There were many of us on the boat; Others strained the sail, Others amicably rested In the depths of the powerful oars. In silence, bend down on the helm, our clever feeder In silence, a heavy boat rules; And I - full of careless faith - I sang to the swimmers ... Suddenly the bosom of the waves Crushed the noisy whirlwind on the fly ... Both the feeder and the swimmer died! - Only I, the mysterious singer, Was thrown onto the shore by a thunderstorm, I sing the old hymns And my wet robe Land in the sun under a rock.
The verse "Arion" was written on the third day after the anniversary of the execution of the Decembrists.
Pushkin based the poem on the well-known ancient myth of the ancient Greek poet and singer, who possessed such a high art of singing and playing the lyre that when, fleeing from shipbuilders who encroached on his life, he threw himself into the sea, a dolphin swam up and took him on his back and carried him out. unharmed to the shore.
Pushkin decisively changed the situation of the ancient legend. Pushkin's singer on the boat is surrounded by friends, not by hostile sailors.
The heroes of the poem are swimmers who went on a journey. Everyone on the ship has his own job: “some strained the sail, others amicably pushed deep into the powerful oars ...” The shipbuilders amicably overcome obstacles, they are led by the “smart helmsman”, and the hero, “full of careless faith”, sings to them, confident that his talent, his songs help swimmers in their hard work. The lyrical hero, gullible, open, free, of course, is very close to the author. Pushkin also "sang, full of careless faith", not knowing about the impending uprising, about the plans of its leaders, not knowing what kind of "voyage" his friends were preparing.
The central event of the poem is the “noisy whirlwind”, which wrecked the ship, claiming the lives of both the feeder and the swimmers. This is a metaphorical image of the Decembrist uprising, its defeat. For Pushkin, the events of 1825 were a tragedy, a storm, a shipwreck. Just like the poet, Arion escaped death in a storm, he was "thrown ashore by a thunderstorm." But this accident did not break the hero, did not force him to renounce his friends. “I sing the old hymns” - these words contain both loyalty to the Decembrists, and loyalty to their convictions, faith in justice.
On December 7, a concert of the Bard Song Club of the Institute of Childhood was held in the Corps of Humanitarian Faculties. The club has existed for a year, and for its first anniversary, its members gathered friends who love the song.
Members of the Club united around Irina Dmitrievna Demakova (Oltarzhevskaya), Doctor of Pedagogical Sciences, Professor, Head of the Department of Psychological Anthropology of the Institute of Childhood, a graduate of the Faculty of Literature of the Moscow State Pedagogical Institute. IN AND. Lenin, a famous bard, as well as associate professors of the department Elena Igorevna Adamyan, Louise Igorevna Adamyan, Alina Valerievna Shipova and assistant Elena Vladimirovna Zhukova.
Irina Dmitrievna Demakova: “A day has passed since the end of the concert of the Bard Song Club of the Institute of Childhood (it took place on December 7, 2018), and I still can’t calm down, overcome the incredible excitement. I'm sure it was a significant evening. What I mean?
SIGN No. 1. This evening proved that the bard song - the highest asset, the pride of the Moscow State Pedagogical University - is alive and is looking for ways to today's generation of students and teachers. Born in the 50s, in the 60s she became the spokesman for the hopes of the generation that was later called the "sixties", she was the favorite of student and working youth. In the 70-80s, its ranks were replenished with new authors and performers. In the 90s, she began to sound quieter: she was drowned out by pop music, and sometimes it seemed that her quiet voice simply would not break through, would not shout over the universal cacophony. In the “dashing 90s” at the Moscow State Pedagogical University, the bard song was preserved only in the literary department. The person who helped her to stay alive was Natasha Bogatyreva, who devoted herself to its study, distribution, preservation, development. It was she who invited dozens of times the most famous graduate bards, as well as those 60-nicknames who took place in the national culture and became its glory. Bards, poets, journalists - Yuri Vizbor, Ada Yakusheva, Maxim Kusurgashev, Sveta Bogdasarova, Vadim Egorov, Veronika Dolina, Boris Vakhnyuk, Yuri Ryashentsev, Julius Kim, Petr Fomenko, Yuri Koval, Garik Babushkin ... This list cannot be completed, because he endless. Today, the bard song carries the history of the Moscow State Pedagogical University, its amazing culture, traditions… And names! “And the names of my friends…”
SIGN No. 2. The first conversation about the bard song took place in September 2017 at the Institute of Childhood during “Immersion in Pedagogy”. It was discussed at the “round table”, specially dedicated to this topic. Many guys came to this “round table”, some of whom had never heard anything about bards or their songs at all. After the end of the meeting, the idea arose to organize the Bard Song Club of the Institute of Childhood. Now, a year later, this Club has become the guardian of the wonderful tradition of MSGU. In September 2018, its participants themselves were already working with freshmen, and the Club was replenished with several more students. Now there are boys in the Club. It was difficult to even dream about it, considering how few boys enter the Pedagogical Institute.
SIGN No. 3. A remarkable feature of the Bard Song Club of the Institute of Childhood was that it united teachers and students IN ONE TEAM. The head of the Club, its accompanist was Elena Igorevna Adamyan - Candidate of Philological Sciences, Associate Professor of the Department of Psychological Anthropology, its powerful driving force is the Candidate of Psychological Sciences, Associate Professor of the same department Luiza Igorevna Adamyan, Candidate of Pedagogical Sciences, Associate Professor Alina V. Shipova actively participates in its activities, assistant Elena Vladimirovna Zhukova. Today we can talk about those guys who make up its backbone. There are 10 of them: Dunya Redechkina, Nastya Shevtsova, Sonya Kochetova, Varya Koshcheeva, Masha Chechko, Nastya Lukyanchikova, Nastya Zaitseva, Veronika Sabirova and our boys Ilya Dzhan and Kolya Kolesnichenko ….. These guys learn to sing, convey to the audience the meanings of the songs they perform. They love the bard song and faithfully serve it. All of them took part in several concerts, performed with a bardic greeting at various meetings organized by the Institute of Childhood.
