All about religion and faith - “prayer, don’t blame me, omnipotent, what is it about” with detailed description and photographs.
Don't blame me, omnipotent
And don’t punish me, I pray,
With her passions I love;
A stream of your living speeches,
My mind is far from you;
Because lava is inspiration
It bubbles on my chest;
For the wild excitement
The glass of my eyes is darkened;
I'm afraid to get close to you
And often the sound of sinful songs
God, I’m not praying to you.
But extinguish this wonderful flame,
Stop your hungry gaze;
From a terrible thirst for song
Let me, creator, free myself,
Then on the narrow path of salvation
I will contact you again.
In a youthful work dated 1829, the reader encounters a vivid and fully formed image of Lermontov’s lyrical hero- strong in spirit, rebellious, daring.
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I will contact you again,
Prayer (Don't blame me, Almighty...)
Don't blame me, Omnipotent,
And don’t punish me, I pray,
Because the darkness of the earth is grave
With her passions I love;
For something that rarely enters the soul
A stream of Your living speeches,
For wandering in error
My mind is far from You;
Because lava is inspiration
It bubbles on my chest;
For the wild excitement
The glass of my eyes is darkened;
Because the earthly world is small for me,
I'm afraid to get close to you,
And often the sound of sinful songs
I, God, do not pray to You.
But extinguish this wonderful flame,
Turn my heart to stone
Stop your hungry gaze;
From a terrible thirst for song
Let me, Creator, free myself,
Then on the narrow path of salvation
I will turn to You again.
Listen: read by theater and film actor Evgeny Pimenov
There are no similar books.
It is wonderful poem!
Thank you! In the year of the 200th anniversary of Mikhail Yuryevich Lermontov, we were pleased with his poems!
Michel (as his grandmother called him) created this masterpiece when he was ... 15 years old!
This has long been written about in the Bible: Psalm 13:1
If there is no God, then why do you think about Him?
The incredible talent of another 15-year-old boy, Mikhail Lermontov, is already elevating him
to Archangel Michael. Why was he taken to Heaven so early from us (people)? And why gods
didn’t they stop Martynov (a mediocre scoundrel) from killing a genius? Sorry to the point of tears...
Vyacheslav, a genius of the pen is not the same thing as a spiritual genius.
Rev. Barsanuphius of Optina: “For example, M. Yu. Lermontov. He languishes with the vanity and aimlessness of life and wants to fly up, but he can’t - he has no wings. From his poem “I, Mother of God, now with prayer...” it is clear that he did not understand real prayer. The prophet says, “And their prayer will be a sin.” Indeed, what does Lermontov express, what does he pray for? “Not about salvation, not with gratitude or repentance” - what kind of prayer is this? A person does not think at all about his salvation, does not repent, does not thank God. It’s a sad state if a poet calls his soul “desert”! It was this deserted soul that finally reached such a state that it began to chant the demon. Two truly beautiful poems stand apart: “Angel” and “In a difficult moment of life.” IN last poem real prayer is expressed, in which “you believe and cry, and so easily, easily.” But these glimpses did not illuminate the poet’s desolate soul, and he ended his life in such a terrible way - he was killed in a duel.”
Analysis of Lermontov's poem Don't blame me
Analysis of Lermontov’s poem “Prayer” (“Without blaming me...”)
Poem by M.Yu. Lermontov's "Prayer" was written in 1829 (1830). The author of this poem is 15 years old, but he has already experienced a lot.
In the first part of the poem-prayer, the young poet, listing his sins, turns to Almighty God with a plea for mercy. In first place on the list was the love of life, with its passions, desires, and temptations. The prayer calls earthly life “the darkness of the grave earth,” probably because the earth is not only the place of people’s lives, but also a reminder that they are all mortal. The second and third sins are interconnected and opposed to the first: loving earthly passions, a person forgets about the soul and turns to God less often. The poet’s mind “wanders” far away, it is burned by the “lava of inspiration.”
It is creativity that makes him forget about God. The fact that inspiration is compared to lava, to a volcanic eruption, allows us to imagine the power, beauty and destructiveness of this process. The poet is a volcano, and poems and songs are lava, bursting out, pouring out of him, perhaps against his will. This is an element that man cannot fight. Inner excitement, the feelings that prompt the poet to create, “darken the glass...of his eyes.”
