Compositions. Writings Good and Evil Forces

" Pushkin ... took with him ... a great secret. And now we are solving this mystery without him. "
F.M. Dostoevsky

« The whole question is: the collective mind controls you or you, taking full responsibility for controlling your mind, restore the control of God-ROD by the collective mind» .
News of Light

"To comprehend Pushkin is already necessary to have talent."
S.A. Yesenin

« Just beware of the lies disbanded by the Pushkin House about Pushkin» .
Warning from I.M. Rybkin, custodian of Pushkin's personal archive

"AS Pushkin is not just an outstanding poet, but, first of all, a prophet, a great scientist and founder of modern Russians: language, art and legal sciences. Therefore, he can be considered one of the wisest people in the world.",
"He //A.S. Pushkin// possessed various abilities: diplomat(intercourse with foreign states), scout, psychologist(psychologist - studying the spiritual warehouse) , philosopher(comprehending the truth by dividing the whole into parts, and then joining the parts in pairs into a whole), surgeon,physiologist, lawyer, ideologist,philologist, mathematician, business executive, ruler, poet, storyteller and seer Boyan, prophet, writer of everyday life and in general - a multifaceted Russian Man who has comprehended the truth",
" Pushkin wrote the poem "Ruslan and Lyudmila" only as a Russian version of the "Revelation of John // Ivana// Theologian " ".
"Rybkin on the radio broadcast" In the world of words ", which sounded on April 11, 1982, writes: "RUSLAN AND LYUDMILA" - the main scientific work, which is not understood : neither now nor then. And left for those who will live in the XXI century ”.
Lobov V.M., Pushkinite

" The greatness of Pushkin as a leading genius, consisted precisely in the fact that so soon, and surrounded by people who almost did not understand him at all, found a firm path, found a great and longed-for outcome for us, Russians, and showed us to him. This exodus was - nationality, admiration for the truth of the Russian people.
Not to understand Russian Pushkin means not to have the right to be called Russian. He understood the Russian People and comprehended its purpose in such depth and in such vastness as never before has anyone else ... " .
F.M. Dostoevsky

" Lan - field ... The whole expression: Russian field ". Sergey Lesnoy"Russia, where are you from?" .

"NS Ushkin ... projected the future of Russia at the level of the second semantic series of his works, and, as we were convinced, analyzing the Boldin period of his work, he managed to protect the matrix of the transition to this future with allegory. Pushkin's creativity is clear, bright, perfect and mysterious ... Therefore, not everyone can read and understand Pushkin, solve his riddles. ",

"We take seriously the problem of recognition and non-recognition of those sent by God, especially since the whole history testifies that there is no worse evil for society, this or that people, how to reject the one who came to show the true path, just as there is no worse evil, staying in delusion, to be carried away by a new delusion, elevated to the rank of real guidance from Above on the true path. But this two-faced problem is not solved from the scriptures and traditions, but only from the soul; as, however, it is not allowed either - only from the heart ",
"A genius and a genius because he is able to transform his well-intentioned into GOOD WORK",
"In a spiritually healthy society ... the factor of reflection, the psychological rejection of all manifestations of evil, actively manifests itself. The use of it, in principle, is available to every person with appropriate training and in the presence of an unbroken wholeness of perception of the world. ... a long preparation is needed, exactly the same that an artist goes through, preparing for creativity, for the highest flight of his soul, when, as if from outside, a great intuitive understanding comes. The artist can enter this state only by successively passing through three stages: from detachment through concentration to the phenomenon of cognition. The state of detachment is necessary for living contemplation, concentration - to comprehend the diversity of the facts of life through abstract thinking... The phenomenon of cognition completes the whole process, making it possible to practically realize the creative idea",
"The fact that many, both in the past and in the present, tried to read Pushkin in relation to their understanding of reality, is not a big problem. Pluralism of opinions is permissible, however, the World is cognizable and integral, therefore, the truth is always one. Time is a conscientious doctor; with its help, false opinions fall off the living body of truth, like a sick and dead scab, and then a false reading of Pushkin's creations is just a misfortune " uncomprehending"But the fact that Pushkin has been distorted for a century and a half to please the conjuncture of the moment is no longer a problem, but a fault." those who do not remember their kinship" ",
"The time has come for a spiritual revival not only of the "small", but also of the "big" nations. Pushkin, Lermontov, Tyutchev, Blok, Yesenin, Klyuev, Rubtsov, who boldly raised their voices against the "nomadic democrats" during their lifetime, are again rising into battle for the revival of the Russian people. And in this struggle, Pushkin is still the First Poet of Russia. The time has come to remove the veil from his acute political creativity, which Soviet Pushkinists skillfully wove for decades.",
"From the point of view of the ancient Egyptian priests, Pushkin was a hierophant, i.e. a person who owns the secret of knowing the future. But he was also the greatest artist and therefore reflected his understanding of the future in artistic images. A true artist-master (writer, poet, composer, sculptor, painter, architect, etc.) can only be one whose works are able to live at any time, i.e. they seem to be outside of time, and the waters of Lethe are powerless before them. At the same time, the use of the language of images helps the artist to convey to new generations the basic concepts, especially in the moral sphere, integral. And the richer the language of communication that the artist owns, the more reliably the integrity of these concepts is protected, the more difficult it is for interpreters - "dummy", and not "post" horses of education to carry out the necessary substitution of concepts",
"Pushkin is immortal. He lives in his people and, I have no doubt that he will soon reveal himself, because, as N.V. Gogol predicted, "Pushkin is an extraordinary phenomenon and, perhaps, the only phenomenon of the Russian spirit: this is a Russian person in his development, in which he, perhaps, will appear in two hundred years "".
COB

"I AM A PROPHET IN MY FATHERLAND. LET IT BE THIS."
Pushkin wrote to V.F. Vyazemskaya from Mikhailovsky

And God's voice called to me:

"Rise, prophet, and see and hear,

Fulfill my will

And, bypassing the seas and lands,

Burn people's hearts with the verb. "

Pushkin A.S. "Prophet". East 15, p. 339

Greetings, my beloved, I am Jesus Christ (Prophet Alexander), coming to your attention again and again, floating from the unconscious part of your Soul to your conscious part, which can be surveyed by your Conscious Self. Because truly, your unconscious parts, then what I call the emotional, mental and etheric mind bodies contain many illusions. And it is possible to overcome them only by your Conscious Self, only when you are aware of them. There are no other ways to do this. All the spiritual methods that you can use are only an auxiliary means for your Conscious Self to discover the illusion and decide to be More than this illusion, to be in a greater identity, in a greater worldview, in a greater understanding of the world. No external teacher, no Prophets will do this for your Conscious Self. All responsibility for the illusions of your mind bodies rests only with you. And the final solution to eternal life lies in the fact that you truly take full responsibility for the constant self-transcendence - the constant transcendence of all existing illusions. Indeed, your subconscious contains not only your personal illusions, but also all collective illusions, which include generic, egregrial, tribal, folk, collective illusions of all mankind.

You are all One, you are all cells of the One Body of God . And you all have a common part in the collective emotional, mental and etheric bodies of the planet. Moreover, this part affects each embodied life-stream. The opposite is also true, that there is an opportunity for any embodied life-stream to influence this common space of the collective mind. AND the whole question is: the collective mind controls you or you, taking full responsibility for the control of your mind, restore God's control of the collective mind... You may have come across an organization when you see that its leader seems to go with the flow, limply following the traditions that once developed. This is actually an example when the organization's ego-regor conquers Life, conquers the living part in its leader, makes him a blind instrument for his own survival, in fact, a zombie biorobot. And large transnational corporations, government bodies now actually "live" their own lives, by default they carry out the automatic program of any collective ego - to survive at any cost and attract as many resources as possible for their survival.

You understand that in this case there can be no question of harmony with Nature. And the latest man-made disasters are a vivid example of this. Of course, humanity and the peoples of the planet face the task of restoring manageability by all organizations, harmonizing their relations with each other and with Nature. But the fundamental principle for each is the following - we can change the world around us ONLY THROUGH OURSELVES. And the keys for this are inside you. "The kingdom of God is within you." It is only by overcoming in your mind the illusions that are part of the collective field of illusion that you truly contribute to overcoming the collective illusions of humanity. a . Take the logs out of your eyes so that others can more quickly and easily follow your example.

There is only one way out of the modern biosphere-ecological crisis - overcoming the main reason for its manifestation - the illusion of separation from God-ROD. Moreover, the collective reunification of one's connection with God is possible only through separate life-streams that have taken the path of Christ-Buddha-being. Only through the principles of auto-synchronization (the "hundredth monkey" effect) is it possible to collectively overcome illusions. The collective consciousness is usually very inertial. And what is required is a "critical mass" of embodied spiritual seekers who are able to accelerate the collective consciousness beyond the gravitational forces that are a consequence of the dual consciousness, the consciousness of separation. As I have already mentioned, this critical mass is 1/64 of the first spiritual people of Russia. The image of just such a critical mass of the first 1/64 of the spiritual people of Russia, on which the Happiness and Prosperity of the People depends (Lyuda Milogo - Lyudmila) is shown by the character Ruslana in the famous poem by A.S. Pushkin "Ruslan and Lyudmila" ... V the eponymous KOB policy note a beautiful interpretation is given to the second semantic row of this poem.

Indeed, every work of art by the Master of His Talents, which certainly was A.S. Pushkin, who is our brother, contains an expression of his worldview in understandable to most lexical forms. Truly, the Master is in unity with all life, has a holistic mosaic worldview and can see the general course of things beyond the framework of space and time. It is the poet that the masterpieces of the Masters over time, as a rule, become more and more popular and relevant.... Because the Real Master is able to enter with his consciousness into the perfect image of the collective consciousness and "anchor" it in his Creation. And truly, each such anchor enables more and more people to reconnect with this perfect image, which accelerates the manifestation of this perfect image into the physical world. This is precisely what the essence of prophetic activity- to state the perfect image and point out possible obstacles to its achievement During the time of Pushkin, there was strict control, censorship by the power elite over all materials of talents that could become a threat to their "elite" position. Therefore, A.S. Pushkin had to encrypt, mask true images in the deep semantic layers of his works.

"A x if I were under light mask
Nobody in the crowdfunny did not recognize,
Whenever for me with your pointer
Another stern critic snapped ".
A.S. Pushkin, Preface to "House in Kolomna".

Now you have entered an amazing time when many people were able to deliver and receive information from the collective consciousness, bypassing all sorts of censors, external control - via the Internet. This makes it possible for the bolder of all to call a spade a spade.

Truly Head reflects those local power elites - State and Church hierarchies - external teachers who have placed themselves between the People and God, hiding under themselves kladenets sword- the very Sword of Truth that I brought over 800 years ago - the Sword of Christ and Insight.Putting themselves between the People and God, they were left without a Body.

Finn- This is an ancient Slavic priesthood that preserves the ancient wisdom of the Russian People.

In general, given these clarifications, the interpretation of the BER is adequate. Truly Happiness and Joyful life of Lyuda Milo - Russian People is possible only with reunification with the revived Russian Spirit - Ruslan, who has mastered the sword-kladenets - Truth - Discrimination and Treasured Ring- The principles of Eternal Life in Divine Love, - about the constant All-Life-transcendence in all spheres of life , some of these principles are reflected in the KOB Constitutional Principles. This is what is capable of awakening the Russian People to the acquisition of self-power, which is right now in that very dream of Lyudmila, when Prince Vladimir is next to her, who is guarded by Farlaf. Internecine wars with the Pechenegs are an image of all the armed conflicts on the planet, Chechnya, the conflict with Georgia, NATO, Egypt, Libya, Korea, - all the global neighbors of the Russian People.

Finn sprinkling with dead water - assembly, sprinkling with living water - the descent of the Russian Spirit in the advanced 1/64 of the spiritual people when they become embodied.

Truly you are all now awakening from a long sleep of illusion. And now it’s just a stage to “touch the cherished ring to Lyudmila’s brow”. because deeper understanding Pechenegs- these are collective Illusions, as a result of which civil strife occurs on the physical plane... Part of this collective process of victory, the Pechenegs and the unification of the Living Russian Spirit with Lyudmila's brow (mental body) of the Russian People, is the real site and others like it. Truly ideological basis of this Treasured Ring - "" . When the Russian People truly enter into unity with the Russian Spirit (when), then they will become the global governor of God on Earth, showing an example of achieving true spiritual unity, capable of defeating the world behind the scenes (Chernomor), the immoral concept of life and to gain a truly popular government, completely independent of external enemies.

A significant place in Pushkin's work is given to the description of nature. The poet knew how to see and understand her, "the beautiful nature was at his fingertips here, in Russia, on its flat and monotonous steppes, under its eternally gray sky, in its sad villages and its rich and poor cities."

Pictures of nature, vocabulary denoting natural phenomena, are widely represented in "Ruslana and Lyudmila". This poem by Pushkin marked the destruction of the classicist style, striking “true connoisseurs of art with its high artistic qualities, the unusual lightness of a language close to the spoken language, its sparkling humor, and the wealth of poetic colors.

Many words that are part of the thematic group "Nature" came to the Eastern Slavs from time immemorial. Their semantic significance is extremely high. They are in Pushkin's poem - words-worlds, words-stories, testifying to the everyday and spiritual culture of our ancestors. This is land, field, river, water, steppe, meadow, forest, oak, sun.

The onomastic names in the poem are not accidental: in the deserted Murom forests, rich Kiev fields, Finnish fields, along the banks of the Dnieper, Dnieper waves; they give the narration historical concreteness, folklore content, enrich the author's speech. The language of the poem is lively, light thanks to the use of constant epithets (wide dol, green oak, blue fogs, in a clean field, in damp earth), colloquial forms of words (grove, meadow, breeze, by a stream, on grass).

The vocabulary of nature acts as one of the expressive means of artistic speech. Here is how Pushkin draws a portrait of Lyudmila with her help: "In his hands lies Lyudmila / Fresh, like a spring dawn ..."; "How often the quiet face / Instant rose glows!"

The metaphorical images, built on the similarity of the realities of living and inanimate nature (method of personification), attract with their accuracy and poetry. For example:

The valley was quiet dozing,

Dressed in fog at night,

The moon ran across in darkness

From cloud to cloud and mound

Illuminated with an instant brilliance.

Hills and forests are bright,

And the heavens were awakening.<…>

The battle field was dozing ...

The ancient Slavs were farmers. They deified the earth, sun and water. The sun spell was supposed to give fertility, warmth and light. In the poem, the word sun means not only "the heavenly body" ("And the sun from a clear height / the Valley of death illuminates"), but also characterizes Prince Vladimir, popularly called the Red Sun, and in Pushkin - "Vladimir-sun", "Vladimir- Sun".

Epithets are a frequent attribute of artistic sketches of nature. For example, creating an image of a wonderful valley, in which there are two keys with magical powers, the poet uses an antonymic pair of metaphorical epithets living wave - dead water and, as a consequence of these characteristics, the epithet is secret ("from secret waters"):

The wonderful valley lurks

And there are two keys in that valley:

One flows in a living wave,

Murmuring merrily over the stones,

He pours out dead water;

Everything is quiet around, the winds are sleeping,

Vernal coolness does not blow,

Centennial pines do not rustle

The birds do not hover, the doe does not dare

In the heat of summer, drink from secret waters;

A couple of spirits from the beginning of the world,

Silent in the bosom of the world

The dense coast guards ...

The poem is comic and ironic at its core, and this is supported, in particular, by the vocabulary of nature. Being in despair, Lyudmila "looked at the noisy waters, / struck, sobbing in her chest, / In the waves she decided to drown - / However, she did not jump into the water. / And then she continued her way." Words on water, in waves, in water are constructive elements for creating the author's irony.

