"I love" Innokenty Annensky
I love the fade of the echo
After a crazy troika in the forest,
Behind the sparkle of fervent laughter
I languishingly love the strip.Winter morning love over me
I am a lilac spill of semi-darkness,
And where the sun burned in the spring,
Only a pink reflection of winter.I love in the pale expanse
Melted color in overflows ...
I love everything in this world
There is no consonance, no echo.
Analysis of Annensky's poem "I love"
Four months after the sudden death of Annensky, his collection Cypress Casket (1910) saw the light. The poet's son was engaged in preparing for publication. The book consists of several sections called shamrocks. This structure evoked mixed reactions from early twentieth-century readers. Bryusov considered the distribution of poems "artificial and pretentious". According to Balmont, listing even a part of the table of contents gave him a sense of the musicality of the soul.
"I love" is included in "Fade Shamrock". The work was first published in the collection Northern Speech (1906). One of the autographs is accompanied by a dedication to French: "A mon juge impeccable" (translated - "To my infallible judge"). In the poem, the main role is assigned to the theme of the purpose of the poet and poetry. The first lines speak of "echo fading". The next step is to deploy the image. Annensky's emphasis is not on "echo", but on "fading", which corresponds to the name of the cycle, which includes "I love". Innokenty Fedorovich presents various forms of fading to the attention of readers. Among them are “spill of semi-darkness”, “fading expanse”, “pink reflection of winter”. Everyone belongs to the natural world. At the end of the work, it turns out that there is “no consonance, no echo” for them. But the response is in the soul of the poet.
The poet is compared with an echo, which refers to the work of Pushkin. More specifically, to his "Echo" (1831). Annensky was not only familiar with this miniature, he carefully studied it. Mentions of her are found in the "Speech on Dostoevsky". Innokenty Fedorovich calls the poem charming and notes its key comparison - the poet is compared with the echo of various natural sounds. Annensky does not fully share Pushkin's point of view. According to Innokenty Fedorovich, the poet is not passive, unlike the echo. Transferring the objects of reality onto paper, he puts his thoughts, soul, views on the world, beliefs, and so on. Annensky believed that the poet reflects the ideal through creativity, making it accessible for contemplation by ordinary people.
Whatever contemporaries say about Innokenty Fedorovich, it is very difficult to overestimate his influence on Russian literature of the twentieth century. It's about not only about individual authors - Pasternak, Akhmatov and others, but also about entire trends - acmeism and futurism.
I love the fade of the echo
After a crazy troika in the forest,
Behind the sparkle of fervent laughter
I languishingly love the strip.
Winter morning love over me
I am a lilac spill of semi-darkness,
And where the sun burned in the spring,
Only a pink reflection of winter.
I love in the pale expanse
Melted color in overflows ...
I love everything in this world
There is no consonance, no echo.
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Innokenty Fyodorovich Annensky
I love the fade of the echo
After a crazy troika in the forest,
Behind the sparkle of fervent laughter
I languishingly love the strip.
Winter morning love over me
I am a lilac spill of semi-darkness,
And where the sun burned in the spring,
Only a pink reflection of winter.
I love in the pale expanse
Melted color in overflows ...
I love everything in this world
There is no consonance, no echo.
Four months after the sudden death of Annensky, his collection Cypress Casket (1910) saw the light. The poet's son was engaged in preparing for publication. The book consists of several sections called shamrocks. This structure evoked mixed reactions from early twentieth-century readers. Bryusov considered the distribution of poems "artificial and pretentious". According to Balmont, listing even a part of the table of contents gave him a sense of the musicality of the soul.
"I love" is included in "Fade Shamrock". The work was first published in the collection Northern Speech (1906). One of the autographs is accompanied by a dedication in French: "A mon juge impeccable" (translated as "To my infallible judge"). In the poem, the main role is assigned to the theme of the purpose of the poet and poetry. The first lines speak of "echo fading". The next step is to deploy the image. Annensky's emphasis is not on "echo", but on "fading", which corresponds to the name of the cycle, which includes "I love". Innokenty Fedorovich presents various forms of fading to the attention of readers. Among them - "pouring of semi-darkness", "pale expanse", "pink reflection of winter". Everyone belongs to the natural world. At the end of the work, it turns out that there is “no consonance, no echo” for them. But the response is in the soul of the poet.
The poet is compared with an echo, which refers to the work of Pushkin. More specifically, to his "Echo" (1831). Annensky was not only familiar with this miniature, he carefully studied it. Mentions of her are found in the "Speech on Dostoevsky". Innokenty Fedorovich calls the poem charming and notes its key comparison - the poet is compared with the echo of various natural sounds. Annensky does not fully share Pushkin's point of view. According to Innokenty Fedorovich, the poet is not passive, unlike the echo. Transferring the objects of reality onto paper, he puts his thoughts, soul, views on the world, beliefs, and so on. Annensky believed that the poet reflects the ideal through creativity, making it accessible for contemplation by ordinary people.
Whatever contemporaries say about Innokenty Fedorovich, it is very difficult to overestimate his influence on Russian literature of the twentieth century. We are talking not only about individual authors - Pasternak, Akhmatov and others, but also entire trends - acmeism and futurism.