Why is it called the cart of life. Philosophical analysis of the poem Alexander Sergeevich Pushkin “The Cart of Life. The full text of A. S. Pushkin's poem "The Cart of Life"
I dedicate the article to Barbara Polonskaya, who, in one of the discussions in the Literary Salon, showed interest in the Cart of Life. This became the impetus for my work.
A. Sapir
But here it is already (...) in the properties of that language,
on which once written and ingenious
Pushkin's "Cart".
Annensky I. F. "On modern lyricism."
Vyazemsky himself was one of the pioneers
"road" theme in Russian poetry. Back in 1818 Vyazemsky
created the poem "Khobs", where the themes of "path" and "charioteer"
take on an expansive, symbolic meaning,
preparing to some extent poetic material
for Pushkin's ingenious "Cart of Life".
G. M. Fridlender. Poetic dialogue between Pushkin and P. A. Vyazemsky.
On November 29, 1824, already in Mikhailovskaya exile, A. Pushkin wrote a letter to P. Vyazemsky. He expresses his opinion on literary novelties, reports on plans for the publication of some works, and mentions the chapter of Onegin, given to his brother for printing in St. Petersburg. And at the very end of the letter, having already written the date, he asks a friend: “Do you know my Cart of Life?”
Then he reproduces the full text of the poem:
The cart on the go is easy:
Dashing coachman, gray time,
Lucky, will not get off the irradiation.
In the morning we sit in the cart;
We are happy to break the head
And, despising laziness and bliss,
We shout: go ahead * (...) mother!
And slopes and ravines:
We shout: take it easy, fools!
The cart is still rolling;
In the evening we got used to it
And drowsing, we go to sleep -
And time drives horses.
1823
* In the final version, instead of the word "go ahead", the word "went" was used.
So, let's turn to the text of the poem "The Cart of Life".
In the construction of the poem, as in the best works of the poet, "strictness and harmony" and laconism. 4 stanzas, of which the first is a kind of exposition, each of the others is one of the periods of human life, like stops along the way.
Let's read the first stanza:
Though it is sometimes heavy in her burden,
The cart on the go is easy;
Dashing coachman, gray time,
Lucky, will not get off the irradiation.
The title “The Cart of Life”, in which the main word is “cart”, and the exposition, which, at first glance, sets the circumstances of the action, set the tone for the poem to be about a journey. However, already when reading the first stanza, you pay attention to the keywords. All of them are connected with the journey, and all, except for the direct meaning, imply a different one - a metaphorical one. The phrase that became the name of the poem sounds unusual, unconventional, and even, we agree with D. Blagy, defiant. Together with other words of the first stanza, such as “burden”, “dashing coachman - gray time”, “lucky, will not get off the irradiation”, it becomes the key one. All these words can only be approximately explained by the content of the first stanza and are revealed only in the context of the entire poem. Deciphering the meaning of the word "burden", D. Blagoy says that it hints at a heavy load, at a significant weight (physical) of the rider. This is true, but it does not end there. Already in the first stanza, its broad meaning is guessed. If only because it and the word “time” that rhymes with it are still few words from high vocabulary, while others gravitate towards everyday vocabulary. The same incident is in the title: the word "cart" is undoubtedly from the vocabulary of everyday and even vernacular, but in combination with the word "life" it acquires a different meaning, yet mysterious to the reader. Other key words behave in the same way: “dashing coachman” - who does not understand this figure and this word ”But it becomes a“ mysterious stranger ”in combination with the application“ gray time ”.
We will return to deciphering the meanings of the keywords of the first stanza when analyzing the final quatrain.
