Analysis of the poem by M. Yu
Many??? This is very little
1. Author and title of the poem. 2. The history of the creation of the poem (when it was written, for what reason, to whom is it dedicated, literary direction). 3. Emotional coloring and genre: epigram (satirical portrait), epitaph (posthumous), elegy (sad poem, most often about love), ode, poem, ballad, novel in verse, song, sonnet... 4. General theme of the poem (landscape, socio-political , love, philosophical lyrics...). 5. Theme, idea of the poem. 6. Images of the poem (key image of the lyrical hero). 7. What artistic means the author’s main idea is revealed (select “key” words and examples that reveal the poet’s main idea, create “chains” keywords; analyze the artistic techniques used by the author): Tropes - words and phrases that are used in a figurative (figurative) meaning: 1. epithet - artistic definition; 2. comparison - comparison of objects and phenomena; 3. allegory - an allegorical depiction of an abstract concept/phenomenon through concrete images and objects; 4. irony - hidden mockery; 5. hyperbole - artistic exaggeration; 6. litotes - artistic understatement; 7. personification – inanimate objects endowed with human qualities; 8. metaphor - a hidden comparison built on the similarity/contrast of phenomena (conjunctions “as”, “as if”); 9. periphrasis - a descriptive expression used instead of this or that word, concept, image (the sun of Russian poetry = A.S. Pushkin); 10. Parallelism - homogeneous syntactic construction of sentences or parts thereof. Stylistic figures: 1. repetitions (refrain); 2. rhetorical question, appeal - increase the reader’s attention and do not require an answer; 3. antithesis (opposition); 4. gradation (for example: light - pale - barely noticeable); 5. inversion - unusual order words in a sentence with an obvious violation of syntactic structure; 6. silence - an unfinished, unexpectedly broken sentence in which the idea is not fully expressed; the reader thinks it out himself. Poetic phonetics: 1. alliteration - repetition of identical consonants; 2. assonance - repetition of vowels;
3. anaphora - unity of beginning, repetition of a word or group of words at the beginning of several phrases
or stanzas;
4. epiphora - repetition of the same words at the end of several phrases or stanzas.
The use of lexical means (synonyms, antonyms, homonyms, archaisms,
neologisms).
8. Poetic size:
A) two-syllable sizes:
"_ _ / "_ _ / "_ _ trochee;
_ _" / _ _" / _ _" /_ _" iambic;
B). three-syllable sizes:
"_ _ _ dactyl;
_ _" _ amphibrachium;
_ _ _" anapest.
_ _ pyrrhic (omission of stress in disyllabic meter)
IN). free verse (free or blank verse)
9. Rhyme:
aabb - steam room;
abab - cross;
abba - ring.
10. The image of the lyrical hero, the author’s “I”.
11. Color painting.
12. Your impressions of the poem.
This is what should be described
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Other materials on the works of Lermontov M.Yu.
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This Lermontov poem is familiar to you, but we will try to read it on a new, deeper level, as we re-read already in this academic year « Poor Lisa" Karamzin, "Woe from Wit" by Griboyedov, "Taras Bulbu" by Gogol, " Captain's daughter"Pushkin and other works of Russian classics and how we will repeat in depth "A Hero of Our Time."
When Lermontov created his “Sail”, he was seventeen years old, almost the same age as you are now. But that sharp system of oppositions, that clash of polar images that runs through the entire poem cannot be explained only by youthful maximalism; no, this was the artistic picture of the world, which was established in Lermontov’s work from the very beginning and then only deepened, maintaining an unchanged basis.
The lonely sail turns white
In the blue sea fog!..
What is he looking for in a distant land?
What did he throw in his native land?..
During an introductory, very cursory reading, we notice that the first two lines of this stanza give an objective picture and connect the poet’s intentions with tradition landscape lyrics. The main thing here is color; the whiteness of the sail and the blueness of the sea, likened to fog. Only the epithet “lonely” and an unexpected punctuation mark at the end of the period (exclamation plus an ellipsis) indicate emotional connection between the landscape and the lyrical hero, his emotional experience.