The realities of nature act as a source of eternal beauty, harmony, reconciliation with the vanity of life. An old man, a wise Finn, talking with Ruslan, claims that "streams, caves of our rocks", "dense oak forests" are a gratifying silence "in a carefree youth." For him, nature at the time of loneliness became the consolation of old age: "And in the world there is consolation for an old man / Nature, wisdom and peace."

In the epilogue to Ruslan and Lyudmila, which is, as it were, a “separate” work, the image of the poet himself appears in a subtle psychological combination with pictures of nature. The majestic Caucasian nature causes him sublime experiences:

Now I see before me

The proud heads of the Caucasus.

Above their steep peaks,

On the slope of the stone rapids,

Feeding on dumb feelings

And the wonderful beauty of the pictures

Nature is wild and gloomy ...

In the prologue, the poet, with the help of words by the sea, an oak, a cat, waves, through forests, across the seas, phrases green oak, traces of unseen animals, sandy and empty shores, the brown wolf paints the reality given to him, introduces the reader to the fairy-tale world of the poem.

Nature is a means of confirming fantasy, the main artistic value of a fairy tale. Lyudmila is in the enchanted kingdom of Chernomor, an evil sorcerer. And here we see the fantastic origins of beauty - a beautiful magical garden. To depict it, the names of rare flora and fauna are used. The verbal and artistic image of the garden is created by a combination of tropes: epithets, metaphors, personification. For example:

Avenues of palm trees, and a laurel forest,

And a number of fragrant myrtle,

And proud peaks of cedars,

And golden oranges

Mirror of the waters are reflected<…>

And the Chinese nightingale whistles

In the darkness of trembling branches;

Diamond fountains fly

With a merry noise to the clouds<…>

Nature is the background against which the events of distant times of Russian life unfold:

And they see: in the morning mist

The tents turn white across the river;

Shields, like a glow, shine,

In the fields, riders flicker,

In the distance, lifting up black dust;

Camping carts are coming,

Bonfires are burning in the hills.

The words fog, river, hills on the subject-conceptual level denote the realities of nature. However, they want and are not colored emotionally - expressively or stylistically, nevertheless, they are associated with such emotions as anxiety, confusion. These are words-pillars, background units, with the help of which the pictures of the Pecheneg uprising are poetically recreated.

The field in "Ruslana and Lyudmila" is a vivid poetic image expanded into an expressive picture from the distant past, which was overgrown with the "grass of oblivion." The psychologism of the image is achieved by folklore and pictorial means: addressing the field, rhetorical questions to it, attracting the figure of Bayan. This evokes Ruslan's sad thoughts:

"O field, field, who are you

Dotted with dead bones?

Whose greyhound horse trampled you

In the last hour of the bloody battle?

Who fell on you with glory?

Whose heaven has heard prayers?

Why, field, are you silent

And overgrown with the grass of oblivion? ..

Times from eternal darkness

Perhaps there is no salvation for me either!

Perhaps on a mute hill

They will put a quiet coffin of Ruslan,

And the strings are loud Bayans

They won't talk about him! "

Pushkin's landscape sketches are a kind of countdown, an indicator of the season:

And the days are running; cornfields turn yellow;

A decrepit leaf falls from the trees;

In the woods the autumn winds whistle

Drowns out the feathered singers;

Heavy, cloudy fog

It winds round the naked hills;

Winter was approaching ...

Pushkin's designation of the realities of nature reflected the linguistic and stylistic norms of previous poetry. Hence the Slavicisms (trees, a greedy lie, a valley of battle, an abusive meadow, a cold wind, a cold morning, gilded fruits, on the crown of full mountains, a sloping coast, waves were strewn in the stream), poetry (rapids, the sky, oak groves, the shadow of the oak trees, in the azure heavens, untrue depths of the seas, a number of fragrant myrtle), truncated adjectives (horse borzoi, centenary pines).

So, the poetry, emotional and semantic richness, expressiveness of Pushkin's language are largely due to the widespread use of the vocabulary of nature. Nature in the poem "Ruslan and Lyudmila" appears as an artistic image capable of delivering true pleasure to the reader.

Text:
The blue southern sky, darkened by dust, is dull; the hot sun looks out into the greenish sea, as if through a thin gray veil. It is almost not reflected in the water, dissected by the blows of oars, steamer propellers, sharp keels of Turkish feluccas and other ships plowing in all directions in the narrow harbor. The waves of the sea, chained in granite, are suppressed by huge weights sliding along their ridges, beating against the sides of ships, against the coast, beating and murmuring, foamed, contaminated with various rubbish. The ringing of anchor chains, the clatter of the clutches of the carriages delivering the cargo, the metal scream of iron sheets falling from somewhere on the pavement stone, the dull sound of wood, the rattling of cabs, the whistles of steamers, now shrill sharp, now deafly roaring, the screams of loaders, sailors and customs soldiers - all these sounds merge into the deafening music of a working day and, rebelliously swaying, stand low in the sky above the harbor, - more and more waves of sounds rise to them from the ground - now deaf, rumbling, they severely shake everything around, now sharp, thundering, - tearing the dusty, sultry air. Granite, iron, wood, harbor pavements, ships and people - everything breathes with the powerful sounds of the passionate hymn to Mercury. But the voices of people, barely audible in him, are weak and funny. And the people themselves, who originally gave birth to this noise, are ridiculous and pitiful: their figures, dusty, ragged, nimble, bent under the weight of the goods lying on their backs, fussily run here and there in clouds of dust, in a sea of ​​heat and sounds, they insignificant in comparison with the iron colossus around them, the piles of goods, the rattling carriages and everything that they have created. What they created enslaved and depersonalized them. Standing under the steam, the heavy giant steamers whistle, hiss, sigh deeply, and in every sound they generate, there is a mocking note of contempt for the gray, dusty figures of people crawling on their decks, filling the deep holds with the products of their slave labor. The long lines of loaders are ridiculous to tears, carrying on their shoulders thousands of poods of bread into the iron bellies of ships in order to earn a few pounds of the same bread for their stomachs. Torn, sweaty people, dull with fatigue, noise and heat, and mighty, majestic machines shining in the sun, created by these people - machines that in the end were set in motion, after all, not by steam, but by the muscles and blood of their creators - this juxtaposition was a whole poem of cruel irony. The noise was suppressive, the dust, irritating the nostrils, blinded the eyes, the heat baked the body and exhausted it, and everything around seemed tense, losing patience, ready to burst into some kind of grand catastrophe, an explosion, after which there would be breathe freely and easily, silence will reign on the earth, and this dusty noise, deafening, annoying, leading to dreary fury, will disappear, and then in the city, at sea, in the sky, it will become quiet, clear, glorious. .. There were twelve measured and resonant bells. When the last brass sound died away, the wild music of labor was already quieter. A minute later it turned into a dull, displeased murmur. Now the voices of people and the lapping of the sea became more audible. It's - it's time for lunch.

The personality of A.S. Pushkin is a true universe, a real source of knowledge, where everyone can see the answers to many of their questions. Since, as it turned out, he was not just an initiate, but a saint who shone in Russia, there is every reason to create a special branch of Pushkin studies, already outside the framework of ordinary literary criticism. This is the sacred Pushkin studies. The date of creation of the IDDC subdivision with the name "Sector of Sacred Pushkin Studies" and with the appointment of Valery Mikhailovich Lobov as its head can be considered Tuesday, May 26, 2009, when in our oral conversation with him a lot of interesting details from Pushkin's life were revealed.

This inspired Leonid Vasilyevich Shershnev to publish a note about the work he did with his Moscow friend, a Russian, whom he displays here under a Chinese name. Although the work is incomplete, it is nevertheless quite curious in its direction.

THE SECRET CODE OF AS PUSHKIN'S TESTAMENT. THE GOOD NEWS FROM THE "THING BAYAN"

L.V. Shershnev

"For you, the soul of my queen, beauty, for you alone ..." - this is how Alexander Sergeevich addresses those who see and feel how events develop around him, as if by chance ... But who understands that there is no chance , but there is an unknown pattern of a higher order than our mind ...

There was a lot of research on the work of the genius poet-prophet. All his poems, poems, prose, more than once have already been disassembled "to pieces" by critics and literary critics-Pushkin scholars. There were many reviews of great poets and writers. I hope you are familiar with them too. Therefore, I will not repeat myself. The purpose of this article is to answer the question: "What will A.S. Pushkin left us?"

About 3 years ago, my friend, Cao Li Ping, drew attention to the strangeness in the construction of poems by Alexander Sergeevich. We studied, discussed, corresponded for a long time on this topic. We made a discovery for ourselves, after which it became clear to read other works that speak of the eternal values ​​of the spirit. The Divine picture of the universe has opened! At that time, it seemed to us that there was no need to write about it. Today, after finding other facts about Pushkin by Valery Mikhailovich Lobov and Valery Alekseevich Chudinov, this article is simply necessary.

A new approach to studying Pushkin

Every year, on the occasion of the poet's birthday, we read his wonderful creations. Every year Pushkologists publish new found drawings, poems or letters. Every year they expect the publication of a supposedly hidden archive with the Poet's will. The phrase "Pushkin is our everything!" has become synonymous with “Our Pushkin! And that's it! " The exploitation of the name of the great poet-prophet has become the norm today in earning titles, money and other benefits.

Only by saying to myself, “I don’t know who Pushkin is and what he wrote! I do not know how to understand all this written? " can be viewed with an open mind. Then you need to take his works and re-read. You can see that the will, prophecies and other bargaining items around the mysterious figure of the poet were published long ago. They are in Russia in almost every home, in all libraries, shops, but we do not see them. Or we don’t want to see. Almost every house has the Good News from the Prophetic Bayan! And the key to reading - in the same place, lies in the most conspicuous place. Let's try together to see it together. Even in spite of the destroyed traces of his labors.

Persecution of Pushkin's Works

It is known that, immediately after the death of the poet, all his works were withdrawn by order of Tsar Nicholas-1. It is clear that not all the works of the genius have survived to this day. Tough censorship in the Lyceum, then - from Benckendorff's side, exile forced Alexander to encrypt his views on the political life of Russia, so that poems could be printed. Thanks to this approach, society recognized the poet A.S. Pushkin as a talent, and by 1820 as a prophet. This happened 3 years after the lyceum! And, a few years later, the poet becomes recognized, but they stopped calling him a prophet.

"Philosophical fun" of the poet

Let's pay attention to these 1815-1820 years, the years of the rise of the spirit of the poet-prophet. Could such a thing have happened so that from the first verses, epigrams, dedications, later, prophetic verses were born? How did this frivolous, windy, vicious lyceum student suddenly begin to write philosophical and political poetry? These and other questions are answered by his poems. 1813 Sasha Pushkin is 14 years old, his work is the poem "Monk", where you can see a deep understanding of faith. Alexander is 16 years old when he writes the philosophical novel "Fatama or Human Reason", or a verse

“... I live with natural simplicity,
With philosophical fun
And a frisky and young muse ...
Here is my fireplace - dark in the evening,
Autumn stormy times
I love under the secluded canopy,
Before him to dream thoughtfully,
Voltaire, Wieland read ... "

And the rabble despise the jealous murmur;
She doesn't know ...
That the mind is high you can hide
Insane pranks under a light blanket.

In 1818. The poet's path goes from "Unbelief" through "Liberty" to Truth. He writes to Zhukovsky:

Blessed is he who knows sensuality
High thoughts and poems!

Ode to Liberty:

... Not for envious judges,
Not for the poor collectors
Other people's judgments and messages,
But for friends of strict talent,
The sacred truth of friends.

Pushkin's prophecy... Here is the verse "To Chaadaev":

Comrade, believe, she will come ...
And on the wreckage of autocracy
They will write our names.

This prophecy came true 100 years later, in 1917. And, generally speaking, a lot of such prophecies have come true ... Open volume 1 of the works of A.S. Pushkin and see for yourself. We will now focus on the work, known to everyone in our country from childhood - the poem "Ruslan and Lyudmila". The poem was written in the same prophetic period of 1817-1820. By the way, he himself compares himself with the Prophetic Bayan, the singer-prophet; this is so, below we will be convinced of this. But what is the bar for poetry at 14 !?

A strange piece in many ways! Why not a fairy tale, but a poem, because later he writes just fairy tales? By this, the poet emphasizes the importance and seriousness of this work. The poet's ironic tone, the highest syllable and rhythm, sometimes hide the meaning and, it seems, just a play on words remained. Maybe Pushkin is fooling around? According to his contemporaries, A.S. Pushkin was a serious person. So E.F. Rosen argued that seriousness was almost the main character trait of the poet. Behind the enthusiasm, love, extravagance, hot temper and even viciousness of the young poet, hid ... the search for Truth. Later, he himself writes:

I lay like a corpse in the desert
And God's voice called to me:
"Rise, prophet, and see and heed,
Fulfill my will
And, bypassing the seas and lands,
Burn the hearts of people with the verb.

It was spiritual thirst that made him seek the source of the spirit and drink from it. The discovery of the poet could not but find a response in the souls of his contemporaries. So, by the 20s, the poet A.S. Pushkin is called the prophet of Russia. By chance?

Poem "Ruslan and Lyudmila"

Only after reading the poem "Ruslan and Lyudmila", you can give a final answer to this question. There, the poet openly gives the key to the poem, from the first lines ... having eyes, let him see

Take and turn the cap of your thoughts "backwards", from the daily bread, from all the ideas of this material world, from the egoism of civilization and look, like Lyudmila, in the "tall mirrors" of A.S. Pushkin. There is a Great Spirit, there ... Russian spirit, there is a smell of Russia ... This is the code to the secret will of Alexander Sergeevich Pushkin.

Images are used to convey spiritual truths!

Look at the Lukomorye (near the sea of ​​the universe) today. Let us note right away that it will not be possible to reveal all levels of knowledge of the truth in this work. But while reading the poem, you can choose the level of knowledge yourself and think about how Pushkin describes the development of earthly civilization; how he describes the history of the country Russia; how he describes man, in the unity of spirit, soul and body. You will undoubtedly learn more than words can describe on paper. Reading and rereading the poem, you feel how your spiritual eyes are opening to the universe, civilization and the origin of man, and to his purpose in the world, and much more. The poem also expands the conceptual apparatus, describing Being. For this, Alexander uses Russian fairy tales and legends, legends and myths of ancient Greece, Biblical stories.

In our opinion, Pushkin has the following metaphors: Green oak - the peoples of Russia, Golden chain - this is gold, the commodity-money system, which tied Russia and the whole civilization; The scientist cat is a closed top, myth-makers, composing fairy tales, myths and songs-ideas that control us; ideas on religion, history, politics and economics; Any evil spirits are ways of managing peoples (horror stories); The mermaid is a chimera of the brilliance of passion and pleasure on the branches of the Russian people, the Stupa with Baba Yaga is an art of technical progress, visions, miracles are the Hollywood illusion of life.

But thirty knights, led by their uncle, as a symbol of time, brings inevitable changes to this world. From this moment, the prince (in passing) captivates the formidable king who rules this kingdom of darkness; The sorcerer carries a hero, the spirit of Russia - this is the last minutes of witchcraft expiring, there is a battle for this world in front of the people (who does not see this because the battle is in the spirit, in the clouds).

In the meantime, the soul of the world is in a dungeon (princess, Russia) the GRAY WOLF (this is the essence of our "servants of the people") serves her. But Tsar Kashchei is already withering over gold, his time ends with gold. There the time has come, for the Holy Spirit of Russia ... It smells of Holy Russia ...! Namely, everything that happens in the world must be viewed through this code for distinguishing events and the course of the world movement will become clear to you.