Consider the second stanza:
In the morning we sit in the cart;
We are happy to break the head
And, despising laziness and bliss,
We shout: let's go! …
If the first stanza warned us that it would be a journey, in the second - it is already the subject of the image. The morning of life, as the beginning of a life's journey, is depicted as full of vitality, the energy of overcoming ("we are glad to break our heads, despite laziness and bliss"). The image of the rider also appears - this is the twice repeated “we”. All actions and experiences are depicted on behalf of not one, but many, are drawn as typical. The character of the character is guessed - adventurous and mischievous. The latter is evidenced by the very “Russian title” that Pushkin proposed to remove if the poem was published. The abundance of verbs and verb forms: we sit down, we shout - in the present tense, conveying the typical, rooted nature of the action. The verb form - the gerund participle (despising) has the same meaning. Finally, the verb in the form of the imperative mood (went), the verbal idiom (break your head) serve the same purpose - to convey the impatient nature of the rider, striving to overcome the obstacles encountered on the way.
We note in this stanza the predominance of colloquial vocabulary, up to obscene. And this also characterizes the rider in its own way - a person of any class, who has become accustomed to traveling as a way of life, who has gotten used to the vocabulary of coachmen, inns, impatient guests, etc.
Let's move on to the third stanza:
But at noon there is no such courage;
shook us; we are more afraid
And slopes, and ravines;
We shout: take it easy, fools!
Perhaps the metamorphosis that occurred with the rider is most noticeable in this stanza, especially if we compare its content with the well-known myth. The middle of the road (in the sense that Dante has in the introduction to the Divine Comedy: “Having passed half the earthly life ...”), the noon of life is drawn not by the rise, but by the extinction of vital energy. And, perhaps, this is felt most strongly in the line in which the verb “shout” is repeated anaphorically: “Shout: take it easy, fool!” The same verb seems to have lost its power and poignancy. And there is no longer any mischief in the continuation of the phrase - in the appeal to the cabman: "Be quiet, you fool!" On the contrary, there is a desire not to rush, to slow down the too fast running of horses. Compared with the many verbs and verb forms of the previous stanza, in the third, besides the one named, there is also the verb “shaken” (not even “shaken”), the meaning of which, reinforced by another prefix, comes down to the following: “shake a lot”, “shake one after another ”In addition, the duration and duration of the action are conveyed by pyrrhic (or peon - a four-syllable meter: three unstressed, one stressed), that is, at the level of the rhythmic organization of the line and stanza. And one more remark: it is impossible not to see in this word a delicately expressed roll call with Vyazemsky's "Kump": after all, it can "shock" first of all on potholes.
The predicates “there is no such courage” and “we are more afraid”, firstly, have lost a specific subject, become impersonal, and secondly, do not contain an action. Such is the degree of Pushkin's accuracy in showing the changes to which the “rider” turned out to be subject on his life path!
The last stanza sums up the life of the rider and the entire poem:
The cart is still rolling;
In the evening we got used to it
And we go dozing until the night.
And time drives horses.
The main meaning of this stanza, its first three lines, is to show the power of habit (“The habit is given to us from above, it is a substitute for happiness,” the wiser Pushkin will say through the mouth of one of the heroines in “Eugene Onegin.” But that will be later!) Here it is the mood is expressed not only by the verb "used to", but also by another phrase - "rolls as before." They got used to it so much that it’s as if there are no slopes or ravines on the way, but a smooth path spreads out. They got used to it so much that “we doze off until we sleep” - that is, until the natural end of life. The hero is used to it (“we”, the rider), almost lulled to sleep by a flat road. An almost lulled reader does not expect shocks ...
All the more explosive is the last line of the entire poem - "And time drives horses." “Explosive” - because the word “drives” is read as “as opposed to habit, the ordinary course of things”, and because, although the line is prepared by the whole course of the plot, in a completely new way, and somewhat unexpectedly, reveals the essence of its movement . The line takes us back to the beginning of the poem, makes us reread it again. This is the only way to understand its explosive nature, its compositional role in the poem, built as the most perfect architectural structure.
But there are a few more observations.
We saw how the rider, one of the heroes of the poem, gradually changed. This shown Pushkin and forms the basis of the developing plot. But there are two heroes in the poem. In order to understand whether the second one changes, let's compare them. They are directly correlated in the formulations of the first and last stanzas. In the first one - “a dashing coachman, gray-haired time”, in the last one - just Time (it seems that the capital letter in the word is not only a tribute to the poetic tradition - to start the line with it). About time in the first stanza it is also said: "You are lucky, you will not get off the irradiation." This characterization already contains that inexorable force that will manifest itself so powerfully in the finale of the poem.