It would seem that while everything is built very simply, the image appears almost life-like. But then, after reading the next two lines, which convey the subjective state of the poet, we “retroactively” note an important circumstance that initially eludes our reader’s attention. The fact is that in the landscape description the same type of trope, a poetic figure of speech, is used twice: a sign of the whole is transferred to the part. We are told not about the ship and the sea, but specifically about the sail and the “fog of the sea.” The lyrical hero addresses the sail with questions that in everyday speech can only be attributed to the ship itself: “What is he looking for? What did you throw? The sail cannot “throw” or “search” for anything! Moreover, the compositional device of unity of command (anaphora), used in the third and fourth lines, emphasizes the contrast and fragmentation of the lyrical hero’s feelings, which are akin to the vague desire of a sail into the depths deep sea. It is not without reason that in the most “noticeable” place, in the position of the rhyme ending, the antonyms of “distant” - “native” are placed.
One of the secrets of this short poem lies in the fact that much of it is deceptive, illusory. Having re-read the first stanza again, thinking about its artistic meaning, we begin to doubt: what does the lyrical hero actually describe? Real sea and real ship? Or does he just record in bright images vague unrest of your soul? While we cannot give a final answer, for this we need to listen, look closely, and think about the artistic meaning of the following stanzas.
The waves are playing, the wind is whistling,
And the mast bends and creaks...
The first stanza (note!) ended with a double question, and the second, however, does not open with an answer at all! The fifth and sixth lines of the poem return the reader to the “picture”, to the description of the sea and the sail. The answer is offered only in the seventh and eighth lines:
Alas, he is not looking for happiness
And he’s not running out of happiness!
The same compositional technique is used again: the first two lines of the stanza refer us to the laws of landscape lyricism, the last two to the tradition of the lyrical monologue. But both the landscape and the monologue are now captured by a single lyrical element. The hero of the poem speaks so emotionally, so “sympathetically” about the desire of the sail that we are almost ready to make the final conclusion: this is not a sail “does not seek happiness / And does not run from happiness”; it is Lermontov’s hero who strives for something alarming, maybe even tragic, but majestic, full of real romantic energy, Byronic individualism. I just want to say: there is complete identity between the hero and the image of the sail, they merge indistinguishably.
Only one artistic circumstance holds us back from the final conclusion: it is not clear in this case why there was a need to separate them at all? Why didn’t Lermontov limit himself only to an allegorical landscape, through which an attentive reader could easily discern the movement of the poet’s own mental life? Or only a lyrical monologue, a direct confession of your lyrical hero? Why did he need such a complex game, why did he choose to balance on the dangerous edge of two different genres? To understand, let's read the last stanza:
Below him is a stream of lighter azure,
Above him is a golden ray of sun...
And he, the rebellious one, asks for a storm,
As if there is peace in the storms!
Again Lermontov resorts to the technique of unity of command, anaphora, to emphasize: until now, all the images of the poem were lined up “horizontally”, now they are spread out “vertically”, from the depths of the sea to the heights of heaven. We see a light stream under a whitening “sail”, and sunbeam over it; the rebellious rush of the sail towards the storm immediately takes on a universal scale. However, something fundamentally new is emerging. Lermontov's lyrical hero still sympathizes with the sail and its impulse, but still somewhat separates himself from those romantic experiences that the sail personifies, looking at all sides from the outside. There is a hint of bitterness in the last two lines of the poem; the poet's lyrical hero simultaneously shares the individualistic protest and recognizes its doom. The final exclamation point (“As if there is peace in the storm!”) conveys not a feeling of delight, but real drama.
And here it’s time to compare Lermontov’s poem with one of Pushkin’s lyrical masterpieces, the poem “It’s time, my friend, it’s time: the heart asks for peace...”:
...There is no happiness in the world, but there is peace and will.
