Alexander Pushkin
I loved you: love is still, perhaps,
My soul has not completely died out;
But don't let it bother you anymore;
I don't want to make you sad in any way.
I loved you silently, hopelessly.
Now we are tormented by timidity, now by jealousy;
I loved you so sincerely, so tenderly,
How God grant that your beloved be different.
Ivan Bunin
Calm gaze, like the gaze of a deer,
And everything that I loved so tenderly in him,
I still haven't forgotten in my sadness.
But your image is now in the fog.
And there will be days when sadness will fade away,
And the dream of memory will shine,
Where there is no longer happiness or suffering,
But only the all-forgiving distance.
Joseph Brodsky
From "Sonnets of Mary Stuart"
I loved you. Love still (perhaps
that it's just pain) drills into my brain.
Everything was blown to pieces.
I tried to shoot myself, but it was difficult
with weapon. And then: whiskey:
which one to hit? It wasn't the trembling that spoiled it, but
thoughtfulness. Crap! Everything is not human!
I loved you so much, hopelessly,
as God may give you others - but he won’t!
He, being capable of many things,
will not create - according to Parmenides - twice
this heat in the blood, this big-boned crunch,
so that the fillings in the mouth melt from thirst
touch - “bust” I cross out - mouth!
Alexandra Levin
Poem written using the Russian word constructor program
I clubbed you. Klubov is still bearish
in my milk mushrooms with sour sable,
but she won’t trim your mouth any better.
I'm not kidding with the ugliness of PM.
I am not framing you as false.
Peignures of your removed seducing
I feel sick like a pouring gloom,
like a complete and delicious lie.
You are a nobody to me, a nobody muddy.
There is a landmine in my chest, but not quite.
Ah, alas for me!.. I, the etherate in the eyelashes,
I’m stealing a new policy for you!..
I swirled you so flutely and carnally
sometimes we are tormented by floatiness, sometimes by intellect,
I clubbed you so hellishly and awesomely,
like a flag in your hand, you can't be different.
Fima Zhiganets
I was tired of you; maybe from coming
I haven’t completely recovered yet;
But I won’t pump under the murkovod;
In short - love is crazy.
I've been enjoying you without tavern show-offs,
Sometimes he was under the hood, sometimes he was in jitters;
I've been bullshitting you, like a brother,
Who the hell can get away with you already?
Konstantin Wegener-Snaigala
Ministry of Literature of the Russian Federation
Ref. No. _____ dated October 19, 2009
To the Deputy Head of the Inspiration Department, Ms. ***
Explanatory
I hereby bring to your attention that I have carried out a process of love towards you. There is an assumption that this process was not fully extinguished in my soul. In connection with the above, I ask you to ignore possible alarming expectations regarding the partial continuation of the above process. I guarantee the renunciation of the intention to cause inconvenience in the form of sadness by any means available to me.
There is a need to clarify that the above process was carried out by me in conditions of silence, as well as hopelessness, while it was accompanied by such phenomena as, alternately, timidity and jealousy. To carry out the above process, I used such means as sincerity, as well as tenderness. Summarizing the above, allow me to express confidence in the adequacy of the further implementation of processes similar to the above in relation to you by third parties.
Sincerely,
Head of the Department of Literary Innovations Pushkin A.S.
Spanish Ogloblya I.I.
Yuri Lifshits
I stuck with you; still a junkie, in kind,
My brain is no longer soaring in the wilderness;
But I won’t foolishly blow myself up to load you;
It’s scary for me to push an empty car at you.
I stuck with you, writhing over betrayal;
Now he drove the snowstorm, now he threw himself into the smoke;
I stuck with you without bothering with a hairdryer,
How to hold a flag in your hands and get stuck with someone else.
I loved you: love is still, perhaps,
My soul has not completely died out;
But don't let it bother you anymore;
I don't want to make you sad in any way.
I loved you silently, hopelessly,
Now we are tormented by timidity, now by jealousy;
I loved you so sincerely, so tenderly,
How God grant you, your beloved, to be different.
The poem “I loved you: love is still, perhaps,” the work of the great Pushkin, was written in 1829. But the poet did not leave a single note, not a single hint about who main character this poem. Therefore, biographers and critics are still arguing about this topic. The poem was published in Northern Flowers in 1830.
But the most likely candidate for the role of the heroine and muse of this poem remains Anna Alekseevna Andro-Olenina, the daughter of the President of the St. Petersburg Academy of Arts A. N. Olenin, a very sophisticated, educated and talented girl. She attracted the attention of the poet not only external beauty, but also with his subtle wit. It is known that Pushkin asked for Olenina’s hand in marriage, but was refused due to gossip. Despite this, Anna Alekseevna and Pushkin maintained friendly relations. The poet dedicated several of his works to her.