It is a well-known phrase that the eyes are the mirror of the soul. The darkness of the earth with its passions darkens the human soul.
The poet is traditionally considered a mediator between God and people, a superman, but in Lermontov’s poem the poet’s torment lies precisely in the fact that the “earthly world” is small for him, and the “heavenly world” frightens him. Therefore, in “sinful songs,” earthly, human, he does not address God.
The second part of the prayer begins with the conjunction “but”, that is, it is opposed to the first. Composition this poem based on antithesis.
Then on the narrow path of salvation
I will turn to you again, -
The poet is not able to give up creativity on his own, to save himself, only the Lord, by his will, can extinguish this “wonderful flame”, “all-burning fire”, turn the poet’s heart into stone, stop the eternally “hungry gaze”. Everything that the Creator put into the poet, only he can take away. The “thirst for singing” is contrasted with the thirst for saving the soul from the torment of creativity.
Analysis of Lermontov's poem Prayer Without blaming me
Poem by M.Yu. Lermontov's "Prayer" was written in 1829 (1830). The author of this poem is 15 years old, but he has already experienced a lot. In the first part of the poem-prayer, the young poet, listing his sins, turns to Almighty God with a plea for mercy. In first place on the list was the love of life, with its passions, desires, and temptations. The prayer calls earthly life “the darkness of the grave earth,” probably because the earth is not only the place of people’s lives, but also a reminder that they are all mortal. The second and third sins are interconnected and opposed to the first: loving earthly passions, a person forgets about the soul and turns to God less often. The poet’s mind “wanders” far away, it is burned by the “lava of inspiration.” It is creativity that makes him forget about God. The fact that inspiration is compared to lava, to a volcanic eruption, allows us to imagine the power, beauty and destructiveness of this process. The poet is a volcano, and poems and songs are lava, bursting out, pouring out of him, perhaps against his will. This is an element that man cannot fight. Inner excitement, feelings,
those who encourage the poet to create “darken the glass…of his eyes.” It is a well-known phrase that the eyes are the mirror of the soul. The darkness of the earth with its passions darkens the human soul. The poet is traditionally considered a mediator between God and people, a superman, but in Lermontov’s poem the poet’s torment lies precisely in the fact that the “earthly world” is small for him, and the “heavenly world” frightens him. Therefore, in “sinful songs,” earthly, human, he does not address God. The second part of the prayer begins with the conjunction “but”, that is, it is opposed to the first. The composition of this poem is based on antithesis. Then on the narrow path of salvation I will turn to you again,” the final lines are the promise that the poet makes in his prayer to the omnipotent. The poet is not able to give up creativity on his own, to save himself, only the Lord, by his will, can extinguish this “wonderful flame”, “all-burning fire”, turn the poet’s heart into stone, stop the eternally “hungry gaze”. Everything that the Creator put into the poet, only he can take away. The “thirst for singing” is contrasted with the thirst for saving the soul from the torment of creativity.
Abstract title: Analysis of Lermontov's poem Prayer Without Blaming Me
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Prayer (Don't blame me, Omnipotent.)
Poem by M.Yu. Lermontov's "Prayer" was written in 1829 (1830). The author of this poem is 15 years old, but he has already experienced a lot.
In the first part of the poem-prayer, the young poet, listing his sins, turns to Almighty God with a plea for mercy. In first place on the list was the love of life, with its passions, desires, and temptations. The prayer calls earthly life “the darkness of the grave earth,” probably because the earth is not only the place of people’s lives, but also a reminder that they are all mortal. The second and third sins are interconnected and opposed to the first: loving earthly passions, a person forgets about the soul and turns to God less often. The poet’s mind “wanders” far away, it is burned by the “lava of inspiration.” It is creativity that makes him forget about God. The fact that inspiration is compared to lava, to a volcanic eruption, allows us to imagine the power, beauty and destructiveness of this process. The poet is a volcano, and poems and songs are lava, bursting out, pouring out of him, perhaps against his will. This is an element that man cannot fight. Inner excitement, the feelings that prompt the poet to create, “darken the glass...of his eyes.”