I have long dreamed of an enviable share -
Long ago, a tired slave, I planned to escape
To the distant monastery of labors and pure neg...
Lermontov's "Sail" and Pushkin's poem clearly resonate with each other; motives of happiness, anxiety, peace are at the center of both works. But the poets coincide only in one thing: in relation to the familiar world, from which they both “flee”. In all other respects they are different to the extreme. The sophisticated, even tired intonation of Pushkin’s poem is so unlike the energetic, for all its dramatic, intonation of Lermontov’s work. Pushkin's lyrical hero refuses to rebel against a reality that he does not accept; he wants to retire from her to the realm of solitude, to the realm of peace of mind, to the confines of the family (it is not for nothing that the poem is addressed to his wife). Lermontov's lyrical hero, on the contrary, rebels against the excessive peace of reality, even if it is beautiful, full of golden light. He rushes forward - without a goal, for the sake of the impulse itself, although he himself understands the doom of such an impulse.
It is easy to assume that Lermontov consciously looked back at the experience of his great predecessor and had a poetic debate with him. Moreover, we know for certain: Lermontov in “Sail” echoed the poems of his contemporary poets; the very first line, “The lonely sail turns white,” was completely borrowed from the famous romantic of the 1820s-1830s A. Bestuzhev-Marlinsky. We have already said that there is nothing strange in such “borrowings”, that Russian lyricists felt like participants in a large, never-ending poetic conversation. But Pushkin’s poem is usually dated to 1834; It was published even later. So, when creating his “Sail” in 1832, the seventeen-year-old poet could not argue with the picture of the world depicted by his predecessor. (As, for example, Pavel Katenin poetically argued with Zhukovsky’s ballads.) Moreover, Pushkin could not argue with Lermontov; he did not even have time to learn about the existence of a new great poet. It’s just that both of them almost simultaneously turned to the then traditional poetic opposition of storm to peace. And they offered unexpected artistic solutions, which were suggested to each of them by his unique sense of life.
"Sail" Mikhail Lermontov
The lonely sail turns white
In the blue sea fog!..
What is he looking for in a distant land?
What did he throw in his native land?..The waves are playing, the wind is whistling,
And the mast bends and creaks...
Alas! he is not looking for happiness
And he’s not running out of happiness!Below him is a stream of lighter azure,
Above him is a golden ray of sun...
And he, the rebellious one, asks for a storm,
As if there is peace in the storms!
Analysis of Lermontov's poem "Sail"
The poet Mikhail Lermontov, despite his harsh and quarrelsome character, was an incorrigible romantic at heart. That is why in his creative heritage there are quite a lot of works of a lyrical nature. One of them is famous poem“Sail,” written in 1832, when Lermontov was barely 17 years old. This work is in to the fullest reflects the mental turmoil of a young poet who found himself at a crossroads in life. In the spring of 1832, after a verbal altercation during a rhetoric exam, he refused to continue his studies at Moscow University, abandoning his dreams of becoming a philologist. His future fate and career were in question, and, in the end, Lermontov, under pressure from his grandmother, entered the School of Guards Ensigns and Cavalry Junkers. The prospect of becoming a military man, on the one hand, did not greatly inspire the young poet. But at the same time, he dreamed of the exploits that befell his ancestors, although he understood that in best case scenario fate will take him to the Caucasus, where military operations were taking place at that time.
On the eve of entering the cadet school, Lermontov wrote the poem “Sail”, which fully reflects his mood and not the most joyful thoughts. If we discard the background and do not take the facts into account, then this work can rightfully be considered one of the most romantic and sublime poems of the poet. However, this is far from the case, because the author did not set himself the task of creating an example of landscape poetry. In this poem, he identifies himself with a sail that whitens alone “in the fog of the blue sea,” thereby emphasizing that, perhaps for the first time in his life, he was faced with the need to make an important decision.
