Moscow – how much in this word for the heart of the Russian
Vladimir Gilyarovsky in such words confessed his love for the ancient Russian capital: “I am a Muscovite!” How happy is he who can pronounce this word, putting himself in. I am a Muscovite! “.
“Moscow, Russia’s daughter is loved…” heard a lot of confessions of love, but more accurately and expressively Gilyarovsky, in my opinion, you will not say. Who better than Gilyarovsky could know the royal and princely palaces, Khitrovka beggars and tramps, understand the depth of Hitrovsky grief… In general, love Moscow the way it was, without embellishment.
I wonder what kind of sensations would have caused him modern Moscow – Moscow of the XXI century? Gilyarovsky passed away in 1935, at the same time as the Cathedral of Christ the Savior, and, fortunately, whether for him, he did not see the renewed Moscow.
Since the construction of the city of St. Petersburg between the new and old capital, there is competition. That
Our hero was a Muscovite, and therefore
I am an enemy of the Neva and the Nevsky fog.
And life in St. Petersburg seems to the poet dirty, empty and silent. It is interesting that in a few decades, FM Dostoevsky will describe the Northern Palmyra in almost the same terms.
Yes, and what about Moscow? What does it look like to M. Lermontov? The poet sees her majestic, loves the “sacred glitter of her gray hair.”
And here is a sample of the poet’s high enthusiasm in the essay “Panorama of Moscow”: “Moscow is not a silent mass of cold stones made up in a symmetrical order… no! It has its own soul, its own life.” Moscow in the novel “The Princess Ligovskaya” and some youthful poems, Moscow of the times of Ivan the Terrible breathes the poem “The song about the merchant Kalashnikov.” In the famous poem “Borodino” M. Lermontov cries out: “Let’s die for Moscow!”.
Every
“Moscow… how much in this word for the Russian heart has merged, how much it has responded,” exclaims Pushkin. Muscovite by birth, the poet throughout his life carried it in his heart.
Enthusiastic song verses are sung by the greatness of Moscow F. Glinka: “the city is wonderful, the city is ancient, the city is a hail, the heart is warm.”
At the beginning of the XX century, the ancient capital still preserved the pristine charm of the golden domes. And A. Blok wrote that in the morning he sees in Moscow “the transparent tenderness of the Kremlin.”
O. Mandel’shtam contrasts the primordial palpability of the capital of the capital with the Shaky and vague imagery of “beloved to tears” by Peter:
Moscow is again Moscow. I tell her: “Hello,
do not worry…”
Moscow many times became for the poet not only a refuge from Petersburg fears, but also a focus and a symbol of the novelty of times, a source of new music: “the Moscow River in four-pipe smoke.”
Moscow has always served and will serve as an inexhaustible source of inspiration for the artists of the word. The greatness of old Moscow as a symbol of Russia, its complex, sometimes dramatic history, is kept by modern Moscow. And I want to believe that the historical charm of the ancient city will not overshadow the colorful eastern market of the new Babylon.
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