What do you think of the lyrical heroine in Lermontov's poem?

From under the mysterious cold half mask

Your captivating eyes shone on me

And the wicked lips smiled.

Through the light haze I involuntarily noticed

And virgin cheeks, and white necks.

Lucky! I also saw a willful lock of hair,

The native curls who left the wave!..

And then I created in my imagination

By slight signs of my beauty;

And from then on, an ethereal vision

I carry it in my soul, caress it and love it.

And everything seems to me: these speeches are alive

In the years gone by I once heard;

And someone whispers to me that after this meeting

We will see each other again, like old friends.

M.Yu. Lermontov, 1841

Show full text

The lyrical heroine in the poem by M.Yu. Lermontov “From under the mysterious, cold half mask...” - a dream with which the lyrical hero is involved in a romantic relationship. He admires the beauty of his beloved: “captivating eyes”, “cunning lips”.

The lyrical heroine can be imagined as a stranger. The character of the poem notices every detail of the heroine: “white neck”, “virgin cheeks”.He remembered certain features of appearance,

Criteria

• 2 of 3 K1 The depth of the judgments made and the persuasiveness of the arguments
• 0 of 1 K2 Following speech norms
• TOTAL: 2 out of 4

The poem describes the feelings and poetic dreams of the lyrical hero. The autograph of the poem has not survived, so the year of writing (1841) is indicated tentatively. The addressee is also unknown. Researchers' opinions about the artistic value of the poem also differ: some consider it weak.

The peculiarity of the poem was that Lermontov describes not his experiences, but the experiences of a woman. At a masquerade ball, the lyrical hero meets a stranger (meeting motive).

At first she seems “mysterious, cold” to him. He peers at her, pays attention to her voice, eyes, smile. Without knowing who she is, the lyrical hero breaks up with her. But in the soul of the lyrical hero she is imprinted as an ideal, an image of an “ethereal vision” woven from the “light signs” of that very beauty.

A motive of recognition arises (And everything seems to me: these speeches were alive / I once heard them in years past) and hope for a future meeting (the motive of dreams).

Compositionally, the poem can be divided into two parts: the past (past years) and the future (after this meeting). Chance meeting characters becomes the starting point in the composition. The first part of the poem is addressed to the past. This is conveyed using verbs: “sounded”, “shone”, “smiled”, “noticed”, “saw”, “created”.

The second is to the present and future: “I’m wearing”, “it seems”, “whispers”, “see you”. The 1st and 2nd stanzas are the past of the lyrical hero. The poet paints a portrait of a woman: her “pleasant, like a dream” voice, “captivating” not eyes, but “eyes”, “cunning” lips, white cheeks (“lanitas”), “willful curl”.

The true appearance of the heroine contrasts with the “mysterious, cold half-mask”, because what is hidden under it radiates light and warmth, coming towards the lyrical hero (“the voice sounded to me”, “the eyes shone for me”).

To create a female image, Lermontov uses romantic cliches, but he manages to make the poem original and original. In the 3rd stanza (past and present), the image of an “ethereal vision” appears. “Disembodied Vision” is no longer a secular beauty, but an ideal of love, the image-dream of a beloved, the same soul mate that the hero is looking for in order to overcome the feeling of loneliness. The key to revealing the image is “these living speeches,” that is, that same “pleasant voice, like a dream,” thanks to which he recognized a kindred soul (cf. “There are speeches - meaning ...”).

In the 4th stanza, the past and the future merge, hope for a meeting appears (And someone whispers to me that after this meeting / We will see each other again, like old friends).

The stanza is constructed using syntactic parallelism (present + past, present + future). The poem is optimistic in its mood: in the last stanza, faith in the possibility of unity of people and finding happiness appears.

The lyrics of M. Yu. Lermontov are very subtle matter. Each line of his poetic compositions is like an open mental wound. Despite the fact that the poet had a reputation as an enthusiastic and dreamy person, he always devoted himself to creativity with all the power of self-expression, reverently and under a veil of slight detachment, rhyming what he experienced. Every woman to whom Lermontov dedicated lines sincerely and passionately occupied his thoughts. But there was only one girl, whose memory and love remained in his heart until the end of his days.

The poem was created in 1841 and belongs to the late period of Lermontov’s work. He was already bored by then secular society, he often preferred solitude. However, for the sake of one of his beloved, who forever left a mark in his heart, the poet sometimes goes to balls. There he has the opportunity to meet Varvara Bakhmeteva, née Lopukhina, and secretly observe her. It is believed that the lines of this poem are dedicated to her.