These are mirrors that reflect events in the globalization of the world, they are taking place before our eyes, it would seem ... However, the outcome of this struggle passes through every human soul, including through those who are reading these lines now. Therefore, through this code of the Spirit, the person who wishes will be able to understand the meaning of certain events personally with him. Perhaps the research described in this work will help you “with hope, cheerful faith to go forward, not to be discouraged ...” May it be so!

Here are the images given by L.S.Pushkin in the poem, putting them together "in the Spirit", we get a holographic picture of what is happening with each of us, with the country - Russ, as well as with this world as a whole. Vladimir Krasno Solnyshko - Heavenly Father, Divine Providence. Lyudmila is the Soul of Mother Earth, the Russian people, the soul of the Russian person. Ruslan - the Spirit intended for Lyudmila from above, the Father; Messiah, Holy Spirit of Russia. Rogdai is the spirit of struggle, the power path of development, the path of human willfulness. Ratmir is the Spirit of Christianity, the earthly church, where the Shepherdess is the flock of the church, the spirit of man's fanatical faith in any religion. Farlaf - Spirit of materiality in the world of illusion, Judaism, Judaism. Finn - The spirit of the ancestors of the Slavs - Aryans, Rus, the spirit of Vedic knowledge about the universe, the prophet and forerunner of the coming of the Messiah - Ruslan. Naina - the Soul of a Jew who deviated into the occult world of influences, witchcraft, the soul of a Jew, the soul of Judaism. Karla is the king of this world, and his beard is the whole world of satisfying the endless desires of our souls, with all kinds of blessings. Araps are us, all who are slaves of material goods, helping to carry a beard to Karla. Desert fishermen - the Vedic priesthood of the ancestors of the Slavs - the Aryans. Head - Earthly mind, its willfulness, pride. A horse is a material shell, space suit, soul and spirit, i.e. the physical body of a person.

So, she was called ... Lyudmila. A divine creation, a soul destined from above for Ruslan, Russia as such. She is abducted by Karla into this world of illusions. All her desires are fulfilled by Karla, as soon as she wants or even thinks. But he quickly gets fed up with everything. Now her thought is only about Ruslana. The meeting with Chernomor scares her. The invisibility hat makes it hidden from the worldly eye. Despite this, the desire to show off in the mirrors (of course, now only high materials), to love Ruslan, remained. She yearns. So we, having created the image of a loved one (oh), think that we love the person himself. Then we find out that the image does not correspond to a real loved one; made a mistake and suffer in soul. This desire is fulfilled (reflected in his mirror) by Chernomor. Having turned into Ruslan, he deceives Lyudmila and achieves his goal (to possess). But the last disappointment put Lyudmila to sleep for this world and for Chernomor. Sleeping Lyudmila, wearing an invisible hat, is an image of a matured soul, ready to face the world of the Father. However, this meeting could take place when Ruslan fought with his head and received the Sword of Discrimination of Truth. It is the Discrimination that helps to defeat the dwarf, crush his world and knock the invisible hat off the sleeping Lyudmila. However, Lyudmila will wake up only with the Father, from the power of the beloved's ring as a symbol of the power of DIVINE LOVE.

The whole poem is written as a commandment about how the soul that ripens and then eradicates the illusions of this world steals away from this world. Then, in order to resurrect in the Father's world, meet and unite with Ruslan into one whole forever. RUSLAN - Rus Alan, Russian hero, crown of spirit development, light, Son of God. However, he faces trials before he finds Lyudmila. Without passing this path, he will not be able to meet her anywhere and never. His spirit goes through the phases of longing, despondency, hope, struggle, discrimination, falling asleep and death for this world, as well as the inevitable resurrection.

Symbols of heroes

Four heroes go after Lyudmila and only at the crossroads do they entrust their fate to horses. This is the transition from childhood to adolescence, when the body leads a person (people), until the spirit is strengthened by faith when it meets the ancestor-Finn. … After that, both the body and the spirit know what to do and with whom to fight for the soul of man (the world).

Rogdai (given by fate, i.e. inevitability) becomes his first opponent. This is a struggle with a warlike flesh, which believes that everything on earth can be conquered by force and will. Everything, probably, but except for the soul and spirit. Rogdai is driven by willpower and physical strength, hatred and envy. He is looking for Ruslan to kill. But Rogdai was defeated by himself. Ruslan remained defenseless and unarmed. Around the bones of Rogdaev from previous battles of other Ruslans. There he finds armor and a spear; this is the armor of love for Lyudmila and the spear of faith-hope. There will be enough of them to defeat the terrible mountain-head.

The mountain - pride, as a continuation of Rogdai's will, is huge because of thoughts, words, conceit, self-aggrandizement, language. It is the tongue that Ruslan pierces with a spear, and the head bleeds with words. Thus, pride is cut off with blood in a person, and in a nation. This is the symbol of St. George the Victorious, defeating the dragon (in the language). A blow to the cheek - overturns the head. The stumbling block has been rolled away! This is how Ruslan acquired the sword of divine discernment of Truth by the Spirit. This is the highest achievement of Ruslan's spirit - love and discernment. Ruslan's spirit blows the air at the moment when Chernomor caught Lyudmila with a trick. Karla leaves her sleepy and hurries to meet Ruslan. The first, sudden blow of Karl strikes Ruslan on the head (pride), as the most vulnerable point of a person (a self-confident ruler is the same head for a country). Without conquering the head (of his pride) with the spear of faith, Ruslan would have died. From that moment on, Ruslan's strength grows, and Chernomor weakens, he misses and falls into the snow and gets stuck there. The climate in Russia is difficult for sorcerers ... Then the battle continues “in the clouds, in front of the people,” Ruslan's test of patience and compromise with evil. It was the uncompromising struggle that allowed Ruslana to win and circumcise ... the beard (the material illusion of the endless desires of this world of pleasure and bliss). The "bliss" furnace - the Pechenegs, which Ruslan later fights with, these are the souls of the dead. They died in bliss or of bliss, but for whom there is no longer a way to the Father. Nega is a conscious refusal of souls from their divine destiny and withdrawal into the world of pleasure, i.e. self-will. Ruslan, (with the sword of discrimination) in the last days of the world, acts as the archangel Michael according to the Bible, he was given the right to punish the Pechenegs. At the same time, the resurrection of Ruslan and the righteous judgment of the Pechenegs are described as the Son of God, the Messiah.

Ratmir is the army of this world, the Christian army, fighting for peace in the soul. "Peace to you!" - said Christ to the apostles. Who is the world? Soul! But the spirit needs a fight against the evil of this world. Therefore, for the spirit, the voice of Christ sounds: "I did not bring you peace, but a sword!" This is what modern Christianity, especially Orthodoxy, lacks. Ratmir understood the same when the castle fenced off by a high wall with a maiden calling for shelter opened the gate in front of him. His soul received all the delights and peace and bliss. The 12 virgins loved him (an indication of the 12 apostles and love in Christ), but only one was given his love - the shepherd boy-Church of Christ. But what was left of the Spirit there? Ratmir worships Christ through a virgin, but he does not need the sword of the spirit that the Savior brought. So, A.S. Pushkin showed that Christianity honors the letter of the Covenant, and not the Spirit. Only Ruslan followed the sword of the Spirit. Namely, only Ruslan can be called the Son of God! And who is Ratmir now? He is a Shepherd (shepherd) with his flock (shepherdess). And this shepherd understands that he is in refuge for his spirit. He is afraid to look at the Soul-Lyudmila (Virgin Mary), through which a Christian must be saved according to the covenant of Christ. Ratmir's spirit preferred the soul that Chernomor gave him, creating an illusion of love and peace for his soul. And ... such peace in Ratmir's soul ... that he was worried, as if not to change his shepherdess, if he only looked at the sleeping Lyudmila. The Savior's commandment: “I am Love and Truth” is an empty sound for his soul! Here, such is she the host of this world - Ratmir! He became a resident of this material world, a worshiper. The path of the spirit, of the individual battle is completely lost. Love and friendship, for Ratmir, have origin "from this world" And Ruslan says goodbye to the concept of friendship even in spirit, then his path is to the Father only together with Lyudmila. The entire mission of Ruslan's spirit on earth for Lyudmila has been completed, and he descends "down the valley".

Farlaf - "not defeated by anyone at feasts, but a modest warrior among swords ...". This is the personification of the spirit of Judaism: cunning, betrayal, murder; as well as the personification of modern publicity and venality of politicians, artists, writers, etc. Who teaches him?

Naina is a Jew, a selfish soul who does not know love, a witch in this world! It turns out that Farlaf met his soul - Naina, when he lay in the mud, trembling with fear. Well, well, every spirit has a corresponding soul! It is hard for the Jews to live in Rassey ... But everything seems to be going well for them; they killed Ruslan, took away the sleeping Lyudmila, took revenge on Finn. Sadly…

However, each spirit has its own role, (with the knowledge of the Father). Farlaf, greedy for other people's souls, hoping to deceive the Father, delivers Lyudmila to him. He considers himself worthy of a beauty - a soul, but it is up to the Father to decide this question. Ruslan had to walk the path of the Son of God; in the spirit of dying, resurrecting and defeating many more enemies: giants, witches, Pechenegs at the gates of heavenly Kiev. Only after this will the resurrection of the soul-Lyudmila and a feast at the Heavenly Father come.

Natural Finn - all the wisdom of the ancestors - the Aryan-Slavic clan, (therefore - natural) The spirit of the ancestors hidden from the prince of this world and Naina, but a real storehouse of wisdom in this world. A spirit that has gone from pure love for a virgin (Finn the shepherd), through fratricide (Finn the Varangian) and gold acquisitions, as well as through occultism and Vedism, to the conduct of future events. The realization of these events can only be with the appearance of Ruslan, a descendant of Finn.

If you are Ruslan, you will inevitably have to meet with Finn, but if you are Farlaf, then you will go to Naina ... Finn gives Ruslan a cheerful VERA-HOPE. Merry, because the destined will certainly come true, everything is in the hands of the Father! Moreover, Finn advises Ruslan to break through the way to midnight, into the very darkness of this world (that is, here, where we are now). For each of us, brothers and sisters, this is our spiritual poverty, spiritual darkness. There is Ruslan's main battle!

Water metaphors

To bring living and dead water (information from ancestors) from places where the sorcerers cannot reach is also Finn. This is what revives the Spirit (who died at the hands of Farlaf) - living and dead water! That is why in our time so much information has appeared about the ancestors of the Slavs-Aryans - this is dead water for the Rassey. Members of the country will grow together after scattering! Living water will raise the Spirit of Russia to action! And our spirit comes to life when you re-read the poem and ... not there, in the poem, but here it smells of Russia! Experience, the history of the ancient clans of the Aryans of the Rus are dead water. Let the heroic bones grow together!

The Russian Spirit is the action of the Holy Spirit, which is living water. It is the action of the Holy Spirit, predicted by the ancestors, that will raise the Russian hero from his mortal sleep!

The poem "Ruslan and Lyudmila" is living water for the spirit of Ruslans who read these lines, because only they can read it to the end. Meeting with A.S. Pushkin is Ruslan's meeting with Finn and realizing his place and role in this world. This is the knowledge “what to do? And who is to blame? ”, The eternal question of Russians in spirit.

Good and evil forces

Could Finn become Ruslan? No. The last experience of the spirit of parting with earthly love for Naina showed that Finn is an ancestor, a pure spirit who prepared the way for Ruslan, like John the Baptist for Christ.

Karla Chernomor is the king of the "Black Pestilence" (black world) for the spirit, if he refuses the destined path. But for the soul, this is the Guardian, ready to fulfill all desires, if only the soul would become his forever. You haven't sold your soul yet? Chernomor is waiting for your proposals for earthly blessings and pleasures. This is Satan, he is the prince of this world, in the Christian view. Karla considers herself to be a god in this world. “This whole world was built by me; I am the strongest, cunning, intelligent, strong-willed. I'm here - everything! " - only that dwarf who has the magic beard of Chernomor can say this about himself. This is the beard of the world egoism of people who built this civilization and became proud: “I” did it! This happens to every person when we say to ourselves: “I did it!”, But later we have to be disappointed. This is the case with the nations, the Biblical Babylon is an example of this. Isn't this story about us? One people was, as a punishment for pride, scattered throughout the world. SCATTERED, from the SCATTERY country? From here began the history of the RAS and the peoples that the heavenly Father sowed?

So, Chernomor: kidnaps souls, hides and wants to appropriate everything for himself. That's Carla's civilization! What a nightmare, just awful! But ... and how else is it easier and easier for our souls to meet their egoism? And with the "ego" of this world? How else to find out who is behind this infinite “I”? If the soul was only in bliss and cared only about this, then only "Pechenegs" would come to the Father. He needs Sons and Daughters of God! This is the true role of Chernomor. His beard works while the araps (slaves) support it, pour oils of desires, aromas of passions, etc. And we, do not we participate in this, enjoying the benefits of the Chernomor civilization? And - voluntarily!

And Ruslan's struggle with Karla is long, because it's hard for a person to refuse bliss, and why? "We are already fine, but we'll see!" - the motto of our spirit? But when Ruslan cut off Carla's ... beard, it turned out to be just a small, dwarf, but which can no longer harm anyone. It turns out that he stole the invisibility cap, stole the sword, the beard grew from human egoism, i.e. he, like these instruments of Providence, only fulfilled a role convenient for him.

For everything is God, the ancestors tell us. Pushkin showed Karl that he is also a part of Providence, it is not for nothing that at the end of the poem he is present in the palace of Vladimir the Sun. For us, Chernomor is a part of our spirit, with which we will have to meet and fight. But before that, “with hope, by a cheerful faith,” let us overcome despondency, self-will and pride-head and do not come up with a comfortable refuge in illusions! Aren't such Karls often scaring us from TV screens? A.S. Pushkin precisely defined their place in the history of today and tomorrow, in the words:

“He brings the stars from the sky,
If it wants, the moon will tremble,
But against the time of the law
His science is not strong! "

The time of Chernomor ends in the world, but each Ruslan will now have to fight “one on one” with all the characters of this poem. As you move along this path, your spirit will be strengthened by the power "from above", the spirit of Truth and Love; until he himself becomes Truth-Love. It is destined!

This is the union "in the Father" of the soul and spirit of man, as the meaning of all existing life on earth. Only in this way can the son of man become the Son of God.

Conclusion of the poem

The poem ends with the predestined feast "in the tall mansion" at Vladimir Solntse. This world is for Ruslan and Lyudmila. Who are these Ruslan and Lyudmila? This is each of those who read and understand these lines, this is a people, a new race of people who will live on earth in a new time. Just Paradise. The world of Earth's illusions was overcome by the constricted ones, they united in the Father!

What's next? And then, brothers and sisters, it's up to us! For whoever was able to read to the end this rather superficial study of the Gospel of Finn, he is able to determine what role the Father assigned him in this life. He will again, in the Spirit, read AS Pushkin's POEM "RUSSIA SPIRIT AND PEOPLE (of this) WORLD" he himself will be able to answer many questions that remain outside these pages.

Our paths are individual for everyone, but the path of Rod is one. You can research many of the questions yourself. For example, we did not consider the role of the Horse, the role of Vladimir himself, the role of fate, fate; time; the history of the Scattering country, its future, near and distant, globalization and the distribution of forces in the world ... In fact, these "Vedas from Finn" provide answers to these and many other questions of life. This is the subject of careful research in Spirit and Truth. And all his poems and prose are waiting for a new look. Drink living water, the Father is waiting for your participation in the battle with the Pechenegs ...

At the end there are two more prophetic verses by A.S. Pushkin.
“Zeda sower sow his own seeds” Bible.
I went out early, before the star;
With a pure and innocent hand
Desert sower of freedom,
Into the enslaved reins
Threw a life-giving seed -
But I only lost time
Good thoughts and works ...
Graze, peaceful peoples!
You will not be awakened by a cry of honor.
Why do the flocks need the gifts of freedom?
They must be cut or sheared.
Their inheritance from generation to generation
A yoke with rattles and a whip.
1823 g.