At first glance, it seems that in the middle stanzas the image of time is not in the frame, but behind it, does not show its merciless essence. We even hear how the rider commands the coachman. After all, he “shouts” twice, giving orders. But we have already seen that as the movement progresses, the strength of the cry weakens, and it is not the coachman who adapts to the rider, but the rider more and more resigns (gets used to) the movement of time, obeys it. It is Time that changes the rider and, therefore, "commands" him.
First of all, our reasoning about the ambiguity of images, about the different meanings inherent in them and about their interaction refers to Time. Let's consider this aspect.
As already mentioned, the duality of the image of Time is already set by the first stanza. The very first mention of Time, the first and instantaneous portrait of it, albeit without details, is “a dashing coachman”. The details were added by the readers themselves. Let's put ourselves in the place of these readers, think about these details, otherwise you won't understand what D. Blagoy called "challenge".
Perhaps the reader remembered that "pit chasing", "on bad roads" - " salient feature precisely the Russian mode of transportation. Perhaps, like Pushkin himself, the “coachman class” was kind, and that it, this class, occupied a special place among other classes. So, by a special decree of 1800, it was prescribed that the coachmen should be no younger than 18 and no older than 40 years old, “of good behavior, sober and not suspicious of anything with the indicated passports and certificates for approval of the reliability of their behavior.” (All information is taken from the Onegin Encyclopedia, v. 2, article "Coachman"). In Pushkin, Time does not just appear in the image of a coachman, but a coachman - "dashing". That is, the poet uses a stable expression to characterize it, also gleaned from the practice of a living spoken language. In such a description, time (with a lowercase letter), likened to a coachman, is a figure well known to all travelers. Despite Pushkin's youth, well known to him. In the future, we will make sure that the "man" is not an accidental guest in the poem. That this kind of "challenges" (that is, the presence of the people's consciousness, folk traditions) is enough in the poem. But let's not forget that in the same stanza, in the same line, Time appears as if written with a capital letter, because it reveals its formidable face: this is “gray time”, which is “lucky, will not get off the irradiation”.
Returning to the first stanza, let's listen again to the sound of the word "burden", let's think about its second - metaphorical - meaning. After all, this is one of those words, the content of which is revealed by the entire poem. The weight of its sound is felt physically due to the epithet “heavy” (grammatically “heavy” is a predicate, but it characterizes the word “burden”, that is, it also acts as an epithet). The severity is intensified due to the fact that the epithet turned out to be far from the word being defined, and because it turned out to be broken by two syllables - iambic and Pyrrhic (perhaps the first four syllables - three unstressed and stressed - make up a peon. In the very first syllable, the stress is weakened so much that syllable can be considered unstressed). All of the above allows us to assert that the severity of this word is not accidental - it gives the metaphorical meaning of the word: it is not so much about physical gravity, but about the burden of life. And this is already discussed in the first stanza, where the concept of time is ambivalently deciphered, where variability, a play of meanings, is noticeable.
On the one hand, this is the same Time that “drives horses”, on the other hand, it is a coachman who, as he is supposed to, “will not get off the irradiation”. And throughout the poem, the same duality that we have already spoken about. The rider shouts at the coachman, as if he is in control of himself and time, but in fact he is subordinate to him. As a coachman, he is “placed” in a colloquial language environment (obscene vocabulary and the appeal to him “fools”), and meanwhile, before the eyes of the rider and before ours, a long road of life opens up with the inevitable “overnight stay” at the end of the road - a majestic picture of perpetual motion. As you can see, the "challenge" of the poet does not mean a rejection of traditions, and in the image of time, along with common folk features, we feel the presence of Chronos. God and the common man in one person - this is the true discovery of Pushkin.
