation.
1.1.2. The theme of honor and dishonor is one of the main themes of the work. The epigraph already emphasizes this - “Take care of your honor from a young age.” The concepts of honor and duty are not alien to the nobleman Grinev. The nobles swore allegiance to the empress. This means that they are obliged to protect her and her throne from all kinds of attacks. Grinev does just that. Following his father’s behest: “Take care of your honor from a young age,” the hero remains true to his principles and his oath to the end. He boldly stands up for Masha’s honor, entering into conflict with Shvabrin. Even in front of Pugachev himself, in the face of death, Peter does not betray his empress. He says to Pugachev: “My head is in your power, if you let me go, thank you; If you execute, God will be your judge.”
1.2.2. The theme of the poet’s prophetic service to people, important for Pushkin, is revealed in the poem in a high, solemn style, replete with Church Slavonicisms and outdated words. This is due, first of all, to the fact that the plot of the poem is based on the biblical legend about the prophet Isaiah, which was uniquely reinterpreted by the poet. The special language of the poem, which turns us to the mentioned part of the Bible - the book of the prophet Isaiah, helps to convey Pushkin's intention - to show the poet as a prophet, a preacher of the Most High will on earth.
Explanation.
1.1.1. Petrusha Grinev’s father is a retired military man, “of the old school,” brought up in the spirit of the best army traditions. He himself served faithfully, remaining faithful to the oath. The concepts of honor and duty are sacred to him. Therefore, he wants his son to become a real person, a real man. And this can only be achieved if “he serves in the army, let him pull the strap, let him smell gunpowder, let him be a soldier, and not a shamaton.”
1.2.1. The theme of the poet’s prophetic service to people, important for Pushkin, is revealed in the poem “The Prophet,” which is often compared to a parable. This is due, first of all, to the fact that the plot of the poem is based on the biblical legend about the prophet Isaiah, which was uniquely reinterpreted by the poet. According to Pushkin's plan, the mentioned part of the Bible - the book of the prophet Isaiah - helped him in the best possible way to show the poet as a prophet, a preacher of the Most High will on earth. The poet must “sing”, “burn the hearts of people with his verbs,” bringing truth, goodness and justice to the world.
About the lapse of some years, some period of time since some event; about reaching a certain age. The boy turned seven years old. It has already been five years since my son died.
3. what or what. To be imbued with, to be filled with some feeling (bookish, outdated). Her soul was filled with joy. “Do my will.” Pushkin .
Ushakov's Explanatory Dictionary. D.N. Ushakov. 1935-1940.
Antonyms:
See what “FULFILL” is in other dictionaries:
To come true, to be realized, to come true, to materialize; minute, pass, knock, break through, be fulfilled, introduce yourself, play out, be filled with, penetrate, sing, feel, produce, do, work out, ... ... Synonym dictionary
- (nyus, nish, 1 and 2 l. not used), nitsya; owls Ozhegov's explanatory dictionary. S.I. Ozhegov, N.Yu. Shvedova. 1949 1992 … Ozhegov's Explanatory Dictionary
FULFILL 2, nyu, nish; Sov., what or what (outdated and bookish). To penetrate, to be filled with what n. feeling. I. determination. Ozhegov's explanatory dictionary. S.I. Ozhegov, N.Yu. Shvedova. 1949 1992 … Ozhegov's Explanatory Dictionary
- (nyus, nish, 1st person and 2nd person are not used), it’s coming; Sovereign 1. Be realized, put into action, come to life. The wish came true. 2. to whom (what). About age, term: to reach a certain limit. The child is one year old... ... Ozhegov's Explanatory Dictionary
1. BE FULFILLED; St. 1. To be realized, to be fulfilled. The wish, the promise came true. 2. to whom? Reach a certain limit (about age, period). The child is one year old. □ no. I turned thirty years old. Fifty years have passed... encyclopedic Dictionary
come true- BE FULFILLED / BE FULFILLED BE FULFILLED / BE FULFILLED, nesov. and owls pass, owl minute, outdated, owl. break through, unravel, owl. knock, colloquial reduced, owl catch up... Dictionary-thesaurus of synonyms of Russian speech
I owls nepereh. see executed I 1. II owl. nepereh. see executed II III owls. nepereh. see fulfill III Explanatory Dictionary of Ephraim ... Modern explanatory dictionary of the Russian language by Efremova
Fulfilled, fulfilled, fulfilled, fulfilled, fulfilled, fulfilled, fulfilled, fulfilled, fulfilled, fulfilled, fulfilled, fulfilled, fulfilled, fulfilled, fulfilled, fulfilled, fulfilled, fulfilled, fulfilled... Forms of words
Verb., St., used. compare often Morphology: he/she/it will be fulfilled, they will be fulfilled, fulfilled, fulfilled, fulfilled, fulfilled, fulfilled, fulfilled see NSV. be performed Explanatory Dictionary of the Russian Language by Dmitriev ... Dmitriev's Explanatory Dictionary
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