ZNAK No. 4 The songs of Ada Yakusheva occupy a special place in the latest program of the Club. And this is understandable: it was Ada who opened a female page in the history of bard song. We sing her song about Moscow (this has been our visiting card for a year), "Blue Snowdrifts", "Evening Roams". We sing Vizbor - beloved to self-forgetfulness "Polyphony", "Madagascar", "Goodbye, dear." We sing Veronika Dolina - duets and soloists sing “Do you want me to learn to sew?”, “If only we lived without fuss”, “I live as I live”, Vadim Egorova “The rain will wash away all traces” ... We added to the bard songs in this program modern fashion hits. We simply felt that it could be done if these “other” songs are close in tone and meaning to the incredible sincerity and truthfulness of bard songs.
The evening of the Bard Song Club of the Institute of Childhood brought together many guests, old and new friends, mothers with children who rushed around the hall and interfered a little, but ... The Institute of Childhood ... There is no escape ... I think that all of us, participants in this beautiful, sincere, cheerful, smart action, they still haven’t “departed” ... Why leave? On the contrary, we are starting a new program to which we invite those who wish March 5, 2019”.
Nastya Shevtsova“If you remember, a lot has happened this year, for example, a trip to Kargopol, I was not able to go, but from all the emotions and memories of the other members of the club, I got the feeling that this was not so. And remember the anniversary of the IDD (Irina Dmitrievna Demakova)! We put a lot of effort into making everything work out, so that our evening was very cozy, warm, sincere, so that not only the IDD itself, but also the rest of the audience could feel all this, as well as our love. In the summer we went to the park with the same aura of the club, we played games, drank tea with cookies and, of course, sang songs. And in the fall, from the beginning of the new school year, we met each other with great joy and began to “create” again, again looking for new songs and new people! During this year, we got to know each other from different sides, others, previously unknown, accepted each other and rallied even more. KPA (Department of Psychological Anthropology) used to be something special for me, but now it is like a corner of the house within the walls of the university. And just like home, you will come to the KPA, hug all your loved ones, pour tea and, having taken your usual place for a long time, you will begin to sing old favorites, look for new songs and arrange everything you can according to your voices!”
Varvara Koshcheeva (2nd year student of the Defectological Faculty of the Institute of Childhood of the Moscow State Pedagogical University):“The bard song has always been in my life, stretching like a thin thread, but I could not think that, having entered the university, I could find the same kindred spirit people. During the year that I spent at the Bard Club of the Institute of Childhood, I can definitely say that a real family has formed around me, where it doesn’t matter whether you are a student or a teacher, you will always be supported, they will sing something sincere, cheerful with you and will definitely raise mood! This is not just a club where we come, as if to classes. This is a small world where comfort, love and songs reign, without which it would be very boring to live in the world!”
Dunya Redechkina (2nd year student of the Defectological Faculty of the Institute of Childhood of the Moscow State Pedagogical University):“I can’t live without warm, sincere and close to my heart songs. Bard songs fit this definition. Thanks to the bard club of the Institute of Childhood, I learned about a hundred such songs in a year, half of them I already sing by heart. But the most wonderful thing is that this year our team has become a big friendly family of students and teachers. We get together for rehearsals, go to various events, play games and even travel! A trip to Kargopol is still one of the highlights of this year. How many master classes, excursions, monuments of Russian culture we visited in just 4 days. I love the atmosphere that lives around us, I love the songs we sing and, of course, everyone who supports us! The support of teachers, students, friends and acquaintances means a lot. It gives strength to go further, not to give up, to find time and do the impossible! Many thanks to everyone!”
Nastya Lukyanchikova (2nd year student of the Defectological Faculty of the Institute of Childhood of the Moscow State Pedagogical University):“This year I have received a lot, but the most important thing that I have gained is like-minded people. It gives me pleasure just to be near them, to sing together, to be charged with positive and positive energy. Indeed, every time I come to our club, I feel this warm atmosphere on myself, how from smiles and laughter it becomes warm and pleasant in my soul, how my mood rises during our evenings. I believe that this year, I have acquired the most important treasure. I met wonderful, sincere, kind people, with an incredible desire to create and warm everyone with their warmth, making their soul strings tremble to wonderful tunes.
Masha Chechko (2nd year student of the Defectological Faculty of the Institute of Childhood of the Moscow State Pedagogical University):“The Bard Club is a place where you can relax your soul. No matter how hard the day is, going down to the KPA, getting into the circle of familiar faces, it becomes gratifying to the heart, and takes off all fatigue with a hand. This is a place where age boundaries are erased, and we can laugh, drink tea and sing together. This is not just a bard song club, this is a different world in the institute under the arches of stairs!”
Veronika Sabirova (1st year student of the Faculty of Education and Science of the Institute of Childhood of the Moscow State Pedagogical University):“It all started on September 1, when I came to a concert dedicated to freshmen. Hearing the songs of the bard club was unusual and magical for me. Most of all, I was struck by the harmony of the performance and the warmth leaving the team in the hall. Then I heard the bard club again at a master class as part of the Immersion course. I have no doubt that I can't sing. Once and for all, I fell in love with this band, soulful songs and a cozy atmosphere around, especially Yuri Vizbor's song "Polyphony". And now, for a little over a month now, I have been enjoying every meeting, rehearsal and charging myself with positive emotions.”