Noteworthy is the use of the epithet "gray-haired" in relation to time. The definition can also refer to the age of the coachman, although we remember that the coachmen were no older than 40 years old, but this age was already considered respectable. But there is another shade in this word (ambivalence again!). According to the dictionary, one of the meanings of the word "gray-haired" stands for "related to the distant past, ancient." So, through the momentary, including human life, eternity shines through, and in the movement of "private" time, Time is felt - one and eternal.
In order to understand the image of Time as it appears at the end of the poem, let's put together all its characteristics, both explicit and indirect throughout the entire poem. First of all, let's compare the definitions of the first and last stanzas.
In the first stanza, two definitions are expressed by adjectives - “dashing” and “gray-haired”. Let's not forget that the first of the definitions is given to time, which is presented in the role of a well-known coachman. The one and only definition relating to Time itself is expressed by the adjective "gray", as mentioned above. All subsequent definitions are expressed by verbs. We will compare them.
In the first stanza, it is - "lucky, will not get off the irradiation." Let's pay attention that both verbs characterize time in its both hypostases. They relate to the coachman, giving him a "professional" characteristic (performs his duty diligently, perhaps zealously), and to Time. The description emphasizes what is indicated high word"volition", and inflexibility.
In the middle stanzas, where there are no direct characteristics, we nevertheless saw that Time affects the rider, changes him, makes him obey.
In the last stanza "Time drives horses." The word is multi-valued, but in all meanings there is something in common: force move, encourage to the movement guide motion, urge...
In other words, in the word “drive” we no longer feel the will as a potency, but an expression of will stronger than that of the one who is being driven, we feel inflexibility and mercilessness. Time appears as a symbol that personifies Fate or Fate, as they were understood in Greek tragedies.
N. N. Skatov, mentioned above, who gave his interpretation of the poem “The Cart of Life”, denies the poet a “lyrical experience” of the finiteness of life, passing time, death: He writes: there could be internal drama, the “noon” itself looked more like a distant forecast than an experienced state”; and further he says that in the poem we are considering there was no problem "life - death".
It is difficult to agree with such conclusions.
Firstly, because in the last stanza there is the word "overnight", which is read, like all keywords, both literally and figuratively. If you see in the poem the plot of a journey along bumpy Russian roads in a cart with a coachman on the irradiation, then the word "overnight" is read as a longed-for rest of a road-weary rider. If we trace the movement of the allegorical plot, then the “lodging for the night” is read as a natural completion of the life path - like death.
One can agree that in other, later, poems by Pushkin, the opposition between life and death is felt more tragically, but the wing of death undoubtedly touched the poem “The Cart of Life”.
That is why the last line is read as an awareness of the fact that Time is omnipotent, that life is finite, like any journey, that a person, whether he wants it or not, is subject to the inexorable course of Time.
It would seem that reflections do not correspond to the age of the author. But let's not forget the trials that fell to his lot, because only the exile, which had already lasted four years, changed the place of residence of the prisoner three times, and each time not by his own will. The rest has already been said in due time. In addition, a feature of Pushkin's creative and life path, as many researchers note, was the ability to change moods. When, following, it would seem, the flow of life, suddenly (but in fact it is natural) there was a sharp deceleration, a pause. When, it would seem, in the midst of reckless fun, the time for thoughtfulness or even despair suddenly set in.
One of these pauses, when it was necessary to comprehend life path, and there was a time of writing "The Cart of Life". Reflecting on the problem of "man and time" in relation to his own and others' experience, Pushkin could not but state that Time has a mystical power over man. It "drives horses", and the cart of life, in which every mortal makes his life's journey, is subject to the rushing time, and not vice versa.
And now, as promised, let's consider the place of the poem "The Cart of Life" among later works on this or a related topic by Pushkin himself and his contemporaries. We are witnessing an amazing thing: neither Pushkin himself nor his contemporaries managed to create a poem that is as deep and multidimensional, with such a rich palette and play of meanings. Rather, it should be said that each of the themes of the "Cart of Life" is developed as an independent one, and as such is brought to its logical end. Each topic has acquired its own shades, but none philosophical thought about the collision of man and time does not sound so tense. The focus of the image also shifts - towards showing the hardships of the road, especially in winter.