I erected a monument to myself, not made by hands,
The folk path will not grow to it ...
No, all of me will not die, soul in the cherished lyre
My ashes will survive and decay will run away.
And I will be glorious, as long as in the sublunary world
At least one drinker will live!
1826 g.

RUSLAN AND LUDMILA
DEDICATION
For you, the soul of my queen,
Beauties, for you alone
Times of fables bygone,
In golden leisure hours,
Under the whisper of chatty old times,
With the right hand I wrote;
Accept my playful work!
No one demanding praise,
I am happy with the sweet hope,
That a virgin with a thrill of love
Looks, maybe furtively,
To my sinful songs.
By the side of the sea, a green oak;
Golden chain on tom oak:
And day and night the cat is a scientist
Everything goes round and round in chains;
Goes to the right - the song starts
To the left - he says a fairy tale.
There are miracles: there the devil wanders,
The mermaid sits on the branches;
There on unknown paths
Traces of unseen beasts;
The hut there, on chicken legs
Stands without windows, without doors;
…………………………….

A. F. VOEYKOV

Analysis of the poem "Ruslan and Lyudmila"
works. Alexandra Pushkin *1

The incident celebrated here is drawn from old Russian fairy tales. They are all, as far as is known, written in prose; our young poet did very well by writing this heroic poem in verse and chose to follow in the footsteps of Ariost and Wieland, and not Florian. Good judges, true connoisseurs of the graceful, do not approve of such works in prose. They still do not know how to call them; for a prose poem is a contradiction in words, a monstrous work in art; they also do not call them novels, for the majestic course and sublime language of the epic does not allow in this strange kind of composition neither the simplicity of the details, nor the description of common folk customs and ordinary passions, which are the merit of good novels. From all this it follows that the poem we are considering is, in all fairness, called poem 1 . It contains a description of a heroic deed, moves with supernatural springs, is divided into songs and written in fresh, bright colors.

However, the poem "Ruslan and Lyudmila" is not epic, not descriptive or didactic. What is she like? Bogatyrskaya: it describes the heroes Vladimirov, and its basis is drawn from old Russian fairy tales; magic, for there are wizards at work; comic, which is proved by the following numerous extracts from it:

And, pinching his mustache with impatience.

In feasts, not defeated by anyone,

But a humble warrior among swords.

Boyars, dozing off from honey,

With a bow, they went home.

And, it is important to move a little, Farlaf,

Puffing up, he drove after Ruslan.

Barely dancing over the saddle.

Then you tease a dashing runner.

My gray-haired deity

A strong passion burned for me.

Traitor! monster! oh shame!

But tremble, maiden thief!

But the timid rider upside down

Fell heavily into a muddy ditch.

Those who, loving the truth,

On a dark heart they read

Of course they know about themselves

What if a woman is sad

Through tears, furtively, somehow,

In spite of habit and reason,

Forget to look in the mirror

That is sad for her in earnest.

Arapov long row goes

......

And carefully on the pillows

Bears a gray beard;

And enters with importance behind her

A humpbacked dwarf out of the door;

His head is shaved

And covered with a sharp hat

The beard belonged.

Already he was approaching; then

The princess jumped out of bed,

Gray-haired Karl for a cap

With a quick hand I grabbed

Trembling raised her fist

And screeched in fear

That it deafened everyone like a thunderbolt.

Trembling, the poor man crumpled ...

Not that - you are joking with me -

I'll strangle you all with my beard.

Tickles the nostrils with a spear

And, grimacing, the head yawned,

She opened her eyes and sneezed ...

From the eyelashes, from the mustache,

A flock of owls flew off my eyebrows;

Echo sneezed ..........................

And on the cheek with a heavy mitten

It hits the head with a sweep.

I will forget your slap in the face.

Ferney's angry screamer is wrong.

And she - under the skirt of a hussar,

Just give her a mustache and spurs!

Karl jumped behind the saddle.

Now this kind of poetry is called romantic. The content of the poem: the great Russian prince Vladimir gave his daughter Lyudmila to Prince Ruslan, but the evil wizard Chernomor kidnapped her on the first night of the marriage. The brave Ruslan, aided by a beneficent wizard, a Finnish native, overcame countless obstacles, defeated three strong rivals, despite the terrible strength of the sorcerer Chernomor and the sorceress Naina, snatched her from the clutches of the monster and returned with her safely to Kiev to grief exhausted by loss and hope with daughter Vladimir.

Contents of the first song... Mighty Vladimir gave his younger daughter Lyudmila to the brave prince Ruslan and feasted in a high grill with his mighty sons and friends. The guests drank golden honey from heavy silver bowls and listened to the nightingale-Bayan: in sweet-voiced songs, accompanied by resounding gusli, he glorified the beauty of the bride and the glorious feats of the groom. Three unfortunate rivals of the Ruslanovs: gloomy Rogdai, voluptuous Khazar khan and timid Farlaf with a gloomy face were sitting at the marriage table: they all three adored the lovely Lyudmila. The merry feast was over; the boyars, drunk with honey, went home, and the bride was escorted to the wedding bed ... but suddenly, with a thunder and a whistle, the sorcerer Chernomor, dressed in a cloud, flew into the bridal chamber and carried away the young one. The Grand Duke, struck by the sad news, summons the knights to chase her in pursuit and in revenge on Ruslan for the fact that he did not know how to save his wife, promises to give her as a wife to the one who finds her and returns her to her parental arms. Ruslan, Rogdai, the Khazar prince and Farlaf saddle their horses, gallop, but the road divides and goes in four directions. "Let's break up!" they cried, and each rode on his own special path. Ruslan sees the cave and the light in it; he finds an elder there, who, having received him with favor, tells the knight that he has been waiting for him for a long time, announces to him that Lyudmila has been kidnapped by Chernomor, encourages him - and predicts that he, having overcome all obstacles, will unite with his beloved and return to Kiev. At night, Elder Finn tells the young hero of his strange adventures. But as soon as the dawn flashed, the grateful knight says goodbye to his master, who admonishes him with his blessings and exhorts him not to forget his advice.

Contents of the second song. After addressing the warriors, poets and lovers, the poet describes how the indomitable Rogdai, immersed in gloomy reverie, undertook a brutal intention to kill Ruslan, in order to more reliably take possession of his bride-wife. He turns the horse around and hurries to catch up with the happy opponent at full speed. At this time, the coward Farlaf was having dinner on the bank of the stream, but when he saw that someone was rushing to him on horseback, he threw his lunch, spear, helmet, jumped on his horse and galloped headlong like a hare, Rogdai followed him. Rushing to the ditch, Farlaf's zealous horse jumped over it, but his rider fell into the muddy ditch. The ferocious Rogdai, learning that he took this villain for Ruslan, laughed at himself. The witch Naina pulled Farlaf out of the mud, and Rogdai rode to certain death. He easily caught up with the sad Ruslan - the single combat began! - but the author, having roused our curiosity to the highest degree, leaves the heroes and with a wayward brush draws the flight of Chernomor with the abducted Lyudmila, who has lost her feelings and memory. He transferred her to his terrible castle, where the princess lay until morning, engulfed in grievous oblivion. Waking up, she stretches out her arms to her beloved husband, but embraces one air, calls him, but no one answers; looks around him - and sees that she is alone on the down pillows, surrounded by terrible silence. Here the author describes the magnificent palaces, attire, utensils in the castle of an evil wizard. Lyudmila got dressed, looked out the window - and sees snowy plains, icy mountains, bare forests. In tears of despair, she runs through the silver door and finds herself in the garden * 2, decorated like the garden of Armida 2.

Ax, nature does not comfort the lonely! she is sad, decides to jump into the water - and did not jump, starve herself to death - and eats. Night falls: the princess, burdened with grief and fatigue, falls asleep in the garden, an unknown force carries her into the bedroom; three former maid girls stripped her. She is awakened by the noise. Karla Chernomor solemnly enters her room. The princess got angry, threw herself at him, and the poor man, frightened by such courage, rushed to run, got entangled in the beard of the araps forcibly scared him away and carried away. Chernomor in a hurry left Lyudmila's hat of invisibility.

Here the poet regretfully leaves his Lyudmila and flies to the aid of his hero, whom he left in great danger: he describes the terrible single combat and Ruslan's victory over Rogdai.

Contents of the third song. After addressing his zoilus, our poet describes the annoyance of a bearded sorcerer yawning on the bed. Naina, an evil witch, flew in to console him, offered him her help and, turning like a black snake, flew away. Chernomor put on brocade clothes, spread himself with fragrances and decided to try his happiness once again. Alas! in vain he searches for Lyudmila: she is gone. The poet tells us that the playful beauty, finding Chernomorov's hat, decided to try it on in front of the mirror, and when, out of willfulness, she turned it over backwards, she disappeared into the mirror. Then she learned that it was an invisible hat, and hastened to use it to hide from the persecution of the ugly Karla. Meanwhile Ruslan, having finished the battle with Rogdai, ran into the old battlefield. Description of this field, the meditation of the knight. He remembered that in the last battle he had lost his spear, shield and helmet, and so chose them on the battlefield; but he could not find a sword on his hand.

It was getting dark; a month rises, and our knight, continuing on his way, sees in the distance a black hill; he is closer and notices that the hill is breathing. This is the head of Chernomorov's brother, guarding a magic sword, with which one could cut off the beard of Karle, and all the power of Karla was in his beard. He fought with a huge head, pushed it away and took the hero's sword. The head tells Ruslan about Chernomor's villainous act with her.

Contents of the fourth song... The poet thanks God for the fact that in our time there are no wizards, and, turning to his friends, advises them to beware of wizards of a different kind, who are incomparably more dangerous and whom you can recognize by their smile, lovely eyes and sweet voice. He asks the northern Orpheus for forgiveness for exposing his muse in lies: he leads Ratmir to the abode of the twelve awakened virgins. 3 One of them, with a captivating song, calls the young knight to his abode; the khan cannot resist. He is greeted with affection at the gate; two virgins lead his horse away; weapons are removed from him in the palaces; lead to a Russian bath, taken to a luxurious bedchamber; night adventure.

While Ruslan gallops north day and night, his bride under the invisible hat is safe from the attacks of Chernomor. The enraged sorcerer decided to catch her at all costs; he takes the form of a wounded Ruslan; he calls out to his dear friend - Lyudmila flies towards him like an arrow - and finds herself in the arms of the hated Karla. The villain lulls her to sleep with a magic dream and with a wrinkled hand caresses her younger charms ... Suddenly there was the sound of a horn, and the confused sorcerer, putting his hat on the girl, runs out without memory. The horn continues to trumpet louder and louder - and it flies to repel an unknown enemy.

Contents of the fifth song... Comparison of the sensitive and gentle Lyudmila with the gloomy, angry Delfira. It is Ruslan, flaming with revenge, calling the sorcerer to battle; he receives a sudden blow on the helmet, looks up and sees Chernomor with a huge mace flying above him. Ruslan covered himself with a shield, wanted to strike, but the enemy soared under the clouds - and, with the speed of lightning, again rushed at the prince; the agile knight dodged - and the sorcerer fell with all his might into a snowdrift and got stuck. Ruslan gets off the horse, grabs him by the beard; the sorcerer struggles to break free, rises into the air with the hero, who hangs on his beard and pinches the hair out of it. For two days the sorcerer carried Ruslan over the seas and forests; on the third he began to beg for mercy. The knight orders him to carry himself to Lyudmila; Chernomor obeys. As soon as they sank to the ground, the knight cuts off his beard, twines his gray hair around his helmet, puts him in a knapsack behind the saddle and runs to the magic castle. The Araps, seeing the beard of their master on the helmet of the young hero, respectfully let him go. But in vain Ruslan calls his Lyudmila, runs across all the rooms, looking for her in the garden, in the groves, in the gazebos. He finally loses patience, becomes enraged, begins to chop and smash with a sword everything that he comes across, and, waving them here and there, with an accidental blow knocks the invisible little thing off the princess. Then the power of charm disappeared - and Lyudmila opened, entangled in nets; but in vain he wakes her up: she sleeps as before. The desperate knight hears the voice of the beneficent Finn: the sorcerer orders him to go with the sleeping princess to Kiev and predicts that the princess will rise before the eyes of her parent from the enchanted dream.

And Ruslan, with Karla behind the saddle and with sleepy Lyudmila in her arms, went to the fatherland. He drives past the gigantic head of Chernomorov's brother and sees her accomplished fate; finds the young Khazar prince Ratmir, who, to please his shepherdess, renounced worldly fame and became a fisherman. Conversation between two knights and farewell. Ruslan's prophetic dream. The low villain Farlaf, choked by the witch Naina, runs into a sleeping Russian hero, treasonably kills him and, with precious booty in his arms, gallops to Kiev.

Contents of the sixth canto... The poet's address to his beloved. Ruslan lies dead in an open field; Chernomor, forgotten by the witch, sits behind a saddle in a knapsack. Farlaf, patronized by Naino, enters Kiev solemnly, tells Vladimir a fable invented by him about his liberation of the Russian princess from the devil. Lyudmila is deeply asleep, and Naina's power cannot wake her up. Beneficent Finn learns about the unfortunate fate that befell his beloved knight; in a hurry for alive water and dead, revives Ruslana.

Meanwhile, the Pechenegs are besieging Kiev; battle. The night is interrupted by bloodshed.

Together with the dawn, the enemy camp rose up with a noisy alarm; a wonderful warrior in radiant armor rushes between the Pechenegs, stabs, crushes, blows the horn: this is Ruslan! The Slavs, looking from the Kiev walls at the enemies fleeing in disorder, rushed from the city gates to the aid of their defender.

Kiev is celebrating a victory. Ruslan enters the grand ducal palaces and Lyudmila's silent tower, where she slept in a wonderful sleep. To his surprise, he finds the coward Farlaf there, who, avoiding the dangerous military glory, sat idly at the door and fell on his knees in front of Ruslan, repenting of his crime ... The knight flies to Lyudmila, touches her with a magic ring. The princess opens her eyes, recognizes Ruslan, Farlaf is forgiven, Karl, deprived of the power of sorcery, remained at court, and Vladimir locked himself in his happy family.

The miraculous and the characters of the forces of the supernatural... Suum cuique * 3. In poems, the miraculous is of four kinds. 1. Based on the reason of the Christian religion, when the overthrown spirits of malice rise up against the providence of the Almighty: we will find this kind of miraculous in Milton's "Paradise Lost", in Klopstock's "Messiada" 4. 2. When the gods of Greek and Roman mythology act: this polysyllabic, rich in fictional colossus of the miraculous was used by Homer and constitutes one of the greatest adornments of his poem, for which the drawing is above criticism. In Virgil's "Aeneid" the same supernatural forces; but this is not a brilliant part of this poem: the Roman epic poet lagged far behind his model. 3. The miraculous, in which the characters are wizards and sorceresses, good and evil: they appear with dignity and splendor in Tass' "Jerusalem Liberated", in Ariost's "Roland", in Wieland's "Oberon". 4. Deities are allegorical: they are nothing more than a rhetorical turn, a trope, a figure.

The author of "Ruslana and Lyudmila" was superbly prudent in choosing wonderful for his poem. He saw that the mythology of the Greeks would have been out of place in the Russian folk tale, that Voltaire himself, with all his immense mind, chilled "Henriada" with allegorical deities 5 - he saw and was wary of these errors. He, like Ariostus, Wieland and partly Tassa, chose the most decent miraculous for this kind of poems - good and evil wizards and sorceresses. This miraculous, based on sorcery, has been transferred to European poetry from Arab and Persian tales; it was born in the East.

