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A. A. Delvig paid much attention in his creativity to the genre, which wove song and poetry, literary-book and folklore beginnings: these were Russian songs. The appeal to this genre for Delvig was due not only to his personal literary preferences, it was connected with the general trends of cultural development of Russia's first two decades of the nineteenth century. At that time (the early nineteenth century) the majority of poets realized that the formation of national culture was impossible without appealing to folk culture. The visual images in Delvig’s Russian songs are considered not only as specific means of creating picturesque and sounding pictures of the surrounding world in poetry, but also as expressive means, correlating with the special character of Delvig's lyrics, in particular his Russian songs. The analysis of Delvig's poetry is an attempt to prove that these images of the real world are not only a detail in poetic space. They organically fit into the space of the lyrical world, filled with deep content and meaning, participating in the creation of a holistic image of Delvig 's lyrical world. The classification of Delvig's Russian songs is proposed, based on the peculiarities of the representation of images. The lyrical hero of Delvig's "Russian songs", as well as the hero of folk poetry, is a man of the natural world with natural feelings, whose consciousness is not distorted by the influence of the secular civilized world of the nobility. By means of the perception of Delvig’s hero a picture of life is presented, his eyes saw the world, his heart determined the emotions that Russian Delwig’s songs were permeated with. The reflections of Delwig’s hero also define the ideological identity of "songs”. Such images as "heart", "tears", "birds", etc. are also analyzed.


A. A. Delvig, Russian song, visual image, heart, tears, birds, night, sleep