“What is he looking for in a distant country?” the poet asks himself, as if sensing that from now on his life will be full of wanderings. And at the same time, the author mentally looks back, realizing “what he abandoned in his native land.” The poet does not consider leaving the university a serious loss for himself, since he sees no point in continuing his studies and doing science. Lermontov is much more worried about the fact that he will have to leave his beloved Moscow and the only person truly close to him - his grandmother Elizaveta Alekseevna Arsenyeva, who replaced both his father and mother.
However, the poet understands that this separation is inevitable, since he is destined for his own life path, which, as Lermontov suggests, will not be simple at all. The author expresses this idea in the poem using a surprisingly beautiful metaphor, noting that “the wind whistles, and the mast bends and creaks.” At the same time, the poet notes with bitterness that in his upcoming wanderings “he is not looking for happiness, and is not running from happiness.”
However, before the poet’s life changes radically, several more years will pass, which will seem unbearably boring to Lermontov. Having decided in favor of a military career, he rushes into battle and dreams of glory. That is why the idyllic picture of the seascape, so reminiscent of the life of Lermontov the cadet, does not appeal to him at all. And, answering the question of what he wants in life, the poet notes that “he, rebellious, asks for the storm, as if there is peace in the storm,” again personifying himself with a lonely sail.
Thus, this poem is Lermontov’s philosophical reflection on his own future. Subsequently, it was the thirst for achievement that pushed him to risky and rash actions. However, fate decreed otherwise: Lermontov did not become a great commander, but went down in history as a brilliant Russian poet and writer, whose works, almost two centuries later, still evoke sincere admiration.
Before us is amazing in its imagery and
expressiveness of a poem that can be
epigraph to all Lermontov's lyrics.
N.M. Shansky.
Sail
The lonely sail is white
In the blue sea fog!..
What is he looking for in a distant land?
What did he throw in his native land?..The waves are playing, the wind is whistling,
And the mast bends and creaks...
Alas, he is not looking for happiness,
And he’s not running out of happiness!Below him is a stream of lighter azure,
Above him is a golden ray of sun...
And he, the rebellious one, asks for a storm,
As if there is peace in the storm!
The poem “Sail” was written by M.Yu. Lermontov in 1832. These twelve lines are well known to every cultured person. They are learned by heart in childhood, loved all their lives and not forgotten until old age. The poem has long been included in the treasury of the great art of words as one of the most brilliant lyrical works.
“Sail” is a poetic reflection of the actual feelings and thoughts of eighteen-year-old Lermontov; nothing in it was invented, everything was born out of the need to express oneself state of mind at the moment of a sharp turn in his so short and so bright life.
Let's remember when and how the poem was written. Forced to leave Moscow University, Lermontov moved to St. Petersburg to continue his studies. However, he did not have to study at the capital's university. Thinking what to do, he wanders in confusion around St. Petersburg and its environs. During these walks, the poet often finds himself near the Gulf of Finland. This is where the poet wrote “Sail”. He reported this in a letter to M.A. Lopukhina.
The poem consists of three quatrains, and in its semantic essence it consists of six interspersed couplets: every two first lines of the stanza contain a description objective reality(sea and sails), each last two are the poet’s reflections on this matter. The poetic outline of “Sails” is the image of “sea - life”.
Lermontov uses the traditional poetic image of the sea to denote life, which symbolizes the various vicissitudes of life (its disasters, changes, unrest), and the sail is a symbol of a person abandoned in the sea of \u200b\u200blife.
The stanzas that form “Sail” are composed of couplets that are antithetical in their landscape and psychological purpose. The main characters of the work are contrasted with each other (the sail, the poet, on the one hand, and the real, everyday sea, on the other).
To enhance artistic expression, Lermontov uses all types of repetitions, anaphora, and synonymy.
A special role in the poem belongs to verbs, that part of speech, the main meaning of which is the expression of dynamics and variability.
