First published in 1859 in “Notes of the Fatherland” (vol. 125, no. 7, department I, p. 58). In the autograph, after the first stanza there is a crossed out text:
My offense before the world,
It's my fault before people,
For whom you are an idol,
But I shouldn’t be a friend;
And you will meet fans
And, shining in front of the crowd,
You won't notice between the slaves
Dear soul for yourself.
Poetry "We know too much each other"To forget each other" with a slight change are repeated in the poem addressed to. In all likelihood, this poem also refers to her. In the draft autograph of the poem “K *” the entire first stanza of this poem was initially repeated with a slight change. The first four verses of this stanza are a translation from Byron's poem "The Day I Was Thirty-six". The motif of the last stanza (a cliff split by a thunderstorm) goes back to S. T. Coleridge's poem "Cristabel"; an excerpt from it was used by Byron as an epigraph to poem "Sorry", from where it was borrowed by Lermontov. The same motif was deployed in the poem
The poem was written in 1832. Addressed to N.F. Ivanova, one of the poet’s acquaintances, who was the subject of his hobbies in his youth. Perhaps it was Natalya Fedorovna who Lermontov dedicated greatest number his poems, the motive of which was: at the beginning of acquaintance - delight and admiration, and at the end - disappointed hopes and a vain thirst for love.
Ivanova Natalya Fedorovna
(Watercolor by M. A. Kashintsev)
In addition to this poem, the following works by Lermontov were dedicated and addressed to Natalya Ivanova:
. "Illness in my chest"
. “To the album of N. F. Ivanova”
. "Vision"
. “The Almighty has pronounced his verdict”
. “God grant that you never know”
. "Exhausted by melancholy and illness"
. "Why a magic smile"
. "When there are only memories"
. “I loved from the beginning of my life”
. "Instantly running through the mind"
. “I can’t languish in my homeland”
. “It wasn’t you, but fate was to blame”
. "Romance to Ivanova"
. "Sonnet"
. "I'm not worthy, maybe"
. "I will not humiliate myself before you"
"It's time for the heart to be at rest" “TIME FOR THE HEART TO BE PEACEFUL”, early verse. L. (1832), focused on psychological. elegy of the 1820s, dependence on the cut within the limits of the not yet established poetic. peace and philosophy L.'s range of ideas is especially noticeable here. Center. thought verse., exploring definition. the stage of fading love feelings, expressed in the words: “We know each other too much / To forget each other.” These lines are repeated in verse. “K*” (“I will not humiliate myself before you”), which indicates the special significance of this formula for the poet. The emotional situation finds a parallel in the natural world: referring to the repeatedly used image of cliffs, L. speaks of their deep connectedness despite external disunity (“But each rock noticeably preserved / The signs. / What nature united, / And fate separated them”); "signs" from the last stanza of the verse. correspond with the “trace” (see. Time and eternity in Art. Motives) left in the hero’s heart (1st stanza). Poem. probably addressed to N.F. Ivanova, like the verse. “K*” (“I will not humiliate myself before you”), in the draft autograph of which the entire first stanza of this verse was initially repeated with a slight change. (see Ivanovo cycle). The first six lines are verse. - free arrangement of verse. Byron: “On this day I complete my thirtysixth year”; 1824). Lines 21-28 from S. Coleridge’s poem “Christabel” (1816). They are also used in the verse. “Romance” (“There was a gray rock”) and in the poem “Mtsyri” (chapter 6). Autograph - IRLI, notebook. IV. After the 1st stanza, eight lines are crossed out. For the first time - “OZ”, 1859, No. 7, dept. I, p. 58, without verses 21-28. Dated according to position in the notebook.
Lit.: Neumann(2), p. 285-86; Eikhenbaum(3), p. 48-49; Andronikov(9), p. 140; Peysakhovich(1), p. 468-69.