The brother and sisters of Varvara, who was a member of the noble class, were friends with Lermontov, who later himself met the young lady. The love between them was platonic, but no less tender, bright and strong. Varvara was forced to accept the offer of the wealthy landowner Bakhmetev, who wooed her, since her parents were opposed to Lermontov. The poet dedicated more than one work to his beloved. It is also believed that the images of Vera and her old husband from “Princess Mary” (one of the chapters of “A Hero of Our Time”) were copied from the Bakhmetev couple.

Genre, direction and size

The genre of this lyrical work is elegy. The poet writes with sadness and a shadow of imagination about his meeting with his beloved woman.

The direction combines the features of romanticism and realism. Romanticism is manifested in how enthusiastic and captivated the poet is by the lady of his heart. And he uses bright means for this artistic expression. Realism is emphasized by the reality of the events and experiences of the author. Varvara Lopukhina became a muse for the poet already at the end of his life. life path. Even on envelopes with letters addressed to her, Lermontov often, in a rage, crossed out his beloved’s initials with her husband’s surname and indicated the initial letter maiden name. He was so painfully worried about her marriage and the inability to be around.

The meter of the poem is iambic hexameter. Cross rhyme is used, female and male.

Images and symbols

An important symbol of the poem is the mask, through which the poet easily recognizes his beloved. The fact is that at the time of the creation of this lyrical work, masquerades were popular. Lermontov addressed this topic more than once in his work. And having attended one of these masquerades, he had the opportunity to meet his beloved, Varvara Lopukhina. At that time, she was already married, and the poet understood the impossibility of a close relationship with her, which is why he felt depressed.

The poem is certainly autobiographical, although it has not been reliably established that it is dedicated specifically to Varvara. This is evidenced only by conjectures of contemporaries and eyewitnesses of the events.

The lyrical hero, played by the author himself, is able to recognize his beloved woman even under a mask. He distinguishes her features, notices the grace of the lines of her figure and face, catches every sound of her voice. The image that is hidden under the masquerade mask is endlessly loved by him, causes a tremulous heartbeat and reminds of the strong feeling hidden inside. The rest is already drawn by the poet’s imagination; he dreams that one day they will be able to meet their beloved “like old friends,” vainly hoping to go beyond the boundaries of impermissibility and prohibition. The author seems to repent that he could not give happiness to his dear woman, and refuses to recognize the rights of another man, the landowner Bakhmetev, to her.

Lopukhina reciprocated Lermontov's feelings. The first quatrain of his work tells us this. This, in turn, gave the poet inspiration and strength to create. They said that Varvara, like Mikhail Yuryevich, preserved this love that flared up between them until her death. Partly, the death of the poet crippled her. But the author left us these tender lines, in which he gives a special piquancy to the image of his beloved, whose recognizable face is excitingly hidden under the mask.

Themes and mood

1. The main theme of the poem is, of course, Love. She moves all the thoughts and actions of the poet, she changes and reveals him from the inside. His love for Varvara Lopukhina truly stood the test of time and circumstances: Lermontov retained his bright feeling for Varenka until the end of his life.
2. We also see nostalgia according to bygone times, which we can also call the theme of the work. The author recalls with grief and longing those times when the chances were not yet lost.
3. Mood lyrical work is the same as that of the author himself. He is consumed by bitter sadness from the impossibility of finding happiness next to the woman he loves and giving it to her. At the same time, the pace of versification is calm and does not differ in ardor of expression. This was all characteristic of the late period of Lermontov’s work.

main idea

The poet addresses us inner side your life, and not its shell. He clearly paints the true picture of love: after all, it does not always bring harmony and joy to everyone. Love can cause severe suffering, while being mutual. The triumph of reality over dreams, social frameworks over emotions - this is the main idea poems. Feelings do not always bring happiness; they are often shattered by the realities of life.

Lermontov talks about how difficult relationships can be between people who love each other, who want to be together, but do not have the opportunity to find this happiness. However, even this state of affairs makes sense in the life of a person capable of love. And by his example, the poet seems to be urging us not to give up our love under any pretext, not to be afraid to admit to ourselves this feeling for another person, even if this road does not have a clear route and bright prospects.

Means of artistic expression

All artistic media, used by the author when creating this poem, served to build the completeness of the images of himself as a lyrical hero, a stranger in a mask acting as a beloved woman, and in general for a comprehensive transmission of the poet’s reverent feelings.

Lermontov used only one comparison and already in the first quatrain: “Your voice sounded joyful to me, like a dream.” The poet thereby immediately declares the desire of his heart for his beloved, the ability to easily recognize her among the noise and ball and about heartache, filling him, being at the same time close and far from her.