Nastya Zaitseva (student of the 1st year of the defectological faculty of the Institute of Childhood of the Moscow State Pedagogical University):“My acquaintance with the bard club began on September 1 of this year. I was impressed by the performance of the girls at the concert. Then, I heard the songs again at the master class, during the week of "Immersion in Pedagogy". I really liked to sing songs together with the members of the club, who created an incredibly cozy, friendly and warm atmosphere. Although I never practiced singing, I realized that I really want to be a member of the bard club. In a short time, I really fell in love with fun rehearsals, from which I get pleasure and joy, which charge me with positive emotions.”
Text prepared by:
Irina Dmitrievna Demakova,
Elena Igorevna Adamyan
Photos:
L.I. Adamyan, A.S. Obukhov,
E.P. Fedorova, I.S. Shustov
"I sing the old hymns..."
One of the most important symbols of the state is the anthem. How has it changed over the centuries-old history of Russia?
The history of the anthems of our country is not only fascinating, but also mysterious. The Russian Empire began with the Transfiguration March of Peter the Great. It still thunders at parades - and the heart beats like a drum at its first sounds.
"Thunder of Victory"
We do not know who and when composed this melody. Probably, the March of the Life Guards of the Preobrazhensky Regiment was already performed in 1715. And in 1805 the Transfiguration poet Sergey Marin wrote lyrics to this music:
That's where Suvorov fought!
Where Rumyantsev smelt!
Every warrior is different
Found a path to glory.
Every warrior spirit is heroic
Among these places proved
And how glorious are our armies -
The whole world knew about it.
The march of the Transfigurationists sounded on solemn occasions - on the days of the coronation of emperors, at embassy receptions, at the exits of the most august persons. But the ritual of performing a single melody at the appearance of the monarch in the years of Peter the Great had not yet taken shape.
Throughout the 18th century, the country fought victoriously, and the poets of that time treated military prowess with special reverence. The breakthrough anthem of imperial expansion was Catherine's "Thunder of victory, resound!" - creation Gabriel Derzhavin and composer Osip Kozlovsky. They prepared a musical and poetic program for a grandiose holiday, which was arranged by Grigory Potemkin on the occasion of the Ishmael victory.
In the simple verses of the wonderful anthem, Derzhavin vividly expressed the official truth of the golden age, the psychological background of the activities of the great creators of that era, among whom a special place is occupied by a genius that has not faded through the ages. Alexander Vasilievich Suvorov- the main character of the assault on Ishmael, who, however, was absent from the holiday.
We rejoice in the glory of the sounds
For enemies to see
That your hands are ready
We will reach the edge of the universe.
Behold, wise queen!
Behold, great wife!
What is your look, your right hand -
Our law, one soul.
Set to music by Kozlovsky, these verses not only emphasized the aspirations of their age - in The Thunder of Victory Derzhavin subtly captured the very nature of Russian absolutism, without this anthem it is impossible to imagine the climate of Catherine's times. Such lines do not exist outside the context of the era, which is quite natural for the anthem, and besides, they themselves affect the historical context necessary for understanding the reign of Catherine the Great - the time when Russia and her army could handle everything, when the facade of our state looked the most attractive and loyalty to the Fatherland was understood as an honorable service to the mother empress. Later, new words were composed for the “Thunder of Victory”, relevant for the era of the Napoleonic Wars and the Polish campaign of 1831. There were no number of options, but the poems of the unsurpassed Derzhavin remained classic forever.
Portrait of G.R. Derzhavin. Hood. I. Smirnovsky. Beginning 19th century (left)
Alexey Lvov is the author of the first anthem of the empire. Postcard with the composer's autograph
The spiritual anthem of the empire from the 18th century until February 1917 was "Kol is glorious ..." Dmitry Bortnyansky to poetry Mikhail Kheraskov. This hymn accompanied religious processions, spiritual processions, it sounded at Epiphany Jordans. It was also traditionally played at the burial of officers. And no one was embarrassed that the authors of the spiritual hymn were Freemasons. Freemasons loved common chants, and their contribution to the tradition of singing hymns is hard to miss.
"God save the king!"
The chant of the British God Save the King ("God Save the King") became the basis of many monarchical hymns. In Russia, the best text for this music was created by Vasily Andreevich Zhukovsky: a poem written in 1814 was called "The Prayer of the Russian People." The poet, who became famous in 1812 with the patriotic appeal "A Singer in the Camp of Russian Warriors", found a bright and solemn beginning to the anthem:
God! Save the king!
Glorious long days
Give it to the earth!
Battles were still going on in Europe, and the Russian army was on a distant campaign, and Zhukovsky mentioned in the anthem "the army of war", "the warriors of the avengers, the honor of the saviors." And two years later, at the suggestion of the director of the Tsarskoye Selo Lyceum, the 17-year-old poet supplemented the master's poem with two stanzas Alexander Pushkin.
SINCE 1816 "GOD SAVE THE Tsar!" PERFORMED AS THE ANTHEM OF THE EMPIRE;
by the highest order, the regimental bands played it when the sovereign appeared. This is the first official anthem of Russia
Emperor Alexander I I liked the Russian-English chant. Since 1816, "God Save the Tsar!" already sounded like the anthem of the empire; by the highest command, the regimental bands performed it when the sovereign appeared. This was the first official anthem of Russia.
"God save the king!" both poets were published under the same cover. That for the young Pushkin was a great honor.
There - loud glory,
strong power
He covered the world.
Here serene
Reliable canopy,
Tender grace
It dawned on us.
Scolding at a terrible hour
Strongly kept us
Faithful hand.
the voice of tenderness,
Thanksgiving
Hearts of aspiration -
Here is our tribute.