So, in Pushkin's poem "The Winter Road" (1826), the theme of the road sounds elegiac, it is, as it were, illuminated and "ringed" by the light of the moon. The first stanza begins like this: “Through the wavy mists / The moon makes its way ...” The final one sounds almost the same: “The moon face is foggy.” The elegiac nature of feelings during the journey is accompanied, like a refrain, by a "monotonous bell" that "tiringly rattles", and "long songs of the coachman", in which one hears "native": "That reckless revelry, / That heartfelt longing." Relatively speaking, this bell "has come around" in Vyazemsky's later poems. G. M. Fridlender remarkably said this in the article “The Poetic Dialogue between Pushkin and P. A. Vyazemsky”, which was cited above: “... Vyazemsky himself later, at a different stage of development, sought to master new, dissimilar ways of depicting Russian winter ( this is how the theme of the road has shifted - A.S.). (...) In the cycle “Winter Caricatures” (1828), and even later in such poems as “Road Thought”, “Another Three” (1834), (...) follows Pushkin, the author of “Winter Road "(1826), where the themes of the Russian winter, the road, the troika, the change of the "tedious" and "monotonous" ringing of the bell and the coachman's song, "reckless revelry" and "heart longing" are combined. (pp. 168 - 169).
In Pushkin's poem "Road Complaints" (1830), attention is focused on road ordeals, each of which threatens the hero with death.
On the stones under the hoof,
On the mountain under the wheel
Or in a moat washed out by water,
Under the demolished bridge.
Or the plague will catch me,
Or the frost will ossify,
Or put a barrier in my forehead
Impaired invalid.
Or in the forest under the knife of the villain
I'll get to the side
I'll die of boredom
Somewhere in quarantine...
But, despite the fact that many ordeals threaten the hero with death, her arrival is not portrayed as a tragic confrontation between life and death, man and Time. Firstly, because the poem is heavily flavored with irony, which reduces the intensity of passion and reduces the tragedy itself. Secondly, in the poem itself there is something that contrasts with death - the longed-for goal of any journey: home comfort or, at worst, the warmth and satiety of a restaurant.
In Vyazemsky's poem "Russian God" (1828), written even before Pushkin's "Road Complaints", but after the "Winter Road", we again meet with the hardships of the road, which appear here in the most concentrated form:
God of snowstorms, god of bumps,
God of painful ways
Stations - cockroach headquarters,
Here he is, here he is, the Russian god.
All road accidents that torment the traveler are presented as eternal and inevitable - they are consecrated by the "Russian god".
An interesting resemblance of themes and images in Pushkin's already analyzed poems and in E. Baratynsky's poem "The Road of Life" (1825). Let's quote it in full:
Equipping on the road of life
Your sons, our fools,
Dreams of golden good fortune
Gives us a margin known to us.
Us fast post years
From the tavern they bring to the tavern,
And those fatal dreams
We pay the runs of life.
The poem was written in the same year at the very beginning of which Pushkin's poem "The Cart of Life" was published. It seems to us that the title of the poem is given by analogy with Pushkin's. It also seems to be a work that is closest in spirit to Pushkin's. (It is no coincidence that Pushkin loved the work of his younger contemporary so much, defending his talent in disputes with Vyazemsky).
Baratynsky, like Pushkin, combines real and metaphorical plans: life seems to be a road along which “postal years” fly (a wonderful image!) from tavern to tavern. But, if in Pushkin a person at some point of this path begins to see clearly and almost sees with his own eyes Time and its inexorable course, then in Baratynsky a person on the path of life parted with illusions, dreams - “golden dreams”, with which he is generously endowed in the very the beginning of life. The loss of dreams pays for the “runs of life”, pays for “fatal themes”. Speaking of the "golden dreams" of the "madmen of us", Baratynsky judges from the height of a more mature age (if in lyrical hero see the alter ego of the author, then he is 25-26 years old at that moment), and not from the position of a person who is only “equipped for the journey of life”. And what melancholy and disappointment sound in his words! Meanwhile, in "The Cart of Life", a poem undoubtedly more tragic, there is neither disappointment nor melancholy. There is insight, and there is courage to see reality.
