1810-1830s considered the golden age of Russian poetry, which in this romantic era has achieved significant artistic success. This period can be safely called the beginning of the creative maturity of domestic literature. The central figure of the poetic process in the 1st third of the 19th century was Pushkin. The first thirty years are called the Pushkin era. Many writers grouped around the poet, while some retained their own intonation and handwriting in their works, while others imitated Alexander Sergeyevich and formed the so-called Pushkin circle of poets.
Community of literary art
There was no formal association of poets at that time. Poets of the Pushkin circle, the list of which contains such names as Vyazemsky, Baratynsky, Yazykov, Delvig, were original and individual, with their own unique voice. One way or another, in their work, they started from Pushkin’s poems, but didn’t take a subordinate position towards him, sometimes they even argued and did not agree with him, and sometimes they opposed him with their own understanding of the problems and nature of poetry. This was mainly characteristic of Yazykov and Baratynsky. Each poet, approaching Alexander Sergeyevich, at the same time tried to maintain his creative independence from him.
What then is the commonality of these poets? Despite the different lyrical handwriting, the poets of the Pushkin circle had the same views on the world attitude and world outlook. A message on this topic, by the way, is often asked to prepare schoolchildren in literature lessons, so the article will be useful to parents who help their children with homework. So, all the poets of the Pushkin pleiad believed that poetry is the art of harmony, bringing harmony into the human soul. In moments of grief and sorrow, people turn to verses, and in them they find peace. The Pushkin circle of poets considered harmony to be a kind of ideal and the principle of building the world, and poetry - the guardian of this ideal.
Denis Davydov
This is one of the most talented poets known in the 1810-1830s, who has an original poetic face. Gusar Denis Davydov is a poet of the pre-Pushkin generation, who came up with the mask of a fearless reckless warrior and at the same time a dashing fun reveler. In Russian battle lyrics, which was distinguished by parade, Davydov said a new word with his works. He invented a famously twisted, energetic, whip verse, often ending with a sharp aphorism. The most famous works of the poet are the following: "An Essay on the Life of Denis Vasilyevich Davydov," written in the genre of autobiographical prose, and memoirs rich in actual materials.
Pushkin admitted that he even studied with Davydov, tried to imitate him in the "torsion of verse." However, in ordinary life, Alexander Sergeyevich did not wear masks, but remained himself, which can not be said about Denis Vasilievich, who in life began to try on the image of the dashing hussar poet and merged with him.
Konstantin Batyushkov
Poets of the Pushkin circle, poems of which were written in the genre of romanticism, probably in the process of creativity were guided by the works of this Russian writer. After all, it is Batyushkov who is called one of the founders of the romantic trend in literature. His creative legacy is composed of poems, letters and prose articles. Konstantin Batyushkov entered the history of Russian literature mainly as a representative of “easy poetry”, to which Davydov, Bogdanovich, and Pushkin belonged. This trend goes back to the traditions of the anacreontic style, when the verses celebrate the joys of love, friendship, inner freedom and life in general.
Peter Vyazemsky
This poet wrote himself as a poet of our time, but if at the beginning of his career he was in harmony with the time in which he lived, then after 1837 he rethought reality and, seeing its negative side, began to accept the past as the norm. Vyazemsky assessed his own fate as a tragedy of a person who did not want and was not able to live in accordance with the foundations that were characteristic of his century.
Like other poets of the Pushkin circle, he found the similarity of his poetic culture with the culture of Alexander Sergeyevich. The two poets were close, and Vyazemsky even dedicated works to Pushkin. Both of them were the heirs of the 18th century, since childhood, absorbed a love of reason and enlightenment. In his work, Denis Vyazemsky gravitated to traditional poetic forms: a melancholy elegy, a freedom-loving ode, fables, parables, didactics and satire.
Anton Delvig
Like some other poets of the Pushkin circle, this poet wrote with Alexander Sergeyevich in his youth. They met at the Lyceum, and friendship with Pushkin determined the further aesthetic and literary position of Delvig. In his works, he promoted the image of the poet as a “sloth of the young”, clothed romanticism in classic genres. Anton Delvig stylized the ancient Greek and Roman poetic sizes and forms, and in his lyrics he recreated the conditional ancient world in which beauty and harmony reign. The poet made his sketches in the genre of anthological poems and idylls.
Nikolay Yazykov
The creativity of this poet in tone and content was completely different. He entered the literature of Languages as a student poet, which created him a peculiar reputation. In his works there was an effect of sweet immaturity, infantilism. Poets of the Pushkin circle perceived Nikolai Yazykov as a recent child who can afford risky tricks and pranks. Addressing a younger friend, Pushkin exclaimed: “How are you naughty and how sweet you are!” Languages was delighted with his own abilities and abilities, therefore in his speech exclamation intonations, solemn words and loud calls are so natural.
Finally
Of course, in the article we did not list all the poets of the Pushkin circle. This galaxy is very extensive, and in addition to those mentioned above, includes Zhukovsky, Kuchelbecker, Krylov and others. The poetic fate of the poets who worked at the same time as Alexander Sergeyevich developed differently. Some entered the literary arena even earlier than him (for example, Denis Davydov) and, in creative terms, developed independently of the “sun of Russian poetry”, and only then joined his circle. But all the poets of the Pushkin circle — predecessors and contemporaries — were united by one thing: they created their works in an era that passed under the sign of Pushkin.