In Pushkin's poem, there are: the beneficent wizard Finn, whose name, I don’t know why, the writer did not announce to us, the evil sorcerer Chernomor, the head of Chernomorov's brother and the evil sorceress Naina.

Their characters are well drawn and during the six songs they are constantly and evenly sustained. Finn the Elder It has

Clear view,

Calm gaze, gray-haired brada;

The lamp in front of him is burning;

He sits at an ancient book,

Reading it carefully.

He is everywhere Ruslan's guardian angel, encourages him, consoles, warns, helps him, convinces him that good will triumph over evil.

Ruslan! you have lost Lyudmila;

Your firm spirit is losing strength;

But evil will rush by a quick moment:

For a while, fate has comprehended you.

With hope, cheerful faith

Go to all - do not be discouraged!

Forward! with a sword and a bold chest

Make your way at midnight!

Saying goodbye to Ruslan for the first time,

Gray-haired sage to a young friend

Shouts in the trail: happy way!

Sorry! love your spouse,

Do not forget the old man's advice!

When Ruslan treacherously died at the hands of Farlaf, then

The Prophetic Finn,

The mighty lord of the spirits,

In your serene desert

I waited with a calm heart

So that the day of inevitable fate,

Long foreseen, rebelled.

The expectation of this beneficent wizard was in vain: he learns about the death of his pet and flies to look for medicine to the place where

In the silent wilderness of the combustible steppes,

Behind the distant chain of wild mountains,

Dwellings of winds, explosive storms,

Where and witches bold gaze

He is afraid to penetrate into the late hour,

The wonderful valley lurks;

And there are two keys in that valley:

One flows in a wave alive,

Murmuring merrily over the stones,

That pours dead water ...

The sorcerer draws both healing moisture, is transferred to the place where the murdered Ruslan swims in his blood, revives him and, in the joy of his heart, concludes his career in the poem with the following speech: µ

Fate has come true, oh my son!

Bliss awaits you;

A bloody feast is calling you;

Your formidable sword will strike with disaster;

A meek peace will descend on Kiev,

And there she will appear to you.

Take the cherished ring

Touch it to Lyudmila's brow,

And secret spells will disappear,

Enemies will be confused by your face

Peace will come, malice will perish.

Be both worthy of happiness!

Forgive me for a long time, my knight!

Give your hand ... there behind the door of the coffin -

Not before - we'll see you.

Chernomor, the evil wizard, the gray-haired amorous Karla, the murderer of his own brother, the kidnapper of Lyudmila, also has a disgusting appearance. Let's look at his solemn procession to the sad, lonely Lyudmila, kidnapped by ib from the palaces of a tender parent, from the arms of a dear husband.

There was a noise; illuminated

With an instant brilliance, the darkness of the night,

Instantly the door is open;

Silently, proudly speaking,

Glittering with naked sabers,

Arapov long row goes

In pairs, as decorously as possible,

And carefully on the pillows

Bears a gray beard;

And he enters with importance behind her,

Raising his neck majestically,

Humpback dwarf out of doors:

His head is shaved

And covered with a sharp hat

The beard belonged.

The fright of the old sorcerer is written with the playful, playful brush of Ariost:

Trembling, the poor man crumpled,

The frightened princess is paler;

Covering your ears quickly

I wanted to run, and in a beard

Tangled, fell and thrashed;

Gets up, fell; in such trouble

Arapov, a black swarm, hesitates;

Noise, push, run,

They grab the sorcerer by the arm,

And they are carrying them to unravel,

Leaving Lyudmila's hat.

As soon as dawn broke, the angry Karla decided to try his luck again. The character of the gray-haired lover, his troublesomeness, threats to slaves, vain searches are beautifully depicted at the moment when he does not find Lyudmila anywhere:

In hidden chagrin Chernomor,

Without a hat, in a morning robe,

Yawn angrily on the bed.

Around his brada gray

Slaves crowded in silence,

And tenderly a comb of bone

Combing her twists;

Meanwhile, for the benefit and beauty,

On an endless mustache

Oriental aromas flowed,

And sly curls curled ...

.......................................

Shining in brocade riza

Witch.................................

Having fun, I decided again

Carry a prisoner at the feet of the maiden

Mustache, humility and love.

The bearded dwarf is discharged,

Goes back to her chambers;

There is a long row of rooms:

There is no princess in them! He is far away, into the garden,

Into the laurel forest, to the trellis of the garden,

Along the lake, around the waterfall,

Under the bridges, into the gazebos ... no!

The princess is gone! disappeared and a trace!

Who will express his embarrassment,

And the roar and the thrill of frenzy?

With annoyance he did not see the day.

There was a wild groan from Karla:

“This way, slaves! run

Here! I hope for you!

Now find me Lyudmila!

Quicker! Do you hear? now!

Not that - you are joking with me -

I'll strangle you all with my beard! "

The insidious Sorcerer, seeing in vain all his searches and guessing that Lyudmila had disappeared under the cap of invisibility, finds in his black mind the means to force her to open herself; he takes on the image of Ruslan, wounded and exhausted.

Bored, poor princess

In the cool of the marble gazebo

Sitting quietly by the window

And through the swaying branches

I looked at the flowering meadow.

Suddenly he hears - they call: "Dear friend!"

And he sees the faithful Ruslan;

His features, gait, stature,

But he is pale, there is a fog in his eyes

And there is a living wound on the thigh -

Her heart trembled. "Ruslan,

Ruslan ... he is for sure! " - and an arrow

The captive flies to her husband,

In tears, trembling, he says:

"You're here! .. you're hurt! .. what's wrong with you?"

Already reached, hugged,

Oh God! the ghost disappears!

Princess in the nets; from her brow

The cap falls to the ground.

Cooling down, he hears a formidable cry:

"She is mine!" - and at the same moment

He sees the sorcerer before his eyes.

The battle of Chernomor with Ruslan demanded that the poet change his humorous tone to an important one for a while and hit the strings of his lyre louder. With his talent, flexible, varied, ready for anything, it is not surprising for him.

Who is the sorcerer

Summoned menacing to slaughter?

Who scared the sorcerer?

Ruslan! - he, with the revenge of the flame,

Reached the abode of the villain.

Already the knight stands under the mountain,

The calling horn howls like a storm

The impatient horse is boiling

And the snow is digging like a hoof.

Prince Karla is waiting. Suddenly he

On a strong, steel helmet

Struck by the invisible hand;

The blow fell like thunder;

Ruslan lifts a vague gaze,

And he sees - right above the head -

With a raised, terrible mace

Karla Chernomor flies.

Covering himself with a shield, he bent down,

He shook his sword and swung;

But he soared under the clouds;

For a moment he disappeared - and from above

The noise flies at the prince again.

The portrait of the insidious Karla is completed with a devil worthy of him. When Ruslan rode up with him to the head of his brother Chernomorov, who had been deprived of his life, then

The quivering dwarf behind the saddle

Didn't dare to breathe, didn't move

And with a warlock tongue

He prayed fervently to the demons.

We will not say a word here about the huge head of Chernomorov's brother, because we will talk about it in detail, considering episodes or introductory stories.

Sorceress character Nains, the evil persecutor Ruslana, is also sustained from the beginning to the end of the poem. An important error in the miraculous is that the author did not tell us the reasons forcing the wizard Finn to benefit the Russian knight and wait for him in the cave, and the sorceress Naina to hate and persecute him.

In the Iliad, Juno and Minerva seek the death of the Trojans because Parid gave an apple to Venus; Venus protects the Trojan because Aeneas, her son, and Parid, her favorite, are Trojans. In the Aeneid, Juno continues to persecute the family of Lamedont and wants to destroy the Aenean fleet because she wants to give the scepter of the universe to Carthage, and Zeus promised Venus to make the descendants of the Aeneas the owners of light. In Milton's paradise, Satan, out of envy, seeks to destroy Adam and Eve. In Wieland's poem, the fate of Oberon, the king of wizards, and his wife, the queen of sorceresses, is closely connected with the fate of the knight of the poem and his beloved. It would be desirable for us to know why Naina, rushing to Chernomor, tells him:

Secret rock connects

Now we are a common enmity;

You are in danger

Calls me to revenge.

I see that the danger threatens Chernomor and that a cloud is hanging over him, but I do not comprehend how and for what reason secret fate connects Naina with him with secret enmity, even less why Finn offended her honor, or, more correctly, her love rejected by him, calls her to revenge against Ruslan and what satisfaction she flatters to receive by destroying this knight. Is it the only thing that through this she will make trouble for the beneficent Finn? But in this case, it would be necessary, as it was said above, to state the reasons forcing this latter to take a strong, fatherly part in the fate of Ruslan.

From the miraculous and the characters of supernatural beings, let's move on to characters heroes, acting in the poem. And in this part, one of the most difficult, our young poet triumphs. Of course, in a small poem there are only six faces: Ruslan, Lyudmila, Vladimir, Rogdai, Ratmir and Farlaf; of course, it is easier to trim and sustain six characters than twenty; but it is more glorious for a poet to portray six characters well than fifty is bad. He was wary of an easy, but dry and cold way to introduce readers to his heroes, depicting their portraits and silhouettes, as Tacitus does in "History", Voltaire in the poem 6. He remembers that neither Homer nor Virgil drew them, and, in the footsteps of their great teachers, he knew how to put heroes in action, show their way of thinking in speeches, give each one a special, only decent physiognomy, which is revealed against his will in decisive moments. danger, misfortune, intense passion. Pushkin's heroes do not come out of nature, they act decently, exactly, they do not look like one another, but in accordance with their special character. Their characters are sustained from beginning to end.

The main character of the poem, Ruslan, generous, brave, sensitive, we will decide, faithful to his love, honor and virtue, but quick-tempered and impatient. He resembles Achilles 7. At a wedding feast

Weary with ardent passion,

Ruslan does not eat, does not drink;

Looks at a dear friend,

Sighs, gets angry, burns

And stings his mustache with impatience.

Going along with his three rivals to find the kidnapped Lyudmila,

Pulling a brass helmet over his eyebrows,

Leaving the bridle from powerful hands,

..........................................

Ruslan was killed in despondency;

The thought of the lost bride

He is tormented and dead.

In the cave of beneficent Finn, lying on a bed of soft moss in front of an extinguishing fire,

Seeks to be forgotten by sleep

Sighs, turns slowly ...

In vain! the knight finally:

“Something is not sleeping, my father!

What to do: I am sick in soul,

And sleep is not a dream, how sickening to live. "

Impatient, he counts every moment - and, as soon as the day appeared,

Comes out. I squeezed my feet

Ruslan of the rusty horse;

He recovered in the saddle, whistled;

...........................................

And gallops across an empty meadow.

The terrible Rogdai, having thought to kill Ruslan before freeing Lyudmila, catches up with him and challenges him to a mortal duel.

Ruslan flared up, shuddering with anger;

He recognizes this violent voice ...

A single combat begins - and the indomitable Rogdai, the horror of the strong, died at the hands of Ruslan. We shall have occasion to speak in more detail about this beautiful passage below.

The reflections of the Russian hero on the old battlefield are derived from his position; they show his lofty mindset, sensitivity of heart and an insatiable thirst for glory.

About the field! field! who are you

Dotted with dead bones?

Whose greyhound horse trampled you

In the last hour of the bloody battle?

Who fell on you with glory?

Whose heaven has heard prayers?

Why, field, are you silent

And overgrown with the grass of oblivion? ..

Times from eternal darkness

Perhaps there is no salvation for me either!

Perhaps on a mute hill

They will put a quiet coffin of the Ruslans,

And the strings are loud Bayans

They won't talk about him.

Angered by the huge head of Chernomorov's brother, which held him back on the way, in hot temper he slaps her in the face, but when he comes to his senses, he gives her life; courageously fights on the road with a hero, then with a witch, then with a giant, reaches the goal of his desires, defeats Chernomor and, not finding his wife anywhere, again loses patience, gets angry ...

Furious, terrible

The knight strives for the gardens;

Ludmila calls with a cry,

Tears off the cliffs from the hills,

He destroys everything, crushes everything with a sword -

Gazebos, groves fall

Trees, bridges dive in waves,

The steppe is exposed all around!

Far away hums repeat

And roar and crackle and noise and thunder;

Everywhere the sword rings and whistles,

The lovely land is devastated -

The mad knight is looking for a victim,

Swing to the right, to the left he

The desert air cuts ...

And suddenly ... an accidental blow

She knocks the invisible cap off the princess! Lyudmila found

And our knight dies down; with despondency and tears, he takes her in his arms and quietly goes to Kiev. Ruslan affectionately greets the monstrous head of Chernomorov's brother:

Hello head!

I'm here! your traitor is punished!

Look: here he is! the villain is our prisoner!

He gently converses with the young Ratmir, who has become a hermit, and, like God's thunder, falls on the careless camp of the Pechenegs; cuts, stabs, tramples with a heroic horse, frees the throne city, forgives the murderer of Farlaf, the kidnapper of Chernomor, awakens Lyudmila and with her falls into Vladimir's arms.

Vladimir, a pious, magnificent, powerful monarch, the sun of his subjects, the gentle father of his children, is depicted here exactly as the true story presents him to us:

In a crowd of powerful sons

With friends, in a high gridnitsa,

Vladimir the sun was feasting;

The youngest daughter he gave

For the brave prince Ruslan,

And honey from a heavy glass

He drank to their health.

........

But with a secret, sad tenderness

Grand Duke blessing

Grants a young couple.

Vladimir is informed about the kidnapping of his daughter's newlywed:

Struck suddenly by a terrible rumor,

Become angry with your son-in-law,

He convenes him and the court:

"Where, where is Lyudmila?" - asks

With a terrible fiery brow.

........................... “Children, friends!

I remember the past merits -

Oh, have mercy on the old man!

Tell me which one of you agrees

To chase my daughter?

Whose feat will not be in vain

To that - be tormented, cry, villain!

I could not save my wife! -

To that I will give her as a spouse

With the kingdom of my great-grandfathers.

Who will be called, children, friends? .. "

Farlaf, having killed Ruslan treacherously, brings Lyudmila, who was put to sleep by a magic dream, to Kiev; the people in joyful excitement crowd around the knight, run to their father to please him with the life-giving news of the return of the daughter, kidnapped by the wizard.

Dragging a burden in my soul of sorrow,

Vladimir-sun at that time

In his high mansion

He sat, languishing in the usual thought.

Boyars, knights around

Sat with a sullen gravity;

Suddenly he hears: in front of the porch

Excitement, screams, wonderful noise;

The door opened, in front of him

An unknown warrior appeared;

............................................

In a sad face, changing

The old prince gets up from his chair ...

A masterful brush describes the struggle between hope and fear in the soul of a tender parent. The young author, with the experience of an old artist, took advantage of Vladimir's position, knew how to make a tragic mute scene out of him, support and gradually increase his amusement until the very end. Old prince

Hurries with heavy steps

To your unfortunate daughter,

Fits; stepfather's hands

He wants to touch her;

But the dear maiden does not heed

And enchanted slumbers

In the hands of the killer - everyone is looking

On the prince in vague anticipation;

And the old man has a restless look

He stared at the knight in silence.

In these verses, our poet is not a storyteller, but a painter. He not only tells us about the incident, but depicts: we see him, we see the father, who, languishing for a long time in painful obscurity about his dear and unhappy daughter, suddenly receives joyful news about her; he is amazed at her. Here the mighty owner of Russia disappears, here is seen the child-loving, sorrowful father, who

Wearing heavy longing,

At the feet of Lyudmila with gray hair

Dropped with silent tears.

But Ruslan, with the mysterious power of the ring, woke up his daughter Vladimirova,

And the old man, in dumb joy

Sobbing, hugs the darlings.