K. M. Cherny Lermontov Encyclopedia / USSR Academy of Sciences. Institute of Russian 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 “Time for the heart to be at peace” 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
IVANOVSKY CYCLE, large cycle of youth love lyrics L. 1830 32, facing N.F. Ivanova (see Cycles). In the publications of L. 19th beginning. 20th centuries the poems of this cycle were published without specifying the addressee. In 1916, B. Neumann suggested that poetry... ... Lermontov Encyclopedia
BYRON George Gordon Noel (1788 1824), English. romantic poet. The participant will revolutionarily liberate. movements in Italy and Greece. He expressed the mood of the era of the collapse of enlightenment ideals. The combination of grief, irony and the will to fight in his poetry... Lermontov Encyclopedia
They are few in number, but they are (especially poetry) organic. part of it lit. heritage. The poetic translations amount to approx. Verse 30 with identified sources, but there are also, in all likelihood, hidden translations from unidentified sources. originals. The poet is not... Lermontov Encyclopedia
- “CLIFFE”, verse. L. (1841) with characteristic of his late lyric poetry symbolic imagery, “allegorical plot”; the leading motive is verse. the tragedy of loneliness is read simultaneously in two ways: as unrequited love and as fragility... ... Lermontov Encyclopedia
- “K*” (“I will not humiliate myself before you”), verse. early L. (1832), addressed to N.F. Ivanova, which sums up the dramatic outcome. for the poet's relationship with her. This is a kind of reckoning with the past, a passionate monologue, constructed as an accusation against the hero who rejected him... ... Lermontov Encyclopedia
COLERIDGE (Coleridge) Samuel Taylor (1772 1834), English. poet, lit. critic, philosopher. Representative of the “lake school” (“leikists”) circle of English. conservative romantic poets. L.'s attention was drawn to an excerpt from the unfinished work. fantastic poems by K. “Christabel”... ... Lermontov Encyclopedia
- “DOMESTIC NOTES” (1839 84), a magazine, originally a collection (1818 Part I, 1819 Part II), founded in St. Petersburg by P. P. Svinin and published monthly by him in 1820 30. In 1839 “OZ” was renewed by A.A. Kraevsky, published monthly (in 1865... ... Lermontov Encyclopedia
- “ROMANCE” (“There stood a gray rock on the seashore”), verse. L. (1832), variation of allegorical. a motif associated with the image of a cliff cut in two by lightning. The meaning of the allegory is revealed in the lyric. romance situation: “So you and I are separated by slander... ... Lermontov Encyclopedia
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Mikhail Yurievich Lermontov
Time for the heart to be at peace
From my excitement
From the moment the other
It no longer beats for him;
But let it tremble
That's a trace of crazy passion:
The sea is splashing so violently,
At least there is no storm above him!
Haven't you seen
In the hour of fatal separation,
How my tear shone,
To fall in front of you?
You rejected with contempt
My best sacrifice
You were afraid of regret
Resurrect your love.
But heart disease
You couldn't hide it;
We know each other too much
To forget each other.
So they sat down under the thunder,
I saw in one moment
Spared by centuries
Two coastal cliffs;
But noticeably preserved
Signs every rock,
What nature has united
But fate separated them.
Natalia Ivanova
Researchers attribute a sample of love-philosophical poetry from 1832 to the “Ivanovo cycle” - a series of Lermontov’s works written under the impression of a romantic infatuation with Natalia Ivanova. The motive of disbelief in love, which became the leading one in the poem “Time for the Heart...”, coincides with common theme disharmony in relationships, when the thirst for happiness turns into disappointed hopes, betrayals and reproaches.
As a specific source that influenced ideological content The opening stanza of Lermontov's work is called the poem created by Byron on his 36th birthday. Romantic motives of heart deafness and oblivion of feelings, farewell to love and hope, touched upon English poet, attracted a young author.
The lyrical hero reports the cooling of the love feeling, resorting to the image of the heart. The excitement of “crazy passion” is replaced by a time of calm, when subsiding experiences are only a reflection, a trace of past events.
In the second eighth line a new one appears original theme resentment, protest and reproaches addressed to the former lover. There are accusations of cruelty and arrogance. It is significant that female image the ability to love is not denied, however, the heroine, designated by the lyrical “you,” for unknown reasons, tries to hide her “heart disease,” fearing its revival.
The quatrain affirms the idea of internal unity of a broken couple: the heroes are united by memories of past love. The last couplet of the quatrain represents an aphoristic conclusion - a paradoxical philosophical conclusion about the closeness of separated people. These lines are repeated in the poem “I will not humiliate myself before you...”, also dedicated to Ivanova.
The artistic space of the work includes two landscape sketches, and a laconic mention of the sea, which appears in passing in the first stanza, precedes the appearance of the final detailed picture. Coastal cliffs, separated from each other by the elements, are among the cross-cutting images of Lermontov’s creative system. The author is attracted by the idea of a deep, intimate connection between two principles, hidden behind the visual disunity. With the help of a symbolic landscape, the poet builds a parallel between the picture of nature and the experiences of the lyrical hero.
The image of the cliffs appears in the Romance, dating from the same period. In this case, the author addresses the problem of eternal memory of true feelings - painful, but indelible, like a mark on the surface of a stone.
