The work belongs to the genre of philosophical lyricism and was created by the poet at the age of twenty, having as the main poetic idea the disclosure of the ideas of a literary movement in the form of symbolism, the founder of which is the author of the poem.
The poem is a canonical version of a sonnet, expressed in two quatrains with the inclusion of a sweeping rhyme and two tercets. Moreover, the work, consisting of fourteen lines, is distinguished by a strict rhyme system.
Numerous epithets are used as the main means of artistic expression in the poem, allowing the poet to demonstrate the harmony of the thought process, more clearly revealing the images and detailing the essence of the work. In addition, to give the poems a sonnet-like lightness, the author uses a variety of lexical means in the form of metaphors, personifications, and parallelism.
The compositional structure of the poem builds a relationship between the semantic load of creative works and the meaning of expression and influence of poetic thought. The poet depicts fantasy as the basis of poetry, described as airy and changeable heavenly clouds, which can be seen by catching their contour bends.
The narrative in the poem appears to reveal the author’s ideological plan, which consists in the need to give original thoughts refined and impeccable perfect forms. Only in this way is it possible to create real masterpieces of poetic literature. The author's idea is expressed by the poet in the form of a comparison with a flower, in which its external contour appearance is correlated with its content in the form of smell.
The content of the work reveals the poet’s position on the difficult mental work of a writer, coupled with an incredible sense of harmony, which is subject to only a few representatives of humanity, while the author assigns inspiration the role of a secondary entity. That is why the author feels the desire to achieve this pinnacle of mastery, dreaming of composing poems that are beautiful not only in terms of their content, but also have impeccable forms.
Thus, the poem is an attempt to search for poetic harmony in the relationship between form and content, to which the poet’s sublime thought strives, dreaming of creating a diamond in the form of a literary masterpiece.
Analysis 2
The work “Sonnet to Form” is an excellent example of the creation of the Symbolists. Although Valery Bryusov was very young at the time of creation, his enormous talent can be seen in the poem. The poem aims to reveal the essence, the idea of symbolism. It can be classified as philosophical poetry.
Epithets are regular guests in Bryusov’s poems; the poet needs them because they play a big role in works of a symbolic direction. The epithet in works contributes to a more vivid disclosure of the image; it details the essence in order to achieve harmony in the thoughts that appear in a person’s head.
Every poet, without exception, strives for eternity with his works. Bryusov paid great attention to this issue. There was no doubt in him that hundreds of poems could be created, and all of them could be written in vain, they would not become an object of admiration, no one would strive to imitate the poems. And this happens due to the fact that the reader did not understand what thoughts the poet put into his creation. From another point of view, even if poems are simple and understandable to a wide circle, they still do not evoke the necessary admiration, because absolutely any person has the gift of versification.
Valery Bryusov believes that a work should have some extraordinary idea, presented in an extremely subtle form that is impeccable in its grandeur. Only if these conditions are met, the best poems are born, which subsequently become the property of world literature, a new stage in its development.
Until the end of his life, the poet Bryusov sought to reunite form with content in his works. He carefully chose the words for any of his creations and strove to turn it into a masterpiece.
Valery Bryusov is a talented poet who gave Russia the latest movement in literature, such as symbolism. Basically, the poet concentrated his attention on various current, human-related problems: from simple personal experiences of a person - the themes of falling in love, love of the Motherland, loneliness, to more important topics such as power, culture, art, war and other upheavals. Valery Bryusov developed and improved the cultural life of Russia. Thanks to the poet, the latest works of symbolist writers were published.
Analysis of the poem Sonnet to form according to plan
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Valery Yakovlevich Bryusov
There are subtle power connections
Between the contour and the smell of a flower
So the diamond is invisible to us until
Under the edges will not come to life in a diamond.
So the images of changing fantasies,
Running like clouds in the sky,
Petrified, they live for centuries
In a polished and complete phrase.
And I want all my dreams to
Having reached the word and the light,
We found the traits we wanted.