Baratynsky's poem is remarkable for its purely poetic means of resolving the theme, the philosophical richness of the same images as those of Pushkin. But we prefer Pushkin's concept and his position.
So, let's sum up some results.
In 1823, a crisis year for Pushkin, as he was parting with his youth, moving into a different age period, parting with illusions, gaining a more and more realistic outlook on life, the poet creates the poem "The Cart of Life". Perhaps it is the crisis state of the author that determines such a sharp perception of the problem of "Man and Time", its deeply personal solution. The harsh philosophy of life, its irrevocable laws demanded just as truthful answers, first of all, from the lyrical subject himself (the collective “we” acts like this in the poem). But, since the path of life itself is personified in the image of a road and a cart rolling along it, then “we” also appears in the form of a “rider”. The main discovery of Pushkin is that Time itself appears in the image of a coachman. It is it that moves the cart, rolls out the path, changes the rider’s ideas about life, “drives horses.” Whether Pushkin wanted it or not, but having inherited the “road theme” from Vyazemsky, he reacted creatively to the inheritance. Intertwining real and metaphorical meaning in the plot, he not only enriched our understanding of the ancient myth or the traditional idea of life-path, he for the first time equalized the rights of the two elements of the language - vernacular and high vocabulary. And this gave him the opportunity to give an idea of all the components of the plot: life as a path and as a journey in a cart, time as a coachman and Time as a philosophical category, a lyrical subject as a generalizing “we” and as a “rider” in two plans, sometimes diverging, sometimes intertwined and inseparable.
Personal experiences of a dramatic turning point, as always with Pushkin, melted into perfect lines, into perfect architectonics and perfect images of the poem. In a perfect example of philosophical lyrics, without philosophizing and reasoning, but in living images that awaken thought and feelings. And, as it was before and will always be, the poem, which embodied so much for Pushkin himself, became healing for him.
Asya Sapir
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The poem "The Cart of Life" was written in 1823. At this time the poet was public service in the office of the Governor of Odessa Count Vorontsov. You can read the verse "The Cart of Life" by Pushkin Alexander Sergeevich online.
The poet had enough time to find moments for reflection and creativity among the daily routine of boring clerical affairs. The work is imbued with deep philosophical motives. The very image of a creaky cart, and not a fast sleigh or a galloping horse, is symbolic. The author compares the different states of the coachman at different times of the day with the stages of human life. Morning - the beginning of life, is associated with youth, energy, aspirations. The coachman is full of energy and drives the horses with might and main. Noon is the stage of maturity, when the move is slowed down and there is no longer that courage, and a person, relying on experience, becomes more circumspect. In the evening, along with fatigue, old age knocks, and the coachman, dozing, dreams of getting to the lodging for the night as soon as possible. The cartwheel makes its circle, immersed in the full power of established life rules and laws. In Pushkin's lines, both lyrical feelings and philosophical reflections are closely intertwined.
The text of Pushkin's poem "The Cart of Life" can be downloaded in full and taught in a literature lesson in the classroom.
Though it is sometimes heavy in her burden,
The cart on the go is easy;
Dashing coachman, gray time,
Lucky, will not get off the irradiation.
In the morning we sit in the cart;
We are happy to break the head
And, despising laziness and bliss,
We shout: go! . . . . . . .
But at noon there is no such courage;
It shocked us: we are more afraid
And slopes and ravines:
We shout: take it easy, fools!
The cart is still rolling;
In the evening we got used to it
And slumbering we go to sleep,
And time drives horses.
"Alexander Sergeevich Pushkin" - Biography and life in the Lyceum of Alexander Sergeevich Pushkin. He published his first poem in the journal Vestnik Evropy in 1814. Thanks for attention!!! In Mikhailovsky, the poet's talent, of course, reached its full maturity. And the era began to be called Pushkin's. A.S. Pushkin. Subject: My favorite writer!