Epithets convey the bright emotional coloring given by the poet to the described feelings and experiences: “captivating eyes”, “cunning lips”, “mysterious, cold half-mask”, “virgin cheeks”. At the same time, these artistic images they say that the poet is lonely and vulnerable. He realizes that he will not find a way to express his love. Sometimes it seems to him that his beloved is playing with his feelings and flirting. This is clearly conveyed through metaphors: “your captivating eyes shone on me,” “your crafty lips smiled,” “a willful lock of hair that left the wave of native curls,” “I carry an ethereal vision in my soul.” “Mouth” is an example of sublime vocabulary, communicating the strength of feelings for a stranger in a mask. Exclamation “Lucky!” also transmits high degree emotional state of the lyrical hero.

Lermontov approached the creation of this poem, being filled with the warmest, sincere and strong feelings for the lady of his heart. And so he filled his creation with the most exquisite and touching vocabulary.

Interesting? Save it on your wall!

"From under a mysterious, cold half-mask" “FROM UNDER THE MYSTERIOUS, COLD HALF MASK”, poem. (presumably 1841), characteristic of the intimate lyrics of the late period: unlike the early love cycles with their pathos of reproaches and confessions, the poet’s attention is no longer focused on the history of his own. feelings, but on female images, significant regardless of their involvement in lyricism. biography of the author (cf. “M. A. Shcherbatova”; “To the Portrait”). “In those years, love appears to Lermontov most often as a memory of the past... as a flickering hope for the future... or as a dream” [ Maksimov(2), p. 101]. Development of the theme verse. is defined poetically. transformation of the initial - restless-sensual - impression of the female form. In the 1st half. poem. “components” of this impression: “cold half mask” as a symbolic a sign of spiritual closeness and challenge (in the context of the disharmonious and disturbing Lermont theme of the masquerade; see A game in Art. Motives), emphasized plastic physicality of the 2nd stanza, moments of daring love play (the greedy gaze of the hero, the smile of the heroine’s “crafty lips”). It is no coincidence that A. A. Blok in a lyrically stylized portrait of L. (verse "Timelessness", 1906) paired this "sultry", in his words, female image with their infernal strangers in “black silks” who appear in the midst of “mysterious vulgarity” (see Sobr. soch., vol. 5, 1962, p. 76). Meanwhile, in the last two stanzas - in the secret heartland of memory and hope - an “ethereal vision” of a beauty appears, woven from “light signs”; lines 11-12 echo the dream of the ideal lover in the verse. “How often, surrounded by a motley crowd,” in lines 13-14 the theme of Plato’s “remembering” and the search for a lost ideal in a new guise sounds muffled (cf. “No, it’s not you I love so ardently”). Among the “easy signs” the poetic one stands out. in memory, the heroine’s voice is “pleasant, like a dream” (“these speeches are alive” - in the 4th stanza), which in L.’s lyrics was usually associated with the sublime and secret essence of love (“She sings - and the sounds melt”, “There are speeches - meaning”, etc.). However, the final, relaxed prosaism (“old friends”) brings the idealizers together again. creation of poetic “dreams” into the sphere of relationships that exclude unconditional worship and romanticism. distance. Overall verse. testifies to how far the freely contradictory sense of life of late L. is from Pushkin’s classic. cult pure beauty", and from the prescriptions of the romantic. idealism (cf. Platonist A. K. Tolstoy’s poem “Among the Noisy Ball,” written in Lermontov’s - but devoid of multi-tonality - lyrical plot; L. N. Tolstoy, bringing both poems closer together, gave preference to Lermontov’s, perhaps because his vital unintentionality and whimsicality; see "Leo Tolstoy on art and literature", vol. 2, 1958, pp. 152-53). Poem. - Lermont sample. composition skill. Thematic the balance of parts (stanzas 1-2 - impression, 3-4 - dream) shifts from place with a single intonation. the tension of the last two stanzas (“And then I created...”, “And from that time on...”, “And everything seems to me...”, “And someone whispers to me...”). Iambic hexameter in quatrains with cross rhyme (8th and 11th verses are “light”, pentameter) thanks to compare. abundance of dactylic caesuras and weakly stressed moves in plural beginnings. poems receive a new sound - a frequent case of transformation of traditions among L.-rhythmist. size. Lines 7-8 allow us to notice that L. did not pass by the “risky” poetics of V. G. Benediktov. Poem. set to music: M. A. Balakirev, L. O. Bakalov (Popov), S. N. Vasilenko, V. A. Gaigerova, Z. A. Levina, A. V. Mosolov, V. Ya. Shebalin and others Autograph unknown For the first time - “OZ”, 1843, vol. 28, no. 5, dep. 1, p. 80.

Lit.: Gunzburg, With. 207-08; Pumpyansky, With. 417; Peisakhovich(1), p. 435; Udodov(2), p. 127-31.