Let my friend, having cut the poet's volume,
He will revel in it and the harmony of the sonnet,
And letters of calm beauty!
Valery Bryusov
Valery Bryusov is one of the founders of Russian symbolism - a movement that elevates the form of any literary work to the absolute. Therefore, it is not surprising that in his early poems this poet preaches the ideas of his chosen literary direction, trying to convey to readers the idea that even a modest quatrain should be completely in its beauty.
However, a fascination with form was characteristic of many Russian poets who adhered to symbolist views. And this became an excellent incentive for the development of poetic language, which became more refined, laconic and elegant.
In 1895, declaring his symbolist views, Valery Bryusov published the poem “Sonnet to Form,” in which he tried to convey to readers that the connection between the meaning of any work and how this meaning is expressed affects its perception. This connection is subtle, and to make it more visible, any author has to make a lot of effort. “So a diamond is invisible to us until it comes to life in a diamond under its facets,” the poet notes. According to Bryusov, the basis of any work is fantasy, which is airy and changeable, like “clouds in the sky.” However, some still manage to capture them in such a way that readers can catch their every curve and changing contour. They are “petrified, and then live for centuries in a sharpened and completed phrase.”
The desire for eternity in his works is characteristic of almost every poet. However, Bryusov treated this issue with particular trepidation. The author was convinced that hundreds of poems could be written, and not one of them would become an object of imitation and admiration just because readers would never be able to understand what exactly the poet wanted to tell them. On the other hand, works that are too simple and accessible in their understanding do not cause due admiration, since almost every person has the gift of versification. As a result, the ideal version of the work, according to Bryusov, should contain an original thought, which is presented in a very refined and impeccable in its perfection form. Only in this way are real poems born, which become the property of world literature and the next step in its development. And the names of their creators are written in golden letters into history, even if the author owns only one quatrain, ideal in all respects. Only a few can create such works, and inspiration in this regard plays a secondary role. The poet is convinced that versification is hard mental work, coupled with an impeccable sense of harmony.
It is precisely this pinnacle of mastery that Bryusov himself strives for, who dreams that his poems will not only be beautiful in content, but also have an impeccable form. He dreams that any reader will be able to enjoy these two important components of poetry, so closely interconnected and allowing them to create a single picture of the universe, imaginative, exciting and delightful in its beauty. Bryusov wants every reader, upon opening a collection of his poems, to “drink in it both the harmony of the sonnet and the letters of calm beauty.” However, it is worth noting that over the years the poet has somewhat changed his views, becoming convinced that the power of a word does not always depend on the form in which it is presented. Nevertheless, until the end of his days, Bryusov strove to find harmony between form and content, choosing words for each of his poems with special care and trying to turn it into a small poetic masterpiece, shining like a diamond in the sunlight.
There is information that, like garbage, clogs the brain with its uselessness. By accepting the unnecessary, a person takes space in his head from the important and extremely necessary.
Prelest is the subordination of life to false opinions and ideas.
To love your neighbor means to be the space for his formation in God.
To be with God is to be a space for another to become in God.
Even where one big one gives and another small one receives, equality of greatness is possible. A grateful taker is equal to a selfless giver. And the one who gives selfishly/arrogantly gives less than the one who gratefully takes.
Friendship is equality of greatness.
Dignity is being put together, having all the parts of the whole in their place and having those parts in right relationship with each other - i.e. integrity relationships.
Any problem can be solved using the principle “Where two or three are gathered in My name, there I am in the midst” (Matt. 18:20), i.e. if problems are not solved, then we are not going to solve them in His name, but want to solve them in our own name (if we want to solve them at all, and do not prefer not to see or hear anything). Or simply everyone is on their own wavelength and thinks only about themselves and their own, losing sight of the other.
Prayer is standing in God. To pray for someone is to stand in God, holding the image of this person within yourself, and wishing him from the heart for salvation in Christ. The person praying is not vindictive, because it is impossible to stand in God while being angry (to be angry is to stand in evil, not in God).
I'm afraid to know - those who know lie.