Such is his contribution to the anthem of the Russian Empire. By the way, often the verses of the Pushkin-Zhukovsky anthem are confused with the later version of Vasily Andreevich. Emperor Nicholas I, who, as every reader of Leskovsky's Lefty knows, "was very confident in his Russian people and did not like to yield to any foreigner," said the legendary: "I'm tired of listening to English music!"
THE WHOLE XVIII CENTURY THE COUNTRY WAS VICTORIOUSLY FIGHTING, AND THE POETS OF THAT TIME WERE WITH SPECIAL RESPECT TO MILITARY VALOR. The breakthrough anthem of imperial expansion was Catherine's "Thunder of victory, resound!" - the creation of Gavriil Derzhavin and composer Osip Kozlovsky
Zhukovsky had no competitors: he talentedly created the poetry of the state officialdom of the Nikolaev empire, glorifying the energetic tsar, "adored father." Compared to the previous text, the new text has become more concise. The poet left the shock first line. The new anthem was perceived in one breath, like an inscription on a stone. Six short lines are minted into consciousness:
God save the king!
Strong, domineering,
Reign for our glory;
Reign in fear of enemies
Orthodox king!
God save the king!
Like a century later, the authorities considered the candidates for composers, among whom was the great Glinka. But Nikolai Pavlovich preferred a musician close to the court Alexey Lvov. He was fully aware of the deep meaning of the task: "I felt the need to create a majestic, strong, sensitive anthem, understandable for everyone, having the imprint of nationality, suitable for the church, suitable for the troops, suitable for the people - from the scientist to the ignorant." The new anthem, approved by the sovereign, was presented to the general public at the Moscow Bolshoi Theater on December 11, 1833.
"God save the king!" sounded at the ceremonies on the occasion of the coronation of Russian emperors in the Moscow Kremlin.
Photo by Mikhail Filimonov / RIA Novosti
This "Russian folk song" (as the anthem was called in the first editions) caused a surge of patriotic feelings. And of course, one of the most consistent patriots of Belokamennaya, writer and director of the Moscow imperial theaters, Mikhail Zagoskin, responded to the premiere: “I can’t describe to you the impression that this national song made on the audience; all the men and ladies listened to her standing; first "cheers" and then "foro" thundered in the theater when it was sung. Of course, it was repeated. The composer has the right to be proud of such a triumph. The music corresponded to the text - restrainedly solemn, without frills.
The anthem exactly corresponded to the spirit of the Nikolaev era - “Orthodoxy. Autocracy. Nationality". But after the reforms of the 1860s, an ironic attitude towards the song manifested itself in the most active part of society. Evil parodies of the anthem (for example, the famous “God, shake off the Tsar!”) became a sign of Narodnaya Volya, pre-revolutionary Russia. We, who lived through 1985-1999, know how quickly society can overthrow yesterday's relics “in childish playfulness”.
"Let's renounce the old world!"
The First World War became an unbearable test for the Russian Empire - not so much for the army, but for the political system and ideology. It was no longer an autocratic, but a bourgeois empire, in which the conflict of popular interests with the appetites of the elite was more and more clearly felt. “And the aristocrat sold power to industrialists and bankers” - this is how he attested the pre-revolutionary situation Sergey Yesenin. In February 1917, the empire was gone, and the tsarist anthem was booed.
What was performed on solemn occasions during the short era of the Provisional Government? Poet Valery Bryusov in the article “On the New Russian Anthem” he reflected: “We need a short song that, by the power of sounds, by the magic of art, would immediately unite those gathered in one impulse, immediately tune everyone to one high tune.” The cultural elite, enthusiastically accepting February, flooded the Special Meeting with proposals: "Glory" Mikhail Glinka with new words "Hey, let's go!" arranged by composers Alexandra Glazunova And Igor Stravinsky; solemn song Alexandra Grechaninova And Konstantin Balmont(“Mighty power, boundless ocean! Glory to the fighters for freedom, who dispelled the fog!”). In 1962, when Stravinsky, who had been cut off from Russia for a long time, was on tour in Moscow, he conducted his failed anthem with a special slyness in his eyes ...
In March and April, on special occasions, they played the old, well-known Transfiguration March. But the Provisional Government preferred the “Working Marseillaise” to all options (with a slightly simplified melody Rouget de Lily, edited by Glazunov), the words for which several decades earlier were written Petr Lavrov.
Renounce the old world
Shake his ashes from our feet!
The rivalry between the Marseillaise and the International for the title of anthem was a reflection of the struggle between bourgeois revolutionaries and socialists. The Internationale, like the Bolsheviks and the Left SRs, was gaining authority in the Soviets. Society was rapidly tilting to the left: in the elections to the Constituent Assembly in the fall of 1917, a significant number of votes were given to the Bolsheviks, and in the capitals they won an unconditional victory. This predetermined the victory of the most radical of the leftist hymns.
The text of the "Internationale" into Russian Eugene Pottier translated Arkady Kots even at the beginning of the century. This song is powerful, there is in it the pace of history, the elements. The bright melody of Pierre Degeyter immediately cuts into memory.
Comrade Stalin personally amended the text of the USSR anthem, written by Sergei Mikhalkov and Gabriel El-Registan. Document from the archive of Artem Suetin
Then the country was looking for itself, feeling the need for renewal after a severe crisis. And Yesenin is again remembered: “The freedom that poisoned us boldly whipped beyond the limit.” Together with the poets Sergey Klychkov And Mikhail Gerasimov and amazing our sculptor Sergei Konenkov he made an attempt to glorify the new statehood. At the heart of any state myth is the memory of the fallen heroes. In November 1918, the grand opening of the memorial plaque by Konenkov took place. It was installed on the Kremlin wall in honor of the fighters who died for the revolution. Sounded "Cantata", written by poets: "Sleep, beloved brothers ..."