Everything revived and flourished in the palaces of the Grand Duke of Kiev,

And, celebrating the end of disasters,

Vladimir in high gridnitsa

I wrote it down in my family.

Character Rogdaya depicted with the bold brush of Orlovsky, with the gloomy colors of Correggia 8:

Gloomy, silent - not a word,

Fearing an unknown fate

And tormented by vain jealousy,

He is all the more worried;

And often his gaze is terrible

Darkly directed at the prince.

After reading these verses, we are horrified to see before us one of those cold-blooded killer warriors who do not know how to forgive, for whom bloodshed is fun, and the tears of the unfortunate are food.

Rogdai the indomitable

Tormented by a deaf presentiment,

Leaving their companions,

Set off to a solitary land

And rode between the forest deserts,

Plunged into deep thought -

The evil spirit disturbed and confused

His yearning soul

And the gloomy knight whispered:

"I will kill! .. I will destroy all obstacles ...

Ruslan! .. you recognize me ...

Now the girl will cry ... "

And suddenly, turning the horse,

He gallops back at full speed.

The gloomy knight finally caught up with the hated rival.

Ruslan, immersed in deep thought,

Looked around: in a clean field

Raising a spear, flies with a whistle

A ferocious rider, and a thunderstorm

The prince rushed to meet him.

“Aha! caught up with you! wait! -

The daring rider shouts. -

Get ready, friend, I will slash to death;

Now lie down in the midst of these places;

Look for your brides there. "

Rogdai finished his role in the poem as he would have finished it in the world, that is, he died, preparing death for his neighbor.

For tracing the character of the woman-loving Khazar Khan Ratmira our poet took the pen of the voluptuous Guys.

Khazar prince in his mind

Already hugging Lyudmila,

Barely dancing over the saddle;

Young blood plays in him,

The eyes are full of fire and hope.

The pampered Ratmir was chasing Ruslan's wife. One evening he was looking for a lodging for the night, saw in the distance the black towers of an ancient castle and turned to him, wishing to better spend the night on a soft feather-bed, an unwelcome on the stale ground. He hears a lovely girlish voice beckoning him to rest; drives up to the gate, and a crowd of red girls surrounded him; they take his horse away, take off their weapons, lead him to the Russian bath:

The knight intoxicated with delight

I have already forgotten Lyudmila a prisoner

Recently lovely beauties;

Languishes with sweet desire;

His wandering gaze shines,

And full of passionate anticipation

He melts with his heart, he burns.

The Khazar prince is the same everywhere. Speaking of episodes, we leave it to ourselves to talk in more detail about the transformation of this hero into a hermit fisherman out of love for a rural beauty. Here we can only say that he is completely in his character.

Farlaf, arrogant screamer,

In feasts, not defeated by anyone,

But a modest warrior, among swords,

I would amuse readers with boasting and cowardice, if I were not a villain at heart, ready for any crime out of self-interest.

Looking over his shoulder haughtily

And it is important to move a little, Farlaf

Puffed up, I drove after Ruslan,

He says: “I will force

Got free, friends!

Well, will I meet the giant soon?

<Уж то-то крови будет течь,> *4

Already the victims of jealous love!

Have fun, my trusty sword!

Have fun, my zealous horse! "

Without haste to catch up with the kidnapper Lyudmila, Farlaf, after a long sweet sleep, dined to strengthen his spiritual strength,

Suddenly, he sees someone in the field

Like a storm rides on a horse;

And not wasting more time,

Farlaf, leaving his lunch,

Spear, chain mail, helmet, gloves,

Jumped into the saddle - and without looking back

His horse jumped over the moat, the rider fell, the frantic Rogdai caught up with him, but lowered his sword, recognizing Farlaf, and, not wanting to stain his hands in his vile blood, he went on to look for himself a worthy opponent †

And our Farlaf? I stayed in the ditch

Not daring to breathe; inwardly

He, lying down, thought: Am I alive?

Where has the evil rival gone?

Suddenly he hears right above him

“Stand up well done, everything is quiet in the field;

You will not meet anyone more;

I brought you a horse

Get up, obey me. "

The embarrassed knight inevitably

Crawling left a dirty ditch,

Timidly looking around the neighborhood,

He sighed and said, coming to life:

"Well, thank God! I am well!"

...........................................

...........................................

Our prudent hero

I went home immediately,

Sincerely forgetting about the glory

And even about the young princess;

And the slightest noise in the oak grove,

The flight of the titmouse, the murmur of the waters

He was thrown into heat and sweat.

And Farlaf hid for a long time in desert solitude, waited for Naina, a worthy patroness, and the hour of villainy came:

The sorceress came to him,

Prophetic: “Do you know me?

Follow me, saddle your horse! "

And the witch turned into a cat;

The horse is saddled, she set off

Gloomy paths of oak groves,

Farlaf follows her.

.............................................

A clearing opened before him;

..............................................

Ruslan sleeps at Lyudmila's feet

Traitor, emboldened by a witch,

To the hero's chest with a despicable hand

It pierces cold steel three times ...

And fearfully rushes into the distance

With its precious loot.

He is already in Kiev; citizens run after him to the court of the grand duke; but knowing Farlaf's cowardice, they do not want to believe that he would be able to deliver the princess from the strong hands of her captor; they question each other with incredulity:

“Lyudmila is here! Farlaf? Really? "

The feeling of the people is very true in such cases; it is rarely wrong! Upon the return of the true liberator of the Russian princess

Farlaf before him and before Lyudmila

At the feet of Ruslana announced

Its shame and dark villainy.

It remains for us to make out the character Lyudmila. She is cheerful, playful, faithful to her love; her soul is tender and strong, her heart is blameless. The only pity is that the author jokes inappropriately about her sensitivity; his duty is to instill in the reader respect for his heroine Ts is not Farlaf, the clown of the poem. It is completely indecent to shine with wit over a man killed by misfortune, but Lyudmila is unhappy. I assure the author that the reader is on the side of the suffering wife of Ruslanova, separated from everything that is precious to her in the world: from a kind husband, a gentle parent, a sweet fatherland. Bogdanovich acted differently in a similar case 9. Pushkin, describing the despair of Lyudmila, who saw herself in the grip of an evil sorcerer, showered her with ridicule because she did not dare to drown herself or starve herself to death:

Suddenly a beautiful gaze lit up;

She pressed her finger to her lips;

It seemed terrible intent

Born ... a terrible path was opened:

High bridge over the stream

Hangs in front of her on two rocks;

In the gloom heavy and deep

She comes up - and in tears

Looked at the noisy waters,

Hit, sobbing, in the chest,

I decided to drown in the waves -

However, she did not jump into the water.

...............................................

Far from the sweetheart, in captivity

Why should I live in the world Bole?

Oh you, whose disastrous passion

It torments and cherishes me

I am not afraid of the villain power:

Lyudmila knows how to die!

I don't need your tents

No boring songs, no feasts -

I won't eat, I won't listen

I will die among your gardens! " -

I thought - and began to eat.

A person who patiently knows how to endure life shows the strength of the soul, while a suicide is meanness and cowardice. The author himself later justified his heroine: she was freed from the abductor she hated, returned to her fatherland, parent and dear friend. Left to live, she was not thinking about herself alone, for if she had taken her own life, she would have made Ruslan and Vladimir eternally unhappy.

In general, although the poem "Ruslan and Lyudmila" without beginning(i.e., it does not contain expositions, invocations, the poet seems to fall from heaven to feast Vladimirov 10), transitions, as in Ariostus, too quick from tone to tone in some, though few, places; but move her alive, correct, not confused, tie without tricks, adventure from adventure unfolds easily, denouement simple, natural, satisfying. The episodes are entertaining, varied, well tied to the main action and are eagerly written, but one could advise the young author of an episodic story about the love of Finn and Naina, the conversations of this wizard (Canto 1) and an episode in which he tells us Ratmir's adventure in the castle, where

Not a secluded monastery,

But the timid nuns of the cathedral,

in the second edition, replace with something else, not so much low and coarse. He, without any doubt, will find in his rich and fiery imagination two introductory stories, which will give the poem its variety and gravity. The epic poet should not for a moment lose sight of his listeners, before whom he is obliged to behave politely and respectfully. The enlightened public is offended by street jokes. " The basis of the poem is taken from a simple folk tale", - they will tell me; I know it; but even among the common people there is its own decency, its own sense of the elegant. Speaking of the common people, I do not mean the crowd of drunkards, brawlers, idle sloths, but a respectable, working and industrial class of citizens of society. In my opinion, the most decent, most chaste and the best in content and syllable in the entire poem is the episode about the renunciation of the world of the luxurious Khazar Khan.

V syllable the young poet, who already now occupies a respectable place among our first-class native writers, is visible to the faithful hand, led by taste: there is nothing vague, indefinite, confused, difficultЌ Almost everywhere the accuracy of expressions, with the intelligibility of delivered; poems captivating with lightness, freshness, simplicity and sweetness; it seems that they were not worth any work, but by themselves rolled off the swan feather of our poet. He never resorts to strained, cold, rhetorical figures, these treasures of writers without talent, who, not finding the necessary heat in their souls to revive their dead works, inevitably resort to these unnatural decorations and brilliant trinkets.

It is known that descriptions and the details constitute the soul of a narrative poem, as well as paintings and images- the essence of lyric poetry. Painting contains several images; description there is a collection of paintings. Describing, our poet almost everywhere freely, easily and, if it is allowed to put it that way, frolicking, goes from terrible to tender, from important to humorous, from sad to funny, always knows how to be tempting, captivate, frighten, touch. We hope that in the second edition the author will correct a small number too fast and abrupt transitions. Let's listen to him himself; he describes the single combat between Ruslan and Rogdai. This is a sample terrible!

Take your quick pencil

Draw, Orlovsky, night and smash!

By the light of the quivering moon

The knights fought fiercely;

Their hearts are cramped by anger,

Spears have been thrown far away

The swords are already shattered

Chain mails are covered with blood,

The shields are shattering to pieces ...

They grappled on their horses;

Exploding black dust to the sky,

Under them the horses are fighting greyhounds;

Fighters, motionless entwined,

Squeezing each other, they remain

As if nailed to the saddle;

Their members are reduced by malice,

Embraced in silence, they stiffen,

Fast fire runs through my veins,

On the enemy's chest, the chest trembles -

And now they hesitate, weaken -

Someone to fall! .. Suddenly my knight,

With a boil, with an iron hand

From the rider's saddle rips off,

Rise, holds before itself

And throws it into the waves from the shore.

.............................................

.............................................

And it was heard that Rogdaya

Those waters Young mermaid

Percy took it cold

And, greedily kissing the knight,

She carried me to the bottom with laughter.

Throughout the passage, I only noticed two incorrect expressions, the first one: their hearts are cramped with anger; anger does not constrain, but expands the heart; other: riders off the saddle; word rider low and out of tone.

Having fought a fierce battle with Rogdai,

He drove through a dense forest,

A wide valley opened before him

In the blaze of the morning skies.

The knight trembles against his will:

He sees an old battlefield.

In the distance everything is empty; here and there

Bones turn yellow; over the hills

Quivers, armor are scattered;

Where is the harness, where is the rusty shield;

Here the sword lies in the bones of the hand;

Grass overgrown there a shaggy helmet,

And the old skull smolders in it;

There is a whole skeleton of a hero

With his knocked horse

Lies motionless; spears, arrows

Plunged into the damp earth,

And peaceful ivy wraps around them ...

Nothing of silent silence

This valley does not break,

And the sun from a clear height

Death Valley lights up.

Here the details of the majestically sad picture are depicted strongly, they are not sparingly calculated and not wasteful; the black veil of thoughtfulness is lightly thrown over objects that by themselves evoke sad memories or sad foreboding.

Here is a sample funny, playful:

But meanwhile no one is visible,

From the attacks of the sorcerer

We keep a magic hat,

What does my princess do

My lovely Lyudmila?

She, silent and sad,

One walks through the gardens

He thinks about a friend and sighs,

..............................................

..............................................

Slaves of a villain in love

And day and night not daring to sit,

Meanwhile, through the castle, through the gardens

They were looking for a charming captive

They rushed about, loudly called,

However, all for nothing. -

Lyudmila amused herself with them;

In magic groves sometimes

Without a hat, she suddenly appeared,

And she would click: “This way! here!"

And all rushed to her in a crowd;

But aside - suddenly invisible -

She with an inaudible foot

I ran away from the predatory hands.

Everywhere they noticed every hour

Her minute traces:

Those are golden fruits

They disappeared on the noisy branches,

Then drops of spring water

Falling into the crumpled meadow:

Then they probably knew in the castle

What does the princess drink or eat.

On the branches of cedar or birch

Hiding at night, she

I was looking for sleep for a minute. -

But she only shed tears

I called my spouse and peace,

I languished with sadness and yawning,

And rarely, rarely before dawn,

Leaning to the tree with his head,

Dozing in a thin doze.

The darkness barely ends the night,

Lyudmila walked to the waterfall

Wash with a cold stream.

Karla himself in the morning

Once I saw from the chambers,

As if under an invisible hand

The waterfall splashed and splashed.

With my usual longing

Until a new night, here and there,

She wandered through the gardens;

Often in the evening they heard

Often they raised in the groves

Or a wreath thrown by her,

Or scraps of a Persian shawl

Or a tear-stained handkerchief.

These poems in their own way are not inferior to those previously given by us: they are smooth and light, they quickly run one after the other, like the bright streams of a stream on a flowering meadow: the author's playful tone is noble without pomp and precise without dryness.

One more example! Let's move from pleasant items to terrible ones. Tass himself could not have described it better than that formidable morning when the Russian hero alone attacked an entire army of Pechenegs. Pushkin's poems boil and worry † like the confused camp of enemies, thundering like Ruslan's sword, striking everything that opposes him. Let's listen!

The morning shadow grew pale,

The wave was silvered in the stream,

A dubious day was born

In the foggy east.

Hills and forests are bright,

And the heavens were awakening.

Still in idle peace

The battle field was dozing;

Suddenly the dream was interrupted: the enemy camp

He rose up noisily with alarm;

Suddenly the cry of battle burst out;

The hearts of the people of Kiev were confused;

Run in discordant crowds

And they see: in the field between the enemies,

Shining in armor, as if on fire,

Wonderful warrior on horseback

It rushes like a thunderstorm, pricks, cuts,

In the roaring horn, flying, blowing ...

It was Ruslan. Like God's thunder

Our knight fell on the bastard;

He prowls with Karla behind the saddle

In the midst of a frightened camp.

Wherever the formidable sword enlightens,

Where an angry horse will not rush,

Everywhere the chapters fly off the shoulders,

And with a cry, the formation falls down on the formation.

In an instant, an abusive meadow

Covered with hills of bloody bodies,

Alive, crushed, headless,

Lots of spears, arrows, chain mail.

Horse squads of the Slavs

We rushed in the footsteps of the hero,

Fought ... perish, bastard!

The horror of the Pechenegs embraces;

Stormy Raid Pets

The scattered horses are called

They dare not resist anymore

And with a wild howl in a dusty field

They run from the Kiev swords

Doomed to sacrifice to hell.

In the whole passage, we noticed only the low word bastard and imprecise expression pets of stormy forays. Raid there is fast, non-stop traffic and no one supply nor bring up has no time.