Three existential states of a person: text, song, anti-song. An anti-song kills, just as a song gives life.
Every person can be one, the other and the third. It becomes a text through the works of others (it is born as a text), everything is a text and everything is a text. It becomes a song in God and with God. And antisong - when he fights against the song of another.
Christ is the Song, Antichrist is the Anti-Song.
Don't trade the sky - you won't lose bread.
G. Skovoroda was lucky, he could confidently say: “The world caught me and did not catch me.” Today's geniuses, especially after death, are caught by the world with copyright. And he catches...
The creative act consists of sketching an internal event using means accessible to external perception and thereby securing the entrance to the experienced state (so that one can return), as well as making it accessible to others.
To know a person is to know his deep, core, most important, eternal. Eternity is when we look at each other with eternal eyes and see each other’s eternal. When we look at the eternal, we become eternal.
Ideological cliches are garbage that clogs the brain. The result is that people stop perceiving normal text; sensitivity remains only to ideological propaganda.
Life is an exchange of life.
Freedom is communion with God. Communication with God and in God, communication between God in oneself and God in another. Freedom is being in God. You can be yourself with yourself or with others, or with God, only by being in God.
Every person is a text that is meant to become a song.
What is the difference? We can probably say this: a text is a set of letters, words, phrases in any order, they were before a person and will be after him. And the song is his inner essence, sounding through the same words, but conveying a personal sound. It’s as if the text cannot be patented - it is general, but the song, as it were, receives a personal patent from God. Why from God? Because God gives the song, our inner man sings only when he is in God.
Speech is like Ariadne's thread in the labyrinth of everyday life. Tsvetaeva’s words about this are “the poet starts talking from afar, the poet starts talking far away.” The poet holds this thread in his hands and can pull on it, becoming involved and involved in its messages. The poet jumps into the “water” of words, linked together by the laws of integrity, and, turning over the words like beads on a rosary, he thinks not from himself, but from speech - from the Word.
The poet's speech is a conversation with the Word through words.
A Christian is not a man of his crowd, his party, but a man of Christ.
He who does not have love cannot hear the word, because he cannot follow the path of the Word.
There are subtle power connections
Between the contour and the smell of a flower
So the diamond is invisible to us until
Under the edges will not come to life in a diamond.
So the images of changing fantasies,
Running like clouds in the sky,
Petrified, they live for centuries
In a polished and complete phrase.
And I want all my dreams to
Having reached the word and the light,
We found the traits we wanted.
Let my friend, having cut the poet's volume,
He will revel in it and the harmony of the sonnet,
And letters of calm beauty!
Analysis of the poem “Sonnet to Form” by Bryusov
As a theorist of symbolism, Valery Yakovlevich Bryusov postulates his creative principles and guidelines not only in articles, but also in poetry.
The poem was written in June 1895. Its author is 22 years old at this time, he is a student, he has published his debut collection with the discreet title “Masterpieces,” and he is interested in French poetry. By genre - philosophical lyrics about the purpose of creativity, by size - iambic with encircling rhyme, 4 stanzas. The choice of sonnet is already a clear example of how form works for content. The vocabulary is sublime. The lyrical hero is the author himself. In the first quatrain, the hero declares an undoubted connection between “the contour and the smell of a flower.” The statement is quite dubious; in fact, even among people, appearances can be deceptive. But for V. Bryusov, harmony lies in the pairings of the real and the unreal, in lines, signs and aroma or color. The hero believes that he clearly hears the music of the spheres.