1st quatrain: sail - turns white, searches, threw
2nd quatrain: sail – “ the mast bends and creaks"
3rd quatrain: sail - “ asks for a storm"
In the 1st and 3rd quatrains of verbs, i.e. there is no dynamics, movement, or nature in the paintings. Peace reigns everywhere. What about the sail? On the contrary, it is permeated with a desire for rest and movement.
2nd stanza. Nature and the sea come to life. And the sail is also full of dynamics. Voltages. The confrontation consumes him entirely. And it is at this moment that the hero “does not seek happiness and does not run from happiness.”
Lermontov's artistic innovation in the organization of verbal and figurative material leads to the creation of a lyrical masterpiece, in which the poet accurately and simply expressed his feelings at one of the decisive moments of his life. Rebellious Lermontov does not wait for the storm life difficulties, but asks for them, because, in his opinion, it is in them that his peace lies, that is, contentment, prosperity and happiness.
Adjective rebellious in Lermontov - restless, anxious, restless. The word "rebellious" is related to the word "storm", which was also influenced by the era. Therefore, the poem “Sail”, having reached readers, was perceived more widely and freely in society, and in it they found both a denial of the reality surrounding the poet and revolutionary impulses.
Pay attention to the syntax of the poem. Parus is characterized by parallel structures:
or mirrored ones:
does not seek happiness - does not run from happiness.
The syntax of the two is interesting last lines each quatrain:
What is he looking for in a distant land?
What did he do in a foreign country?
But instead of answering the first question, in the next line the reader finds a new question, which also remains unanswered.
When reading the poem, the presence of ellipses immediately catches the eye. These ellipses are intended to separate each of the three quatrains with a pause. The pause, which is graphically indicated by an ellipsis, carries a deep meaning. The landscape, quite real, cannot merge with the lines drawing psychological state hero. There is a pause between them - an ellipsis. It is precisely this placement of punctuation that helps the reader understand the poem as deeply psychological and not classify it as landscape lyric poetry.
The poem reflects the personal experiences of the young man. Shortly before this, he left Moscow University, abandoning his dream of becoming a philologist. At the insistence of his beloved grandmother, Lermontov moved to St. Petersburg, intending to enter the cadet school. Before entering, the young man thought a lot about his past and possible future fate– these thoughts and feelings formed the basis of the work.
Along with the motif of loneliness, Lermontov raises in “Sail” a theme that invariably interests him - the problem of the purpose and meaning of human existence.
To depict the changing picture of the seascape, the poet uses onomatopoeia: in the first stanza, with the help of the predominance of the sounds “l”, “n”, “m”, “r”, the effect of measured swaying of the waves during calm is created; changes in the sea (the sound of waves and the whistle of the wind) are conveyed by the prevalence of the sounds “s”, “t”, “sch”, “ch”. In the poem, the poet himself, his soul, is visible in the image of a sail. " “Sail” is Lermontov’s poem about himself, because a real Poet always remains “lonely” and “rebellious”, and his freedom-loving soul, full of anxious restlessness, thirsts for eternal searches, thirsts for a storm. The poetic meter is iambic, cross rhyme. The key phrase is “Alas! he is not looking for happiness and is not running from happiness!” The poem "Sail" was created in
days of Lermontov's turning point. Main idea
is concluded in the lines “Alas! he is not looking for happiness And he is not running from happiness!”, that is, he goes there not of his own free will, not for happiness, not for happiness, but out of need
In “Sail,” the author’s “I” is hidden, but it is easy to guess behind the pronoun “he”: unlike the word “sail,” which is used only in the first line, it appears six times in the text.
In the first stanza The images of the sail and the lyrical hero are united by the word “loneliness.” The hero's loneliness is caused by disappointment in life, the bitterness of some losses; he asks a painful question: how to achieve inner harmony.
In the second stanza the hero seeks salvation from loneliness in the fight against the elements, but, “alas,” meeting the storm does not bring happiness - happiness cannot be found from the outside, it lies within a person.
In the third stanza contrary to the peaceful, harmonious picture of the world, the hero strives to find peace of mind in the renewal of life, in a cleansing storm.