Speeches constitute one of the important parts of a narrative poem; we would write out the whole poem if we wanted to write out all the good things; we will restrict ourselves to the meaning of places and pages to indicate the eloquent † powerful speeches that our poet made his heroes and heroine utter. Vladimir's speech (Canto 1, p. 14); beneficent Finn (ibid., p. 18); Ruslan, yearning for his Lyudmila (Song 2, p. 40); Lyudmila (Canto 2, p. 51); Naina (Canto 3, p. 63); the wizard Finn (Canto 5, p. 108), and so on. We admit that these speeches cannot be compared with Homer's; however, one must not forget that the Iliad is an epic poem, and Ruslan and Lyudmila is a romantic one. It was completely inappropriate to make her speak long, one hundred verses, speeches, when the whole poem consists of only six songs and is written in four-foot meter. With all this, it is pleasant for the national pride of the Russian to see that the heroes of Pushkin speak and act more than the Volterovs in "Henriad". Readers who do not want to believe this are asked to take a look at Laharpe's Course in Literature, Volume VIII. It reads: “Cette richesse d'invention qui produit l'intérêt, manque certainnement à la 'Henriade': les personnages agissent peu, et parlent encore moins. On a été surpris, avec raison, que l'auteur, né avec un génie si dramatique, en aie mis si peu dans son Poéme "* 5 11.

Comparisons, assimilations are new, striking, explain the thought, give it strength, enliven the dry description and are always brought to the point. In addition to the examples that the reader will find in the passages cited above, we present here a few Describing the shameful escape of Farlaf, pursued by the formidable Rogdai, the author says:

So the hare is hasty,

Pressing ears fearfully

Over bumps, by fields, through forests

It rushes in jumps from the dog.

It is wonderful to compare Chernomor with a predatory kite, as well as pacifying anger with ice melting in the valley at noon. The following is even better: Ratmir goes to the valley

And he sees - a castle on the rocks

Raises the jagged walls,

Towers at the corners turn black;

And the maiden is on the high wall,

Like a lonely swan in the sea,

Goes, the dawn is illuminated.

Ruslan, resurrected by a wizard, stands up

On a clear day

He looks with greedy eyes,

Like an ugly dream, like a shadow

The past flashes before him.

Pushkin, imitating Ariostus and Florian, made it a rule to begin each of the six songs of the poem with some appeal, or, more correctly, prologue. But these appeals are not entirely happy: he wanted to be funny in them, to shine with a sharpness of mind, and instead of that almost everywhere his sharpness is strained, flat. Examples will explain this better.

The second song begins with an appeal to rivals in the art of war: the author allows them to scold and fight as much as they like; then he speaks to rivals in the art of writing and also allows them to scold and concludes the word with an appeal to rivals in love, whom he persuades to live in harmony with each other. “Trust me,” he says to the latter, “if you are unhappy in love, then

You are left in consolation

War and muses and wine. "

The same can be said for rival warriors:

You are left in consolation

Love and muses and wine.

And again, you can repeat the same thing once again to the rival poets:

You are left in consolation

War, love, wine.

Where is the logic?

Appeal in the third canto to the zoilus, it does not have the intricacy with which the author wanted to spice it up, pretending to be simple-minded. To him, without joking, you can turn his verse:

Blush, unfortunate, God is with you!

Blush, forgetting due respect for readers.

The fourth canto begins with the common and a hundred times already said and retold thought that the magic of beauties is more dangerous than the magic of real sorcerers and that we must beware of blue eyes, a lovely smile њ a sweet voice.

V prologue in the fifth song we find a comparison of the ideal Lyudmila with some stern Delfira 12; but we do not understand how it happened that the smile and conversations of the Russian princess, by the poet's imagination settled in Kiev for the 8th centuries before this, give rise to a love dispute in him. We only see that here, too, he spoke (p. 101, p. 5) in a rhyme that cannot please educated readers 13. We advise you to put a reservation in front of such verses: if I may say so.

Introduction in the sixth canto where the poet does appeal to his beloved, clearly and well written.

Counts every moment, one should say: every moment.

Here under the mountain by broad

Wide crossed way.

We are speaking: winter path, summer path; but wide intersects road another dear, not by the way.

Trembling cold hand

He asks the mute gloom.

To question the dumb gloom - boldly to the point of incomprehensibility, and if this expression is allowed, then it will be possible to write: talking darkness, chattering darkness, chatterbox darkness, arguing darkness, darkness, making obscene questions and answering them without blushing, pitiful, pernicious darkness!

With terrible, fiery brow.

That is, with red, cherry forehead.

Old man, worn out by longing.

Jaded shows prolonged suffering, and Vladimir just received the news of his daughter's abduction in a minute.

From powerful hands, the bridle leaving.

Or simply leaving the bridle, or throwing the bridle out of powerful hands,

Our knight fell at the old man's feet.

I should have said: at the feet of the elder or at the feet of the old man.

Brightens peace in his eyes.

In Russian it says: the world brightens in his eyes.

Who are you in the desert brought in?

Brought in it is said only in a joking tone, but here it seems to be indecent.

How cute the color of privacy.

Desert color you can say but solitude encompasses an abstract concept and does not sprout flowers.

AND fatal flame.

Explain to me what kind of flame it is? Isn't he a brother wild flame?

I learned the power of spells.

In Russian it says: spell power,

To my shame I must confess that I do not comprehend what it is grave, grave voice. Is this the voice of some unknown musical instrument?

From horror screwing up my eyes.

Slavic word eyes high for common Russian verb screw up your eyes. It would be better for the author close your eyes.

With a sigh, the knight is grateful

Volumetric old sorcerer.

Under the word witch the concept of old age is implied; and the word old man in this verse is completely superfluous.

To whom fate is indispensable

A girl's heart is destined.

It should have said: "Believe me, who is destined for the heart of any girl, that in spite of the universe will be nice to her."

Spear, chain mail, helmet, gloves.

Completely, were there knightly gloves then? I remember not yet.

Everything morning is sweet dozing off.

Is this a typo? I should say: dozing off all morning.

Where is the bed of joy young?

What is the epithet m okay by the way joy? Is it not for the difference young joy from middle-aged joys, from joy old women?

Princess air fingers.

Explain to me; I do not understand.

All around are golden incense burners

Will lift fragrant steam.

Fragrant steam rises from the golden incense burners, this is understandable; but after reading: incense burners raise steam, I cannot imagine this action in any way.

Diamond flies fountains.

Is it not a sin to use the word in poetry the fountain when we have our own beautiful, expressive water cannon 14 .

Arapov long row goes

Pairwise, decorously as much as possible.

The words as much as possible here they are completely superfluous and, moreover, make the verse rough.

Until I knew Chernomor

With one loud rumor.

Correctly: by hearing, by one rumor.

I'll strangle you all with my beard.

Disgusting picture!

Towards the morning rays

Lyudmila left the bed.

The will is yours, but something is missing here.

But everyone is easy Yes too small.

Word Yes low.

And the prince handsome was not sluggish.

And the verse came out lethargic.

Having traveled around the head around,

Tickles nostrils dig in.

Teased scary language.

Threatened her in silence copy.

Peasant rhymes! 15

To the magnificent Russian bath.

That is, in Russian bath.

Already reached, hugged.

Word reached very high up here.

The sorcerer fell - yes there and sat down.

The expression is too low.

Before him arapov marvelous Roy.

It would be desirable to see this bee a swarm of arap; it is likely that it contains the most black honey.

Wild flame.

Soon we will be writing: hand-held flame, gentle, polite flame.

He scolded silently.

The desire to combine words that are not connected by their nature will make, perhaps, write: silent scream, roaring silence; here the young poet paid tribute to the Germanized taste of our time. He is happy that his own taste is faithful and that he rarely allows himself to be deceived! A hundredfold happy in comparison with those miserable poets who, directly from the primer, began to compose poetry and at whose grammar, syntax, and expressions are taken from Gottsched's "German Grammar" 16. The Russian language suffers terribly under their pen, sharpened in the manner of Schillerov.

Vlasami light in the ring.

Or threaded through the ring, or entwined in rings, v curls, v curls.

The winds are swaying, the black forest,

Overgrown on a high brow.

The picture is ugly!

Mouth trembling open,

Huge teeth cramped.

Either the mouth and teeth are open, or the lips are closed and the teeth are clenched.

That's all the addictive criticism found bad in the syllable. Let's conclude: the poem "Ruslan and Lyudmila" is a new, wonderful phenomenon in our literature. In it we find the perfection of the syllable, the correctness of the drawing, the amusement of episodes, a decent selection of the miraculous and the characters of supernatural beings that are consistent from beginning to end, the diversity and evenness in the characters of the acting heroes and the consistency of each of them in particular. Delightful pictures on the narrowest canvas, discerning taste, subtle, cheerful, sharp joke; but the most amazing thing is that the author of this poem is not even twenty-five years old!

Having finished our literary remarks, we regret to say about the abuse of such an excellent talent, and this is not a condemnation, but a precaution for the young author for the future. It is clear what I intend to talk about moral purpose, the main merit of any composition. In general, the whole poem has a moral goal and it has been achieved: villainy is punished, virtue triumphs; but, speaking of details, our young poet has the right to name his poems sinful.

He loves talk, express ambiguously, hint, if it is not allowed to say to him, and by the way and inappropriate to use epithets: naked, half-naked, in one shirt, he even has the hills are naked, and sabers are naked. He is incessantly languishing with some desires, voluptuous dreams, in his sleep and in reality he caresses the young charms of the virgins; tastes delight and so on. What an unjust notion our descendants will form for themselves if, from several crude pictures, placed between lovely pictures, they decide to judge the corruption of our taste in the 19th century!

Footnotes

* 1 The news of the sale of this poem is placed in 33 kN. "WITH<ына>O<течества>". Let's add that copies on vellum paper are sold for 10 rubles.

* 2 Two first-class Russian poets, Dmitriev and Bogdanovich, described magical gardens, one in the "Peculiar", the other in "Darling". It is curious and fun to see that our young poet knew how to pick ears and flowers in the field in which two great writers used to reap him:

Surprised Vetrana

Like the new Diana

Remained between the nymphs, full of at once,

They immediately grabbed her by the arms,

They rushed off and sat at a luxurious table,

What kinds have not been seen with us,

Of which each is almost like you ... sweet,

Hands clasped around the table

She sings arias cheerful and passionate,

Trying to please her hearing and heart,

Then, she barely conceived of getting up,

Suddenly the girls, the table was gone,

And the hall seemed to have never happened:

She has already become a bedroom!

Vetrana feels the pleasant languor of sleep,

Descends on fluff of roses in a woven niche;

And at the same moment the invisible bow began to sing,

As if Dietz himself was sitting behind the canopy;

The bow sang quieter, quieter, quieter from hour to hour,

And together, at last, he fell asleep with Vetrana.

The night passed quietly; nature has awakened,

Zephyr fluttered

And the sacrifice of fragrant flowers was burnt;

Merged with the sweet murmur of the brook

And with the noise of a frisky fountain,

He sang: "wake up, wake up, happy Vetrana!"

She woke up, and the sleeping garden is already,

A heavenly dwelling of joy and coolness!

Everywhere Vetrana gained miracles:

Wherever he just set foot, here the rose blossomed;

Here next to her are the lemons of the tree,

There is a myrtle bush, there is a gentle ant

From the sun's rays, it shines like velvet;

There the river flows through the golden sand;

There's a bright pond at the bottom

Golden fish flicker;

There the birds sing a hymn to nature and spring,

And the parrots are blue

The launches echo:

"Vetrana, saturate your eyes!"

And by noon, a new picture:

The garden has turned into a temple

Decorated on the sides

Pillars of ruby;

And with a vault made to the image of the clouds

Of different colors in the crystal.

And suddenly it sank from the vault

Round silver table on pink chains,

With the same food as yesterday,

And stopped in the air;

And under Vetrana I found myself

Throne with a velvet pillow,

To eat from him,

And the singing of which Amphion was proud,

Listen to those nymphs who served yesterday.

“Honestly, this is paradise! Well, if now, -

Vetrana thinks - he crept through this door ... "

And, without saying a word, she looked into the dressing table,

She stepped down from the throne and sighed!

What did she do then all that day,

To confess, to say and laziness,

And he does not know how, and it would be inappropriate;

And only I will announce that in the same ward,

Or in the temple, as you please,

There was also an evening table, decent only to the gods,

And that in the morning there was a day of new transformations

And new admiration;

And the next day, too ...

Dmitriev

What a darkness of miracles appeared to Darling!

Through a grove of myrtle and palm trees

Magnificent palaces presented themselves,

Shining among countless lights

And everywhere the roads are strewn with roses;

But roses appear pale before her,

And with a certain feeling they kiss her feet.

Porphyry gates from the face and from the sides,

Sapphire pillars, yacht balcony,

Golden domes and walls are emerald

A mere mortal should seem weird:

These things are not difficult for the gods alone.

This is the way opened, reader, note

For Darling, when from the darkest desert

She is in the form of a goddess flying up

Accidentally soared into a beautiful paradise.

Hoping for the gods, cheering for their sign,

She barely set foot once,

Run to meet her immediately

From the house there are forty nymphs in the same outfit;

They tried to guard her coming;

And the eldest of them, with a humble bow to her

On behalf of friends, in the most respectful tone

She said a proper welcome speech.

Forest dwellers, with their huge chorus

Then they sang twice

What words have you heard praise for her,

And cupids fly to her to serve with the whole cathedral.

The princess is affectionate to her every honor

I met everyone, sometimes with a sign, then with words.

Zephyrs, pushing their heads in close quarters,

They wanted to bring her to the house or bring her.

But Darling told them to be at ease here,

And she walked to the house, among various servants,

And Laughs and Utekh flying around.

.........................................................................

Meanwhile she passed the porch steps,

And was introduced into the vast canopy,

Open to all edges, through many doors,

Opened up in front of her

Nice view of the alleys

And groves and fields;

And more, then high balconies

Flora and Pomona discovered the kingdom there,

Cascades and ponds

And wonderful gardens.

Whence forty nymphs led her to the palaces,

Which only gods are comfortable to create,

And tamo Darling in the cool of the road

They brought me to the bathhouse ready for her.

Bogdanovich

Captivating limit!

More beautiful than the gardens of Armida

And those that he owned

King Solomon, or the prince of Taurida!

Luxuriously ripple, rustle

Magnificent Dubrovy;

Avenues of palm trees and a laurel forest,

And a number of fragrant myrtle,

And proud peaks of cedars,

And golden oranges

By the mirror of the waters are reflected;

Hills, groves and valleys

Springs are revived by fire;

May wind blows with coolness

Among the enchanted fields;

And the Chinese nightingale whistles

In the darkness of trembling branches;

Diamond fountains fly

With a cheerful noise to the clouds,

Under them idols shine,

And he thinks they are alive; Phidias himself,

Pet of Phoebus and Pallas,

Admiring them at last

Its charmed cutter

I would drop it out of my hands with annoyance.

Crushing on marble barriers,

Pearl arc of fire

Falls, waterfalls splash;

And streams in the shade of the forest

Slightly curl like a sleepy wave.

Shelter of peace and coolness,

Through eternal greenery here and there

Bright pavilions flicker;

Living branches everywhere

Blossom and breathe along the paths

Studded with diamond sand;

Playful and varied

The wonderful garden glitters with magic.

But inconsolable Lyudmila

He walks, walks and does not look:

Her light luxury has become hateful,

She is sad for the luxuriant appearance;

Where, without knowing herself, she wanders,

The magic garden goes around

Freedom to bitter tears

And erects gloomy gaze

To the unforgiving skies

* 3 To each his own ( lat.). - Ed.

* 4 A missing verse in the journal text is restored as an obvious misprint. - Ed.

* 5 This wealth of fiction, which is of interest, is undoubtedly absent from ‡ “Henriad”: the characters act little and speak even less. In honor, it is unexpected that an author born with such a dramatic genius used it so little in his poem ( fr.). - Ed.