Many monuments of that time, made in haste from temporary materials, did not stand even for 10 years. The most radical, extravagant ideological constructions of the revolutionary epoch also turned out to be short-lived. In the end, preference was given to the most traditional scheme, according to which strict autocracy was combined with the cult of labor and the working people ... In the Red Empire, the French-born "Internationale" was perceived as a spirit-uplifting and native song, but again there was a need for an original national anthem.
Since the late 1930s, a lot of solemn songs and cantatas glorifying the Soviet people, their army and leader were born. The music for them was created by brilliant composers: Dmitri Shostakovich, Sergei Prokofiev, Matvey Blanter, Isaac Dunayevsky. The founder of the incomparable military Song and Dance Ensemble worked interestingly with the genre of pathetic song Alexander Alexandrov. In 1938 with the poet Vasily Lebedev-Kumach he composed the “Hymn of the Bolshevik Party” (“Countries of unprecedented free children, today we sing a proud song ...”). It was this melody that was destined to excel in the legendary competition in five years and become the anthem of the USSR. True, the victory went to words written not Lebedev-Kumach(he participated in the competition in a duet with another composer), and Sergei Mikhalkov in collaboration with Gabriel El Registan. This anthem, which sounded for the first time on the radio on January 1, 1944, became the anthem of the Liberation for our country. Under his pathetic chords, the Red Army drove the invaders to the west.
The anthem was received at the Bolshoi Theater, where the premiere of the royal anthem Lvov-Zhukovsky once took place. Orchestra of the Bolshoi Theater under the direction of Alexandra Melik-Pashayeva Together with the military band of Major General Semyon Chernetsky, he performed the anthems of Great Britain and the USA, as well as “God save the Tsar!” in front of Joseph Stalin and a narrow circle of Soviet leaders, composers and poets. and three versions of the new anthem with the words of Mikhalkov and El-Registan - to the music of Shostakovich, Khachaturian and Alexandrov. Yes, yes, for the first time in the USSR, the tsarist anthem was played in an official setting - for comparison, but also, I think, for a sense of continuity. It should be noted that Alexandrov thoroughly reworked his Bolshevik anthem: he slowed down the pace - and the melody became more majestic. It corresponds to a huge country - as if the winds of the Arctic Ocean meet with the peaks of the Pamirs ...
The government has approved Alexandra Alexandrova. According to Mikhalkov's memoirs, Stalin said consolingly to Shostakovich: “Your music sounds very melodic. What to do, but Alexandrov's anthem is more suitable for its solemn sound ". At the banquet, Mikhalkov, at the request of the leader, read "Uncle Styopa", and he and El-Registan showed front-line satirical scenes, boldly adapting Stalin's genuine cap as props.
The delegation of the Armed Forces of the USSR welcomes the XXV Congress of the CPSU. 1976 Photo by Yuri Abramochkin / RIA Novosti
Sometimes consistency is perceived as conformity: ill-wishers reproached Sergei Mikhalkov a thousand times for being unscrupulous. And all his life he was a well-intentioned statesman, a supporter of strong, strong power and an opponent of everything that shakes this power from the outside and from the inside. Such a credo can be criticized, but no one has the right to blame Mikhalkov for insincerity and contradictions. The children's poet, well known to all citizens of the USSR, was a good candidate for the role of a hymnographer. However, his memories of working on the anthem show that almost the best lines were suggested to him and Gabriel by the third co-author - Stalin.
In the perception of the anthem, the first line is of decisive importance. Mikhalkov and El-Registan had this: "Noble union of free peoples." Stalin found a much more expressive beginning, which forever crashed into the memory of millions: "Unbreakable Union of Free Republics." The secret of this line is in the word "indestructible": a solemn and non-standard epithet was found at the same time. This is how a classic of the genre is born. The anthem not only glorified Soviet statehood with the guiding role of the Russian people, not only called for military victories under the leadership of the Communist Party, but also affirmed the cult of leaders:
Through the storms the sun of freedom shone for us,
And the great Lenin lit the way for us:
We were raised by Stalin - to be loyal to the people,
Inspired us to work and deeds!
Gabriel El-Registan did not write poetry (he is sometimes confused with his son - Harold Registan, who was just a songwriter). He helped Mikhalkov as an experienced journalist and screenwriter, suggested the supporting images of the future anthem: Lenin, Stalin, Great Rus', friendship of peoples.
After the 20th Congress, they no longer dared to sing the anthem with the name of the debunked leader, and until 1977 (for some reason, few remember this), the anthem of the USSR was sung without words. And in the year of the adoption of the Brezhnev Constitution, a new version of the anthem was approved. The competition was again held, again famous poets and composers took part in it, but the old music and, in general, the old text won. Mikhalkov only excluded the mention of Stalin and replaced the stanza dedicated to the military realities of 1943 with the glorification of peaceful communist construction: “In the victory of the immortal ideas of communism ...” The arrangement of 1977 (it was created by Jan Frenkel) turned out to be very successful, and to the new version of the anthem sounded on the radio, quickly got used to it. The text in the "Brezhnev" version was published on the covers of school notebooks: you can't say anything, millions of copies!
However, the "Internationale" was not forgotten. It remained the anthem of the ruling party - the CPSU. Even when she became the personification of conservative political tendencies, the gray-haired leaders sang at conventions:
They sang, as if swearing allegiance to the revolutionary past - more legendary than real ...