"Alexander Sergeevich" - Great poet. Natalya Alexandrovna. Pushkin's hope is hoarse. Life of Alexander Sergeevich Pushkin. Photo by Natalia Goncharova. Pushkin was wounded in the stomach and died two days later…….. Maria Alexandrovna. Pushkin Sergey Lvovich. Alexander Sergeevich Pushkin. Parents of the greatest poet. Children of Alexander Pushkin.
"A.S. Pushkin is a great poet" - A.S. Pushkin. After graduating from high school. On May 6, 1830, Pushkin finally got engaged to N.N. Goncharova. Alexander Sergeevich Pushkin. Soon, through the St. George Monastery and Bakhchisaray, Pushkin went to. At the beginning of 1834, an adopted Dutchman appeared in St. Petersburg. January 27, 1837, at 5 pm, on the Black River in the suburbs.
"Lyceum Friends of Pushkin" - Uncle Vasily Lvovich Pushkin - a popular poet of the early 19th century. Sentenced to hard labor in Siberia after the Decembrist uprising (“My first friend…”). The image of "friendship" in the lyrics: Brother Lev Sergeevich. Lyceum friends of the poet. Mother Nadezhda Osipovna, nee Hannibal. Father - Sergey Lvovich Pushkin. “Old man Derzhavin noticed us And, descending into the coffin, blessed…”.
"Goethe and Pushkin" - Pushkin in "Faust" at first had an Act, not a word. I remember a wonderful moment: You appeared before me, Like a fleeting vision, Like a genius of pure beauty. A rebellious storm has dispelled former dreams, And I forgot your gentle voice, Your heavenly features. In Goethe, the Eternal Feminine saves man. Pushkin's mysticism of Eternal Femininity is alien.
"Poets of the time of Pushkin" - Svetlana. Batyushkov is an artist. Pushkin's parents. Kuchelbecker - Decembrist. Correspondence between Delvig and Pushkin. Baratynsky enters the private. Evening Star. Zhukovsky Vasily Andreevich. My good genius. Batyushkov Konstantin Nikolaevich A.S. Pushkin. Wilhelm Küchelbecker. Illegitimate son. Astrakhan Hussars.
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Though it is sometimes heavy in her burden,
The cart on the go is easy;
Dashing coachman, gray time,
Lucky, will not get off the irradiation.In the morning we sit in the cart;
We are happy to break the head
And, despising laziness and bliss,
We shout: go! . . . .But at noon there is no such courage;
shook us; we are more afraid
And slopes and ravines;
We shout: take it easy, fools!The cart is still rolling;
In the evening we got used to it
And, drowsing, we go to the lodging for the night -
And time drives horses.
Creation date: 1823
Analysis of Pushkin's poem "The Cart of Life"
During the southern exile, Alexander Pushkin was in a rather gloomy mood almost all the time, mentally cursing not only his own fate, but also the people involved in his expulsion from St. Petersburg. It was during this period that sarcastic and even mocking notes appeared in the poet's work, the author tries to generalize everything that happens and endow him with some philosophical meaning.
The result of such attempts can be considered the poem "The Cart of Life", which was written in 1823. The poet at that time was in Odessa and was forced to serve in the office of the Governor-General Mikhail Vorontsov, performing minor and unnecessary assignments. According to the recollections of eyewitnesses, the last straw that overwhelmed the poet's patience was trains out of town in order to find out how badly the wheat crops were damaged by hordes of locusts. It is believed that it was after this incident that Pushkin not only compiled a daring report for his boss, but also wrote the poem "The Cart of Life", in which he poured out all his bile and causticity.
The philosophical attitude to reality, which the poet was not able to change, prompted him to a very successful literary image. As a result, Pushkin compared human life to a cart, which is “light on the move”, although sometimes it is forced to carry a heavy load. The author ranks the thoughts, feelings and actions of people who, nevertheless, are not able to speed up or slow down the course of life-cart to it. Only we ourselves can influence this, when we are “glad to break our heads” in order to quickly get to the intended goal, no matter how illusory and absurd it may seem from the outside.