FOOTNOTES>

Notes (edit)

A. F. VOEYKOV
Analysis of the poem "Ruslan and Lyudmila"
works. Alexandra Pushkin

CO. 1820. Ch. 64. f 34 (published on Aug. 21). S. 12-32; No. 35 (published on Aug 28). S. 66-83; No. 36 (published on 4 Sept.). S. 97-114; No. 37 (published on September 11). S. 145-155. Signature: V.

The author of the first critical analysis "Ruslana and Lyudmila" is Alexander Fedorovich Voeikov (1778 (or 1779) -1839), poet, translator, critic, publisher and journalist. A friend of V. A. Zhukovsky and A. I. Turgenev since the end of the 1790s. In the early stages of his literary career, Voeikov had a reputation as a freeman, a civic-minded poet and critic. His satire "House of the Mad" (mid-1810s; the text was supplemented and changed until 1838) and "Parnassian Address-Calendar" (1818-1820), written shortly after Voeikov joined Arzamas (in 1816) and reflecting the Arzamas literary "table of ranks". (Cm.: Lotman Yu.M. 1) AЌ S. Kaisarov and the literary and social struggle of his time. Tartu, 1958; 2) Voeikov's satire "House of the Mad". // Sci. app. Tartus. state un-that. 1973. Issue. 306. (Works on Russian and Slavic philology. XXI). S. 3-45).

In the years 1814-1820. Voeikov held the department of Russian literature at the University of Dorpat. In 1820 he moved to St. Petersburg, having received with the help of Zhukovsky and

Turgenev as a class inspector at the Artillery School. Since the middle of the same year, also with the support of friends, he became a co-editor of Grech on "Son of the Fatherland", where he led the section of criticism. However, the hopes of the Arzamas people that in his critical speeches Voeikov would follow their literary and aesthetic principles did not come true. Voeikov's defiantly arrogant tone exacerbated ideological differences. At first, Voeikov allowed himself an attack on DN Bludov, who reproached the new employee for editorial negligence. This influenced the attitude of the Arzamaz people towards Voeikov in the most negative way, and the analysis of Ruslan and Lyudmila that appeared soon after finally deprived the unfortunate critic of their support.

In his own literary works, Voeikov appears more as a follower of classicism than a supporter of the Arzamas people. In 1816-1817. he publishes translations of the descriptive poem by J ‡ Delisle "Gardens, or the Art of Decorating Countryside Views", "Eclog" and "Georgik" by Virgil, and publishes excerpts from his didactic poem "Art and Science". Voeikov's classicist orientations were also reflected in his attitude to Pushkin's poem.

Following the canonical form of analysis, Voeikov begins with an attempt to determine to which poetic direction the poem belongs. The path of Voeikov's reasoning, defined by B.V. Tomashevsky as "scholastic piitics" (Tomashevsky. Vol. 1. P. 306), leads the critic to the term "romanticism", which he perceives with condescending hostility. Retelling the content of the poem and analyzing the characters of the heroes, Voeikov basically adheres to a laudatory tone, occasionally, however, complaining about the author's "immodesty" and reproaching him for insufficient logical justification of the details. But moving on to the final part of the analysis - an analysis of the poetic language of Ruslan and Lyudmila, the critic no longer tries to hide his hostile attitude towards the poem. He is irritated by Pushkin's metaphors, "low" expressions that give the poem a "burlesque" character, etc. The edifying mockery of Voeikov's tone overshadows his previous praise. The analysis caused criticism not only by the inconsistency of the comments contained in it, but also by the defiant tone of the reviewer. Even those on whose support he had reason to count on could not refrain from reproaching Voeikov. So, I. I. Dmitriev, noting that "Voeikov's remarks are almost all fair" and repeating complaints about the fact that Pushkin forgets about morality and "often falls into a burgundy", was forced to note that "our journalists still do not learn criticize courteously ”and that Voeikov is no exception (Letter to P. A. Vyazemsky dated October 18, 1820 // Starina and novelty. St. Petersburg, 1898. Book. 2. P. 141). The attitude of I.I.Dmitriev to the poem requires a special analysis, since it was one of Voeikov's guidelines and Voeikov tried to rely on the authority of Dmitriev in further polemics.

Dmitriev, who followed the development of Pushkin's talent with keen interest, waited impatiently for the appearance of Ruslan and Lyudmila. On July 22, 1819, he wrote about Pushkin to A. I. Turgenev: “... I sincerely wish that, taking advantage of the freedom in rural solitude, I would add my poem, or at least add at least one song” (PC. 1903. Dec . P. 717). In a letter to Turgenev dated August 10 of the same year, he asks to send "at least a few verses from the poem" - "Batyushkov piqued my curiosity" ( Dmitriev I. I. Op. / Ed. A. Floridova. SPb., 1895. T. 2. S. 251), but his acquaintance with the poem occurs only when excerpts from it appear in print. For a very restrained response in a letter to Turgenev - “uncle<В. Л. Пушкин. - Ed.> admires, but I think because his nephew has not yet crushed him with these passages "(Ibid. p. 262) - there follows, apparently, a number of sharply critical oral responses. It is no coincidence that, informing Dmitriev about the publication of the poem, A. I. Turgenev addresses him with a restrained reproach: “I dare not send it to you, for, as I hear, you have condemned it by fragments almost to insignificance” (RA. 1867. Book 4 . Stb. 656). About unflattering responses

Dmitriev's poem is also evidenced by a letter to him from N. M. Karamzin dated June 7: “... you, in my opinion, do not give justice to talent or poem young Pushkin, comparing it with Osipov's Aeneid: it has liveliness, lightness, wit, taste; only there is no skillful arrangement of parts, no or little interest; everything has been sourced on a living thread ”(Letters from NM Karamzin to II Dmitriev. St. Petersburg 1866, p. 290). The analysis of Voeikov was accepted by Dmitriev with approval, but under the influence of Karamzin and the Arzamas people, he was forced to give up his positions somewhat. On September 19, Dmitriev wrote to AI Turgenev: “Who quarreled me with Voeikov, as if I was angry with him, that he praised young Pushkin? Not only did he not think about that, but also praised him that he knew how to present the best verses from his poem more successfully than the author himself. I did not criticize the previous samples, but only made you feel that, according to preliminary rumors, I was expecting something more. On the contrary, in the analysis of Voeikov I was pleased to see two or three passages that were truly piitical and in a large way. Pushkin was a poet even before the poem. Although I am disabled, I have not yet lost my instinct for the graceful. How can I want to humiliate his talent? " ( Dmitriev. I. I. Op. T. 2.P. 269). A. I. Turgenev in a letter to Vyazemsky dated October 6 notes that although Dmitriev praises Voeikov, he no longer blasphemes Pushkin (OA. T. 2. P. 82). On October 7, V.L. Pushkin informs Turgenev that Dmitriev, who has finally received his own copy of the poem, “praises and criticizes much in it” (Chronicle, p. 241). The same desire to find a compromise sounds in the already mentioned letter from Dmitriev to Vyazemsky on October 18: “What can you say about our“ Ruslan ”, about which you shouted so much? It seems to me that this is the little son of a handsome father and a wonderful mother (muse). I find in him a lot of brilliant poetry, lightness in storytelling: but it is a pity that he often falls into a burgundy, and even more a pity that he did not put in the epigraph a well-known verse with an easy change: "La mère en défendra la lecture a sa fille"<"Мать запретит читать ее своей дочери". Перефразировка стиха из комедии Пирона "Метромания". В оригинале: "Мать предпишет..." (fr.). - Ed.>. Without this precaution, his poem falls out of the hands of a good mother from the fourth page ”(Old and new. Book. 2. P. 141).

Metropolitan Yevgeny Bolkhovitinov, who, unlike Dmitriev, was not bound by the need to reckon with the opinion of the Arzamas people and who openly did not accept the "Eruslanovism", nevertheless responded even more sharply about Voeikov's analysis. The reason was not only that the metropolitan, a researcher of Russian church antiquity, a supporter of the archaic tradition in literature, considered the "newfangled" poem unworthy of criticism. Voeikov's own reviewing abilities aroused the metropolitan's doubts; “So, we can see Voeikov settled in St. Petersburg for a long time<...>... But I do not think that he would thoroughly evaluate all Russian magazines. This work is great in revising them. If only he did not appreciate him as much as Eruslan, for whom they are already reproaching him. He started his profession of reviewer badly ”(RA. 1889. T. 2. No. 7. P. 373, letter to V. G. Anastasevich dated October 11, 1820).

Most of the reproaches against the parsing were heard from the Arzamas camp. Vyazemsky wrote to AI Turgenev with indignation: “Who dries and anatomist of Pushkin? They pick a rose to prove its beauty, leaf by leaf. Two, three pages fresh - that's what a flower such as his poem demanded. It is ridiculous to wheeze from the pulpit for two beaten hours about the fluent impulse of a nightingale's voice "(OA. T. 2. P. 68, letter dated September 9, 1820). Turgenev himself spoke equally disapprovingly of "Analysis": "I already wrote to you about criticism of Pushkin and frankly told Voeikov that such remarks cannot move our literature" (Ibid., P. 72, letter to Vyazemsky dated 20 Sept. 1820). His brother, the Decembrist Nikolai Turgenev, spoke even more sharply about the analysis: “... vileness, stupidity, some kind of anger, some arrogance and even deafness, and even stupidity - that's what I found in this analysis. Apparently, in our literature, I thought, as in political opinions, good writers stand against the same barbarians against whom people who think well in civil and political opinions stand: fools and boors are everywhere on the one hand ”(Archive of the Turgenevs. Issue 5 . P. 239). VL Pushkin also expressed his dissatisfaction with Voeikov: "I know a new poem only from fragments, but it seems to me that they have much more taste than in all of Mr. Voeikov's poems" ( Pushkin V.L. Poetry. Prose. Letters. M., 1989. S. 269, letter to Vyazemsky from 23 Sept. 1820).

Pushkin took the criticism extremely painfully: “Who is this V., who praises my chastity, reproaches me for shamelessness, tells me: blush unhappy (which, by the way, is very impolite)<...>? I agree with the opinion of the unknown epigrammatist - his criticism is terribly difficult for me ”(XIII, 21). Pushkin is referring to Krylov's epigram, which appeared in "Son of the Fatherland" after "Analysis":

It is in vain to say that criticism is easy.

I have read criticism of "Ruslan and Lyudmila",

Even though I have enough strength

But for me it is terribly difficult.

Delvig's epigram was also placed there:

Even though you work on the poem for a long time,

You cannot add beauty to it and you cannot diminish it! -

Scolding, everyone thinks you are praising her;

Praising - scolding her.

(CO. 1820. No. 38. P. 233).

1 Voeikov contrasts the poem in prose by J. P. Florian "Eliezer and Neftali" (1787) "Furious Roland" (1516) by Ariosto and the magic knightly poem "Oberon" (1780) by KM Wieland. Voeikov's reasoning about prose poems (later considered an example of pedantic scholasticism) is based on normative poetics and on the literary practice of the 18th century. The argument about the possibility of a "poem" in prose was prefaced by MM Kheraskov "Cadmus and Harmony" and became the subject of discussion in Karamzin's review. - Cm.: Morozova N.P. A book from the Gogol library: On the use of the term "poem" in Russian literature // Results and problems of studying Russian literature in the 18th century. L., 1989 (XVIII century. Sat.16). S. 251-255. Voeikov contrasts the prose poem Eliezer and Neftali (1787) to Furious Roland (1516) by Ariosto and the magic knightly poem Oberon (1780) by KM Wieland. Voeikov's reasoning about prose poems (later considered an example of pedantic scholasticism) is based on normative poetics and on the literary practice of the 18th century. The argument about the possibility of a "poem" in prose was prefaced by MM Kheraskov "Cadmus and Harmony" and became the subject of discussion in Karamzin's review. - Cm.: Morozova N.P. A book from the Gogol library: On the use of the term "poem" in Russian literature // Results and problems of studying Russian literature of the 18th century. L., 1989 (XVIII century. Sat.16). S. 251-255.

2 Armida- the main heroine of T. Tasso's poem "Jerusalem Liberated" (1575), a sorceress in love with the hero of the poem Rinaldo, whom she keeps with her charms in a magic garden.

3 Northern Orpheus - V. A. Zhukovsky. In the fourth song of the poem, Pushkin parodied the plot of Zhukovsky's poem "The Twelve Sleeping Virgins" (1814-1817), which gave rise to numerous reproaches. This parody was neither an act of literary struggle, much less a demonstration of disrespect for Zhukovsky (see also: Tomashevsky. T. 1. P. 294). Pushkin nevertheless later regretted her: “... it was unforgivable (especially in my years) to parody, to please the mob, a virgin, poetic creation” (“Refutations to Critics”, 1830 - XI, 144-145).

4 Named the epic poem by J. Milton "Paradise Lost" (published in 1667), which tells about the indignation of angels against God and the fall of man, and the epic poem by F. G. Klopstock "The Messiada" (1748-1773).

5 "Henriada"(1728) - an epic poem by Voltaire, telling about the struggle of Henry of Navarre for the throne.

6 In his famous "History", Tacitus (55-120) gave a wide range of literary portraits of both major and minor figures of modern Rome. Speaking about Voltaire's poem, Voeikov means "Henriad".

7 Wed in from III canto I "Poetic Art" (1672) Boileau; “The hot-tempered, impetuous Achilles is dear to us, / He cries from insults - a useful detail ...” (Translated by E. L. Linetskaya).

8 The mood of A. Correggio's paintings does not in any way correspond to the epithet "gloomy" used by Voeikov. In a letter to Gnedich dated December 4, 1820, Pushkin ironically asked: “Who is this V., who<...>says that the characters of my poem are written gloomy colors of this gentle, sensitive Correggio and with the bold brush of Orlovsky, who does not take a brush in his hands, but draws only postal troikas and Kyrgyz horses? " (XIII, 21).

9 This refers to Bogdanovich's humorous fairy tale poem "Darling" (1778-1783), written on the plot of the myth of Cupid and Psyche, in which the poet sympathetically describes the misadventures of the heroine persecuted by Venus.

10 The introduction to the poem ("Lukomorye has a green oak ...") appeared only in the second edition of Ruslan and Lyudmila (1828).

11 See: Lycée, ou Cours de littérature ancienne et moderne. Par J. F. Laharpe. Paris an VII (1799). T. 8.P. 56

12 According to the testimony of S. A. Sobolevsky, under the name of Delfira, Pushkin portrayed Countess E. M. Ivelich, who conveyed rumors about his reprehensible behavior to the poet's mother (see: Bartenev P.I. Pushkin in Southern Russia // Bartenev P.I.On Pushkin. M., 1992.S. 132).

13 This is the verse: "A little windy ... so what?"

14 Voeikov CH “does not notice” the same “error” in Dmitriev's verses quoted by him (see p. 40 of the present ed.). About the "water cannon" Pushkin later sarcastically in a letter to his brother dated June 13, 1824: “On what basis did grandfather Shishkov begin his actions? Did he not ban "The Fountain of Bakhchisarai" out of respect for the shrine of the academic dictionary and the harshly composed word? water cannon?"(XIII, 98).

15 The essence of Voeikov's claims caused bewilderment. At first, they decided that he objected to the transition e v yo. AE Izmailov in Blagonamerennoye gave examples of Voeikov's own rhymes, in which such a transition occurs: “stronghold - roars” (see p. 74 of the present ed.). In response to the anti-criticism of A.A. Perovsky, M. Kaisarov clarifies the reason for Voeikov's displeasure: the transition e v e let's say, in his opinion, in the Russian, low, version: "spear" - "spear", because such a transition is characteristic of a low language. In high, Slavic, to which the form "copy" belongs, it is not acceptable, the word "copy" is a combination of incompatible (see p. 87 of the present ed., Also: Tomashevsky. T. 1. P. 308).

16 Voeikov is referring to the work of IK Gottshed "Deutsche Sprachkunst" (1748).