After the Union
After the collapse of the USSR in December 1991, the situation with the anthem turned out to be ambiguous. The anthem of Alexandrov - Mikhalkov glorified a country that no longer existed. But in 1990, the anthem of the RSFSR was approved - Glinka's "Patriotic Song", since 1947 known as "Hello, glorious capital!" (The lyrics to this music were written by the poet Alexei Mashistov for the 800th anniversary of Moscow; in the Brezhnev years, for some time it sounded like a screen saver for the Vremya news program). This anthem was sung without words. And the new parliament - the State Duma, first elected in December 1993 - did not confirm its legitimacy. And this was necessary, because the anthem of the RSFSR was adopted when the republic was still part of the USSR.
Texts for Glinka's anthem began to appear in the press. And then it turned out that the bandit, troubled era of the early 1990s was not capable of creating its own officialdom. The anthem is an inspired panegyric to the native country, its people, history, and penitential, black-hearted motives are at least strange here. So, the poet, who always knew how to find a common language with millions, proposed painfully lyrical, Samoyedic verses for majestic music with the line: “Is there a conscience in a camp grave?” Such inappropriate images people will never be able to accept in the national anthem. Even in the GDR and the FRG - countries that condemned their Nazi past - the motives of repentance and self-flagellation were not included in the hymns. The proposal of the modern opposition to supplement the procession of the "Immortal Regiment" on May 9 with a demonstration with portraits of the victims of the Gulag seems to us just as inappropriate.
The innocent song of Glinka, which was associated with the shame of the thieving and intoxicated 1990s, was rejected by the people. For 10 years we lived with a wordless anthem, and rightly so: it was an inglorious time.
Russian President Vladimir Putin presents Sergei Mikhalkov with the Order of the Holy Apostle Andrew the First-Called. Catherine's Hall of the Moscow Kremlin. 2008 Photo by Mikhail Klimentyev / TASS
Russia entered the 21st century with Alexandrov's music and Mikhalkov's poetry. Presenting this version of the anthem to the deputies, recently became president Vladimir Putin argued emotionally with the opponents of the “Stalinist” anthem: “Do we really have nothing to remember during the Soviet period of the existence of our country, except for the Stalinist camps and repressions? Where are we then with you during the day of Dunaevsky, Sholokhov, Shostakovich, Korolev and achievements in the field of space? Where do we fly Yuri Gagarin? But what about the brilliant victories of Russian weapons since the time of Rumyantsev, Suvorov and Kutuzov? And also the victory in the spring of 1945?” It became clear that the next era of revolutionary overthrow was over, and the radical anti-Soviet overnight themselves moved into the category of retro. Well, the process is quite predictable and natural. Passions flare up and subside - the caravan of history goes on ...
OUR ANTHEM FROM THE FIRST CHORD ELEVATES, PULLS INTO THE STRING.
It is impossible, at least mentally, not to pose when you hear: “Russia is our sacred state”
It so happened that Zhukovsky twice created the anthem of our country, and Mikhalkov three times. Alexandrov's music has wings, and on them the new old anthem has risen up. This melody contains the heroism of the Victory of 1945, the glory of the conquest of space, pride in the sporting achievements of compatriots ... The anthem united the traditions of the Russian Empire, the Soviet Union and modern Russia - and such a synthesis is necessary for the people so that we do not lose the sense of community with the great centuries-old history. And I believe that our anthem, despite the skeptics, is destined for a happy future. And let Glinka's "Patriotic Song" be heard at official Moscow events in the 1947 version - along with the Moscow anthem "My Dear Capital" adopted in 1995. The fate of "civil prayers" can be quite bizarre, and this is typical not only for Russia.
Hail!..
As for Mikhail Ivanovich Glinka- he has one more work, which is worth talking about in the review of Russian hymns. This is the "Glory" choir. Even before the war, Stalin was preoccupied with the creative renewal of the opera A Life for the Tsar, and the leader paid special attention to the patriotic choral apotheosis, which never - neither under him, nor before, nor after - was our official anthem, but which was always perceived as an important musical symbol Russia.
A good verb, truly hymnical - "be glorified." And the solemn choir from the opera "Ivan Susanin" won the reputation of a truly folk chant. In tsarist times, it was considered the anthem of the Romanov dynasty. In the Soviet period, it sounded like a hymn to the Russian people. And in the 1990s, many mistook "Glory" for the official anthem of Russia. Meanwhile, with the "Patriotic Song" the choir "Glory" connects only the personality of the author.
In the first years of Soviet power, the opera was grossly altered. One of the options was called “For the Hammer and Sickle!”: only great music remained from the original - the plot was changed beyond recognition. But such crafts were not successful. Finally, in 1937, Pravda published an article by the conductor Samuil Samosud calling for the creation of a "deeply patriotic folk drama directed with its edge against the enemies of the great Russian people."
Today there are at least three versions of the text "Glory" - and it's time to get confused. Initial - Baron Egor von Rosen, then Sergei Gorodetsky, who twice reworked his own poems, and a relatively recent edition Evgenia Levashova, which combined the themes of its predecessors and added something of its own.
And it was like that. Rosen wrote the text, poetically tongue-tied, but clearly tuned to the melody and, even by the standards of Nicholas' time, exaltedly monarchical.
Glory, glory, honest army!
You defended the throne of kings!
At the royal house goes to receive
Tsar Sovereign, mighty army!
Chosen of God all the people
With great love and joy awaits!
Glory, glory, our Russian Tsar!
God given to us the Tsar Sovereign!
May your royal family be immortal!
May the Russian people prosper!
The people glorify the king, but he himself is not glorified ... In the twentieth century, it sounded wild. And here is the musically erudite poet Sergei Gorodetsky received the task to remake Rosen's libretto, retaining the main theme - a feat Ivan Susanin. Stalin personally recommended him to glorify Rus'. He also proposed to arrange a triumphal departure of the saviors of the Fatherland, Minin and Pozharsky, at the end of the opera. This patriotic choir is still performed on solemn occasions along with the Russian anthem.