Pushkin compares youth with early morning, when a person just gets into a cart and rushes on it at full speed over potholes and off-road, regardless of time and one's own strength. However, when noon comes, which in the author's interpretation symbolizes the maturity of the mind and body, "we are more afraid of both slopes and ravines." This means that over the years a person not only acquires some wisdom, but also becomes much more careful, realizing that on a winding path, even in a solid and durable cart, you can easily break your neck.
And, finally, in the life of almost every person there comes a period when he does not want to go anywhere at all. For Pushkin, the evening symbolizes old age, when a person who has traveled a long way has already become so close to his life-cart that he simply ceases to notice its attractive sides, rejoice and grieve, love and suffer. At this stage, we are all "dozing, we go to bed, and time drives the horses."
Thus, Pushkin compared human life with a ride on a creaky cart, and this journey only at the beginning gives each of us a feeling of joy, inspires us to bold deeds and makes us ignore obstacles. However, with age, life becomes a burden even for optimists who, not seeing a more interesting path for themselves, lose all interest in such a trip and get annoyed every time they get into potholes.
It is noteworthy that this poem was published almost immediately after Pushkin returned from his southern exile. However, a modified version of this work was published in the Moscow Telegraph magazine, from which Pyotr Vyazemsky removed obscene expressions, which the poet liked to resort to in moments of extreme irritation. Pushkin, sending the manuscript to Vyazemsky, warned in advance that he could make changes at his own discretion, thereby recognizing that The Cart of Life was written by him under the influence of a protracted depression.
Philosophical analysis of the poem "The Cart of Life" Alexander Pushkin
Though it is sometimes heavy in her burden,
The cart on the go is easy;
Dashing coachman, gray time,
Lucky, will not get off the irradiation.
In the morning we sit in the cart;
We are happy to break the head
And, despising laziness and bliss,
We shout: go! . . . . . . .
But at noon there is no such courage;
It shocked us: we are more afraid
And slopes and ravines:
We shout: take it easy, fools!
The cart is still rolling;
In the evening we got used to it
And slumbering we go to sleep,
And time drives horses.
During the southern exile, Alexander Pushkin was in a rather gloomy mood almost all the time, mentally cursing not only his own fate, but also the people involved in his expulsion from St. Petersburg. It was during this period that sarcastic and even mocking notes appeared in the poet's work, the author tries to generalize everything that happens and endow him with some philosophical meaning.
The result of such attempts can be considered the poem "The Cart of Life", which was written in 1823.
The philosophical attitude to reality, which the poet was not able to change, prompted him to a very successful literary image. As a result, Pushkin compared human life to a cart, which is “light on the move”, although sometimes it is forced to carry a heavy load. The author ranks the thoughts, feelings and actions of people who, nevertheless, are not able to speed up or slow down the course of life-cart to it. Only we ourselves can influence this, when we are “glad to break our heads” in order to quickly get to the intended goal, no matter how illusory and absurd it may seem from the outside.
Pushkin compares youth with early morning, when a person just gets into a cart and rushes on it at full speed over potholes and off-road, regardless of time and one's own strength. However, when noon comes, which in the author's interpretation symbolizes the maturity of the mind and body, "we are more afraid of both slopes and ravines." This means that over the years a person not only acquires some wisdom, but also becomes much more careful, realizing that on a winding path, even in a solid and durable cart, you can easily break your neck.
And, finally, in the life of almost every person there comes a period when he does not want to go anywhere at all. For Pushkin, the evening symbolizes old age, when a person who has traveled a long way has already become so close to his life-cart that he simply ceases to notice its attractive sides, rejoice and grieve, love and suffer. At this stage, we are all "dozing, we go to bed, and time drives the horses."
Thus, Pushkin compared human life with a ride on a creaky cart, and this journey only at the beginning gives each of us a feeling of joy, inspires us to bold deeds and makes us ignore obstacles. However, with age, life becomes a burden even for optimists who, not seeing a more interesting path for themselves, lose all interest in such a trip and get annoyed every time they get into potholes.