“Until it comes to life”: according to the poet, only skillful cutting gives meaning and value to a diamond. “Petrified, they live in a phrase”: here one feels both a parallel with fossils and an involuntary comparison of the work of a poet with the hand of an entomologist, pinning fantasies and images onto the pages of books. “And I want”: in the terzetto the author gets down to business, the pronoun “I” appears. “Before the word and before the light”: before literature and painting. He notes that not all dreams come true in works of art. “Let my friend”: the author is confident that he will have like-minded people who can appreciate the “harmoniousness of the sonnet”, “letters of calm beauty”. Form is not only equal to content, but also becomes content itself. The search for hidden meaning in letters and sounds is characteristic of the turn of the century; just remember V. Khlebnikov and V. Mayakovsky. The poem is built on the technique of syntactic parallelism. Epithets: powerful connections, changeable fantasies, polished phrases, desirable traits. Comparison: running like clouds. “Cutting the volume”: at the beginning of the 20th century, the reader still cut the pages of each new book with his own hand with a special knife. Personification: come to life, those running. Metaphor: a friend will get drunk (that is, enjoy). The final line ends with a rhetorical exclamation.
Perfection of form is an art in itself. It is this topic that is devoted to V. Bryusov’s work “Sonnet to Form,” published 18 years after its creation in the final collection at that time.
“Sonnet to Form” Valery Bryusov
There are subtle power connections
Between the contour and the smell of a flower
So the diamond is invisible to us until
Under the edges will not come to life in a diamond.So the images of changing fantasies,
Running like clouds in the sky,
Petrified, they live for centuries
In a polished and complete phrase.And I want all my dreams to
Having reached the word and the light,
We found the traits we wanted.Let my friend, having cut the poet's volume,
He will revel in it and the harmony of the sonnet,
And letters of calm beauty!
Analysis of Bryusov’s poem “Sonnet to Form”
Valery Bryusov is one of the founders of Russian symbolism - a movement that elevates the form of any literary work to the absolute. Therefore, it is not surprising that in his early poems this poet preaches the ideas of his chosen literary direction, trying to convey to readers the idea that even a modest quatrain should be completely in its beauty.
However, a fascination with form was characteristic of many Russian poets who adhered to symbolist views. And this became an excellent incentive for the development of poetic language, which became more refined, laconic and elegant.
In 1895, declaring his symbolist views, Valery Bryusov published the poem “Sonnet to Form,” in which he tried to convey to readers that the connection between the meaning of any work and how this meaning is expressed affects its perception. This connection is subtle, and to make it more visible, any author has to make a lot of effort. “So a diamond is invisible to us until it comes to life in a diamond under its facets,” the poet notes. According to Bryusov, the basis of any work is fantasy, which is airy and changeable, like “clouds in the sky.” However, some still manage to capture them in such a way that readers can catch their every curve and changing contour. They are “petrified and live for centuries in a polished and complete phrase.”
The desire for eternity in his works is characteristic of almost every poet. However, Bryusov treated this issue with particular trepidation. The author was convinced that hundreds of poems could be written, and not one of them would become an object of imitation and admiration just because readers would never be able to understand what exactly the poet wanted to tell them. On the other hand, works that are too simple and accessible in their understanding do not cause due admiration, since almost every person has the gift of versification. As a result, the ideal version of the work, according to Bryusov, should contain an original thought, which is presented in a very refined and impeccable in its perfection form. Only in this way are real poems born, which become the property of world literature and the next step in its development. And the names of their creators are written in golden letters into history, even if the author owns only one quatrain, ideal in all respects. Only a few can create such works, and inspiration in this regard plays a secondary role. The poet is convinced that versification is hard mental work, coupled with an impeccable sense of harmony.
It is precisely this pinnacle of mastery that Bryusov himself strives for, who dreams that his poems will not only be beautiful in content, but also have an impeccable form. He dreams that any reader will be able to enjoy these two important components of poetry, so closely interconnected and allowing them to create a single picture of the universe, imaginative, exciting and delightful in its beauty. Bryusov wants every reader, upon opening a collection of his poems, to “drink in it both the harmony of the sonnet and the letters of calm beauty.” However, it is worth noting that over the years the poet has somewhat changed his views, becoming convinced that the power of a word does not always depend on the form in which it is presented. Nevertheless, until the end of his days, Bryusov strove to find harmony between form and content, choosing words for each of his poems with special care and trying to turn it into a small poetic masterpiece, shining like a diamond in the sunlight.