Glory, glory, you are my Rus',
Be glorified, you are our Russian land.
May it be strong forever and ever
Our beloved home country.
Glory, glory, from generation to generation,
Hail, our great Russian people.
Enemies who encroached on the native land,
Strike with a merciless mighty hand.
Glory, glory, dear Moscow,
Our homeland, the head of the country.
Live, rise to our joy,
For the happiness of peoples, for the destruction of enemies.
Glory, glory, to the heroes of the fighters,
Our Motherland to our brave sons.
Who will shed their blood for their Fatherland,
That will never be forgotten by the people.
This is not bragging, but the truth of pharmaceutical accuracy. No nation has created so many songs for the glory of their land, for the glory of the state. In our civilization, this need arose already from the ancient exclamation: “Oh, bright and beautifully decorated Russian land!” And our anthem from the first chord elevates, pulls to the chord. It is impossible, at least mentally, not to pose when you hear: "Russia is our sacred state." The anthem plays for a few minutes. During this time, you can understand a lot about the Motherland. Such is the wonderful nature of this genre.
In the poem "Arion", the analysis of which interests us, the artistic goal is to evaluate the actions of those of the peers of the lyrical hero whom he can unite in the concept of "we" ("There were many of us on the boat ..."). An image is created that is an allegory. Allegory (from the Greek “allegory”) is a detailed assimilation of reality to the details of a picture that has a figurative meaning, and it is not the individual characteristics of persons that are important in it, but the depiction of abstract concepts, ideas, qualities.
The subject plan, which is before the eyes of the perceiver, is in fact not so important, although it can be described with tangibility and concretization (remember the heroes of the fables of I.A. Krylov, who depict external signs and behavior, for example, the Fox in the fable “The Crow and the Fox ”, 1808, looks like a “rogue”, approaches the victim “on tiptoe”, says “breathing a little”, and the crow, clumsily “perched” on the spruce, ingenuously listens to her “sweet” praises, ready to croak at the top of her lungs and drop a piece of cheese that "God sent" her, just to confirm that she really is "good" and has "with such beauty" singing talent).
In Pushkin's poem "Arion" one can visibly see a prow floating in the sea, that is, a boat going on oars and under sail. She has a big team:Othersailstrained,/ Otherunanimouslyupirali/ INdepthpowerfuloars... "The work is led by"feedersmart», Vsilencesitting intently at the helm. There is also a place for a carefree sweet-voiced singer - he sings for swimmers (as the sailors on the "overweight boat" are called). Busy with business, they do not notice the impending whirlwind. He suddenly, "on the fly", interrupts the path, sweeping from the ship "Andfeeder, Andswimmer". The singer also suffered in the storm;onSununderrock».
INeach detail of the canvas contains a generalized meaning: the work of a generation is sailing on a stormy, threatening sea, where their ship looks like a small shuttle, defenseless against the “whirlwind”. Neither the sea nor the storm can be blamed for the disasters of sailors, that is, in general, the laws of the universe, they themselves chose their fate, striving for an unknown, alluring goal from afar. Particular attention is paid to the place of the artist among the swimmers - he is with them, but should not give up his mission. “The Mysterious Singer” is an image that has an autobiographical basis: he “sang” for like-minded people, “breaking the pampered feast” and listening to the roar of the “thunderstorm” (images from Pushkin’s ode “Liberty”), and after the shipwreck he remained alive, “Onshorethrown outthunderstorm". Having lost his comrades, associates, he did not lose faith in ideals, his hymns remained the same.
These features of the worldview are easily restored from the context, however, the comparison of the subject and figurative plans of Pushkin's poem "Arion" in the analysis gives rise to many questions, the answers to which turn the allegorical picture into an outline of the individual interpretation of events inherent in the lyrical hero. Arisesmpolysemy, not characteristic of allegory, showing that symbols appear among the images of the poem. A symbol (Greek) in literature is a kind of allegory, where a figurative meaning “shines through” through the subject plan, allowing different interpretations, depending on subjective perception. So, the symbol is the central image of the poem, the singer Arion, who has the following characteristics: he is one of the swimmers: he has an occupation unusual for others on the boat - he “sang”, and did not “strain” the sail, did not take part in “friendly” work, which is done by others “in silence” (despite the fact that this form in modern orthography looks different - “in silence”, it is impossible to change the ending when writing a quote, since it is important to preserve all sound features in a poem; if you neglect this one letter, not a phonic repetition will be heard, organizing poetic speech: they rested, the silence of the rules). In addition, if for the feeder his faith in success is a fruit of thought, he is the “smart” head of the “overweight boat” team, this is his main characteristic, then Arion is careless, full of emotional impressions from the journey through the waves. His fate is "mysteriously" different from the fate of the rest: he survived, although he suffered from a "thunderstorm". Finally, in his worldview (it is outlined concisely, only a contour is outlined, but this increases the significance of every detail) devotion to the “old hymns” is important.
It is also necessary to remember that Arion is the hero of an ancient myth, a poet and an artist, saved from death in the sea by a dolphin. In the poem "Arion" by Pushkin, the analysis of which interests us, one of all the mythological motifs is chosen: the hero mysteriously escapes from death in the waves. Each of Arion's traits can dominate the reader's perception, for whom it will be important to draw analogies between real circumstances and a poetic image. It is impossible to say which of them is the main one, the ambiguity is the essence of a symbolic (as opposed to allegorical) generalization. In the context of Pushkin's reflections on the fate of a generation, on its contribution to history, the analogy with ancient legends is undoubtedly important. Young wrestlers, the author's contemporaries, who found themselves behind the "gloomy shutters" (the message "In the depths of the Siberian ores...") are placed on a par with mythological heroes, which contributes to the exaltation of their role. They, having suffered from a powerful “noisy whirlwind”, proved the ability of a person to resist fate, move forward, not being afraid of the willfulness of the waves, relying on “powerful oars”, friendly efforts, mind and will.