I. B. Rodnyanskaya Lermontov Encyclopedia / USSR Academy of Sciences. Institute rus. lit. (Pushkin. House); Scientific-ed. Council of the publishing house "Sov. Encycl."; Ch. ed. Manuilov V. A., Editorial Board: Andronikov I. L., Bazanov V. G., Bushmin A. S., Vatsuro V. E., Zhdanov V. V., Khrapchenko M. B. - M.: Sov. Encycl., 1981

See what “From Under the Mysterious, Cold Half Mask” is in other dictionaries:

MOTIVES of Lermontov's poetry. Motive is a stable semantic element lit. text, repeated within a number of folklore (where the motif means the minimum unit of plot structure) and lit. artist prod. Motive m.b. considered in the context of all creativity... ... Lermontov Encyclopedia

"Lermontov" request is redirected here; see also other meanings. Mikhail Yurievich Lermontov ... Wikipedia

This term has other meanings, see Airship (meanings). Airship “Napoleon rises from the grave”, (painting by Horace Vernet, 1860) Genre: ballad ... Wikipedia

- “To the death of Pushkin” ... Wikipedia

And, gen. pl. juice, date scam, w. A narrow mask that covers only the upper part of the face. Black half mask. Welding half mask. □ From under the mysterious, cold half-mask Your voice sounded to me as joyful as a dream. Lermontov, From under the mysterious... Her face... ... Small academic dictionary

HALF MASK, half masks, women. A narrow mask that covers only the upper part of the face (forehead, eyebrows, part of the nose). “From under the mysterious cold half-mask your voice sounded to me, joyful, like a dream.” Lermontov. Dictionary Ushakova. D.N. Ushakov. 1935... ... Ushakov's Explanatory Dictionary

TRANSLATIONS AND STUDY OF LERMONTOV IN THE LITERATURES OF THE PEOPLES OF THE USSR. The connections between L.’s creativity and the literature of the peoples of the USSR are numerous and diverse, they were implemented in different ways and were realized in individual literature, and arose in different time depending on the… … Lermontov Encyclopedia

MUSIC and Lermontov. Music in the life and work of L. The first muses. L. owes his impressions to his mother. In 1830 he wrote: “When I was three years old, there was a song that made me cry; I can’t remember her now, but I’m sure that if I had heard her, she would... ... Lermontov Encyclopedia

"From Under the Mysterious Cold Half-Mask" by Lermontov is a love poem, noticeably different from his other creations written in the genre love lyrics. What is special about this work and who served as the prototype for this mysterious woman?

What place does the poem occupy in the poet’s work?

Unfortunately, exact date The writing is unknown, but most literary scholars agree that this was that fateful year for the poet - 1841. Again, it is not known for certain who the image of the mysterious stranger in the half-mask was based on. Some believe that this is Lermontov's last hobby.

This was a married woman, but she still responds to the poet’s feelings. By that time, Mikhail Yuryevich was already bored. But in order to meet his beloved, he had to attend balls. These meetings took place in silence, because according to etiquette in those days, married women were not allowed to speak with strangers. There are suggestions that one of these meetings inspired Lermontov to write “From Under the Mysterious Cold Half Mask.”

This small love poem differs from others in that it is filled not with raging passions, but with peaceful feelings. Perhaps this is due to the fact that by that time all youthful passions had been replaced by calm and deep feelings. After all, his relationship with Lopukhina could not develop, so Lermontov could only keep tender affection in his heart and admire it from the side.

Motives in the poem

When analyzing “From Under the Mysterious Cold Half Mask” by Lermontov, one should consider in more detail the motives that exist in this work. This is the motive of the meeting, because the hero meets a mysterious stranger at a masquerade ball. Despite the fact that she seems cold to him, he tries to capture the image of this mysterious beauty in his heart.

Next comes the recognition motive, when the hero recognizes speech and other features. And the motive of hope for the next meeting, at which they will already be old friends. But the hero would be happy about this, because he would be able to see that beauty again and just talk to her.

Composition of the work

Lermontov's poem "From Under the Mysterious Cold Half Mask" has the following composition:

Literary devices

In “From Under the Mysterious Cold Half-Mask,” Lermontov uses contrast to create the heroine’s appearance: sometimes she seems cold and distant to the hero in a half-mask. But beneath her, he is sure that she radiates warmth and kindness. Of course, when describing a woman’s appearance, the poet uses romantic cliches, but the image still turns out to be original.

Also, in order for the poem to be smooth and musical, Lermontov uses assonance, inversion and parallelism. Its mood is more optimistic than sad. This is evidenced by the last line, which expresses the poet’s hope of meeting a stranger.

“From Under the Mysterious Cold Half Mask” by Lermontov is a lyrical poem imbued with hope. There are no strong feelings here, but quiet admiration and tender affection for the image of a mysterious stranger met by chance at a ball lyrical hero poet. Perhaps the whole story about Lermontov and Lopukhina is true, but regardless of who the poem was addressed to, it takes its rightful place among lyrical works.