True, some critics believe that the poet dedicated this work to the Polish woman Karolina Sobanska, but this point of view is based on rather shaky ground. Suffice it to remember that during his southern exile he was in love with the Italian Amalia, his heartstrings were touched by the Greek Calypso, ex-lover Byron, and, finally, Countess Vorontsova. If the poet experienced any feelings in socialite Sobanskaya, they were most likely fleeting, and 8 years later he would hardly have remembered her. Her name is not even in the Don Juan list compiled by the poet himself.
“I loved you...” and I.A. Brodsky “I loved you. Love still (possibly...)"
I loved you: love is still, perhaps,
My soul has not completely died out;
But don't let it bother you anymore;
I don't want to make you sad in any way.
I loved you silently, hopelessly.
Now we are tormented by timidity, now by jealousy;
How God grant that your beloved be different.
1829
A.S. Pushkin
Versification system: syllabic-tonic; there is an alliteration (repetition of consonants) of the sounds [p] (“timidity”, “jealousy”, “sincerely”, “to others”) and [l] (“loved”, “love”, “faded away”, “more”, “to sadden” "), which makes the sound softer and more harmonious. There is assonance (repetition of vowel sounds) of the sound [o] and [a] (“now we are tormented by timidity, now by jealousy”). The type of rhyme is cross (“may” - “disturbs”, “hopelessly” - “gently”, “at all” - “nothing”, “languishing” - “others”); Iambic 5-foot with alternating masculine and feminine clauses, pyrrhic, spondee (“there are more of you”), syntactic parallelism (“I loved you”).
A high literary syllable is used. A reverent appeal (“I loved you,” “I don’t want to sadden you with anything...”).
The first quatrain presents a dynamic picture, expressed using a large number of verbs used by the author: “loved”, “faded away”, “disturbs”, “want”, “sad”.
In the second quatrain, the hero’s descriptive feelings prevail:
“I loved you, silently, hopelessly,
sometimes we are tormented by timidity, sometimes by jealousy;
I loved you so sincerely, so tenderly,
How may God grant you, beloved, to be different.”
Composition: the first part points to the present, the second to the future.
The storyline is a love story.
There is syntactic parallelism (identical syntactic constructions), repetitions (“I loved you”). Syntactic figure. Anacoluth: “...How God grant you, to be loved by others”; metaphor: “love has faded away”, “love does not bother.” Refers to the realistic style, due to the small number of metaphors. Idea literary work– the last two lines (“I loved you so sincerely, so tenderly, as if God grant that your beloved be different”).
The hero has a subtle nature, sincerely loving.
The beauty of a woman for the poet is a “sacred thing,” love for him is a sublime, bright, ideal feeling. Pushkin describes different shades love and the feelings associated with it: joy, sadness, sadness, despondency, jealousy. But all of Pushkin’s poems about love are characterized by humanism and respect for a woman’s personality. This can also be felt in the poem “I loved you...”, where love lyrical hero hopeless and unrequited. But, nevertheless, he wishes his beloved happiness with another: “How God grant your beloved to be different.”
I loved you. Love still (perhaps
that it's just pain) drills into my brain.
Everything was blown to pieces.
I tried to shoot myself, but it was difficult
with weapon. And then: whiskey
which one to hit? It was not the trembling that spoiled it, but the thoughtfulness. Crap! Everything is not human!
I loved you so much, hopelessly,
as God may give you others - but he won’t!
He, being capable of many things,
will not create - according to Parmenides - twice this heat in the blood, a big-boned crunch,
so that the fillings in the mouth melt from the thirst to touch - I cross out the “bust” - lips!
1974
I.A. Brodsky
Versification system: syllabic-tonic. The poet goes so far beyond the framework of syllabic-tonic versification that the poetic form clearly interferes with him. He increasingly turns verse into prose. There is an alliteration of the sound [l], which means harmony; assonance of sound [o] and [u]; Iambic 5 foot, masculine clause. Alliteration of sounds: at the beginning of the poem the sound [l] predominates (“I loved you. Love still (perhaps just pain) drills into my brain”) - which is a sign of some kind of harmony; the sound (p) transforms the text into a rapid rhythm (verses 3-7), and then the sounds [s] and [t] reduce expressiveness (“...Everything flew to hell, into pieces. I tried to shoot myself, but it’s difficult with a weapon. And next, whiskey: which one to hit? It wasn’t the trembling that spoiled it, but the thoughtfulness! Damn! in lines 8 to 11, the speed of the rhythm drops with the help of the repetition of sounds [m] and [n], and the sound [d] betrays firmness (“... I loved you as much, hopelessly as God would have given you to others - but he won’t! , being capable of many things, will not create - according to Parmenides - twice ... "); at the end of the poem, the aggressive mood reappears - a repetition of the sounds [p], and is smoothed out by the sounds [p], [s] and [t] (“this heat in the chest is a big-boned crunch, so that the fillings in the mouth melt from the thirst to touch - I cross out “bust” - mouth"); the type of rhyme is cross (the first quatrain also contains the encircling type of rhyme).