The poem is built as a lyrical monologue on behalf of one of "us", a singer who not only can reproduce his feeling of common "friendly" work, seeing it from the inside, but also generalize, assessing the consequences of the storm, where friends died (in the poem, the only exclamation conveys an emotional shock from the fact that "both the feeder and the swimmer died! .."). The unity of the lyrical outpouring is emphasized by the absence of division of the text written in iambic tetrameter into stanzas. There are fifteen lines in it, all of them rhyme, for which parallel rhymes are used (lines 6, 7, 8; 10, 11; 13, 14), as well as the girdle rhyme familiar to the girlfriends of the works (the first and last quatrains, not highlighted strophically, but obvious in connection with metrical features, i.e., because of the way lines are grouped according to rhythm and rhyme).
Due to such a feature as transfer, some lines are not completed, require continuation, leave the impression of a forced stop due to the fact that the excited person does not have enough breath (lines 4.5, 7, 8,11,14). Transfer also contributes to the selection of words that are on the border of poetic lines, but included in a sentence, the meaning of which becomes clear only after acquaintance with the subsequent text, which is a continuation of these lines. Of particular importance is line 11, located before the last quatrain and rhyming with an exclamation. It contains a decoding of the image of the lyrical hero, he is a “mysterious singer”, attention to which is attracted by his “hymns”, which are an expression of feelings common to “swimmers”:
Both the feeder and the swimmer died! ..
Only me, the mysterious singer,
Shot ashore by a storm,
I sing old hymns
And my wet robe
Drying in the sun under a rock.
Hymns also become a symbol (the word "anthem" comes from the Greek "praise, solemn song"), expressing the essence of the attitude towards the ideas that animated the activities of the Decembrist generation. Under the merit of the singer is understood in the context of the poem the glorification of love of freedom and selflessness, which helps the movement of the "boat" forward. He completed the task that he set in the first "hymns". Remembering that the beginning of Pushkin's freedom-loving lyrics is the ode "Liberty", where the designation of the genre echoes the meaning of the term "hymn", since "ode" is a work of a solemn nature, Greek. “song” in which social and moral ideals are sung, as well as images of other poems, for example, “To N.Ya. Pluskova”, where the lyrical hero called the glorification of freedom (“Freedom is only learning to glorify ...”) as the content of his “simple anthem ...”), it can be said that the autobiographical plan of the poem “Arion” includes one more goal. It sums up a whole period in his work, completes the development of the image of a lyrical hero, whose features continued each other, forming the inner image of one of the new heroes, a fighter and "avenger" for desecrated social ideals. However, the political connotation was one of the aspects in the understanding of freedom. The foreground of the battle for the arrival of the "liberty of the saint" (the image is present in the ode "Liberty" and in the message "To Chaadaev", being a through for Pushkin's freedom-loving lyrics) made the poet's poems related to the main motifs of the Decembrist lyrics.
In the early 1820s, Pushkin's theme of freedom was transformed, in which the author's interest in romanticism played an important role. If in the poetry of the future participants in the uprising (K.F. Ryleev, A.A. Bestuzhev) revolutionary sentiments rise, in Pushkin's lyrics, freedom acquires the features of an unattainable ideal.
Before reading the verse "Arion" by Pushkin Alexander Sergeevich, it is necessary to draw the attention of students to the date when it was created. And it was written in 1828. In 1825, Russia experienced serious political events. Three years have passed since the Decembrist uprising. However, the tragedy of the participants in the uprising left a deep mark on Pushkin's soul. A lesson in literature in the sixth grade should begin with a short historical digression. As you know, many participants in the uprising were close friends of the poet. We know from history that some of the Decembrists were executed, while others were exiled to Siberia. Pushkin supported the uprising, but for a number of reasons he was not a participant in these events. Nevertheless, he perceived the sad fate of the Decembrists as a personal tragedy.
The text of Pushkin's poem "Arion" uses an allegorical device. Namely, the legend of the poet from Ancient Greece Arion is laid in his plot. However, Pushkin somewhat changes the plot of the story. And according to the meaning, it turns out that the singer, the swimmers and the helmsman are in the same bundle. They were united by one common cause. But the journey that the heavy boat went on was dangerous.
It is not difficult to guess, taking into account historical events, who is being narrated in the work. Here he makes it clear that he has no enmity with swimmers and helmsmen. That he, Pushkin, continues to sing hymns to the events and participants of those tragic days for Russia. Moreover, he remains loyal to his friends and the cause for which many of them went to their deaths. There is an assumption that the date of the uprising was simply hidden from Pushkin, thereby preserving the talented poet for Russia. It will be interesting to teach a poem to schoolchildren if they are immersed in those distant historical events of the past, to which it is dedicated. You can download it in full online on our website.
There were many of us on the boat;
Others strained the sail,
Others chimed in unanimously
In depth powerful oars. In silence
Lean on the steering wheel, our feeder is smart
A heavy boat ruled in silence;
And I am full of careless faith, -
I sang to swimmers ... Suddenly the bosom of the waves
A noisy whirlwind crushed on the fly ...
Both the feeder and the swimmer died! -
Only me, the mysterious singer,
Shot ashore by a storm,
I sing old hymns
And my wet robe
Drying in the sun under a rock.