A colloquial non-poetic syllable is used, but at the same time, addressing “You” gives a certain poetry and reverence.
A large number of verbs indicates that we have a dynamic picture of images.
Composition: the first part (line 7) points to the past, and the second to the future.
The storyline is the love story of the lyrical hero.
Anakolufu (“... as God may give you others, but he will not give you...”); metaphors (“love drills”, “fillings melted from thirst”).
The hero appears to be selfish; in his words we see not love, but only “desire.”
Brodsky’s sonnet seems to “repeat” the famous lines of the great poet, but in it we see something special. The enormous difference in the semantic coloring of the work shows that the comparison with Pushkin’s “love” is here only to appreciate the difference. The hero of the work is selfish, his feeling is not selfless, not sublime than Pushkin’s.
“I loved you...” by A.S. Pushkin (1829) - sample love lyrics author. This poem is the whole world where love reigns. It is limitless and pure.
All lines in the poetic work are filled with tenderness, light sadness and reverence. The poet's unrequited love is devoid of any egoism. ( For the text “I loved you...” by A.S. Pushkin, see the end of the text). He truly loves the woman discussed in the work, takes care of her, and does not want to worry her with his confessions. And she only wishes that her future chosen one would love her as tenderly and strongly as he does.
Carrying out an analysis of “I loved you...”, we can say that this lyrical poem is in tune with another poetic work of Pushkin - “On the Hills of Georgia.” The same volume, the same clarity of rhymes, some of which are simply repeated (in both works, for example, it rhymes: “may” - “disturbs”); the same structural principle, simplicity of expression, adherence to richness of verbal repetitions. There: “by you, by you, by you alone,” here three times: “I loved you...”. All this gives both poetic works extraordinary lyricism and sparkling musicality.
Who is the person to whom the lines in “I loved you” are addressed is not entirely clear. It is quite possible that this is A.A. Olenina. But, most likely, this will remain a mystery to us.
Development of the lyrical theme in poetic work not happening. The poet speaks about his love in the past tense. All the poet’s thoughts are not about himself, but about her. God forbid, he disturbs her with his persistence, causes any disturbance while loving her. “I don’t want to sadden you with anything...”
The poem “I loved you...” is performed in a complex, clear rhythm. It has a fine "syntactic, intonation and sound structure." Size of this lyrical work- iambic pentameter. With two exceptions, the stress in each line falls on the second, fourth, sixth and tenth syllables. The clarity and orderliness of the rhythm is further enhanced by the fact that in each line after the fourth syllable there is a distinct pause. What seems unique is Pushkin’s ability, with extreme harmony and organization of rhythm, to create an absolutely natural text.
The words “silently - hopelessly”, “timidity - jealousy” are rhymes, but they fit in so organically that it is completely unnoticeable.
The rhyme system is symmetrical and orderly. “All odd rhymes are instrumented with the sound “w”: “perhaps, alarming, hopeless, tender,” and all even rhymes are instrumented with the sound “m”: “at all, nothing, languishing, other" Cleverly and clearly constructed.
The poem “I loved you...” is a poetic work included in the poet’s “love legacy program.” It is unusual in that all the emotions of the lyrical hero are conveyed directly - through direct naming. The work ends conciliatoryly: the internal tension of the lyrical hero subsided at a time when he dotted all the i's for himself.
Poem “I loved you...” by Pushkin A.S. conveys the finest shades of tender, all-consuming love. The exciting emotionality of the content, the musicality of the language, the compositional completeness - all this is the great verse of the great poet.
I loved you: love still, perhaps
I loved you: love is still, perhaps,
My soul has not completely died out;
But don't let it bother you anymore;
I don't want to make you sad in any way.
I loved you silently, hopelessly,
Now we are tormented by timidity, now by jealousy;
I loved you so sincerely, so tenderly,
How God grant you, your beloved, to be different.