It is a well-known phrase that the eyes are the mirror of the soul. The darkness of the earth with its passions darkens the human soul.
The poet is traditionally considered a mediator between God and people, a superman, but in Lermontov’s poem the poet’s torment lies precisely in the fact that the “earthly world” is small for him, and the “heavenly world” frightens him. Therefore, in “sinful songs,” earthly, human, he does not address God.
The second part of the prayer begins with the conjunction “but”, that is, it is opposed to the first. The composition of this poem is based on antithesis.
Then on the narrow path of salvation
I will contact you again,
The final lines are the promise that the poet makes in his prayer to the omnipotent.
The poet is not able to give up creativity on his own, to save himself, only the Lord, by his will, can extinguish this “wonderful flame”, “all-burning fire”, turn the poet’s heart into stone, stop the eternally “hungry gaze”. Everything that the Creator put into the poet, only he can take away. The “thirst for singing” is contrasted with the thirst for saving the soul from the torment of creativity.
Discussion of the analysis of the poem
“Prayer (Don’t blame me, omnipotent...)” M. Lermontov
Don't blame me, omnipotent
And don’t punish me, I pray,
Because the darkness of the earth is grave
With her passions I love;
For something that rarely enters the soul
A stream of your living speeches,
Because he wanders in error
My mind is far from you;
Because lava is inspiration
It bubbles on my chest;
For the wild excitement
The glass of my eyes is darkened;
Because the earthly world is small for me,
I'm afraid to get close to you
And often the sound of sinful songs
God, I’m not praying to you.
But extinguish this wonderful flame,
Turn my heart to stone
Stop your hungry gaze;
From a terrible thirst for song
Let me, creator, free myself,
Then on the narrow path of salvation
I will contact you again.
Analysis of Lermontov's poem "Prayer"
In a youthful work dated 1829, the reader encounters a vivid and fully formed image of Lermontov’s lyrical hero - strong in spirit, rebellious, daring.
The work contains formal features of the sacred genre, justified by the name: the poetic text contains an appeal to the deity, recognition of his power, a request and a solemn promise of the hero. However, in its ideological content, the poem not only contradicts the classical canons, but undermines them. “Prayer” is a sincere attempt to talk with God on an equal basis, without humility and repentance.
The composition of the work is interesting: two unequal parts represent two complex sentences. Such syntax is intended to convey a fast pace of speech, generated by an emotional outburst and even anguish, which is not characteristic of the meditative mood of traditional prayer. Each part is pronounced as if in one breath.
The lyrical hero asks the Almighty not to impose punishment. The list of sins turns into a listing of the character traits of the person praying. It is formed using a group of subordinate sentences in which the anaphora “for that” is highlighted. The hero declares his closeness to everything earthly, gradually moving towards the main issue that worries him most. Creative inspiration encourages the romantic to overcome the boundaries of the cramped earthly world. The first stanza ends with a blasphemous confession: the hero is not only afraid to trust God, but replaces him with another eternal entity.
The requests that are heard in the final stanza are more like the terms of an equal contract. If the Almighty fulfills the wishes, then the hero will enter the “narrow path of salvation.” Polemical intonations are increasing: “a terrible thirst for singing” is the essence of the nature of the lyrical “I”. Refusal of the “wonderful flame” of creativity entails the death of the individual.
The iconic definition of “close” sounds twice in relation to key concepts- the earthly world and the salutary outcome. The hero of “Prayer” realizes that the path of self-restraint, self-restraint and asceticism is destructive for his poetic gift. In the intonations of the lyrical monologue one can hear bewilderment and reproach: if the hero has become the chosen one, the bearer of God’s spark, then why limit the “lava of inspiration” to the framework of traditions and conventions?
The focus of “Prayer” is the psychology of internal conflict: the lyrical subject needs the support of a bright higher principle and at the same time realizes the intrinsic value of the individual striving for freedom and creativity.
Study guide: Analysis of Lermontov's poem Prayer Without blaming me
Poem by M.Yu. Lermontov's "Prayer" was written in 1829 (1830). The author of this poem is 15 years old, but he has already experienced a lot.
In the first part of the poem-prayer, the young poet, listing his sins, turns to Almighty God with a plea for mercy. In first place on the list was the love of life, with its passions, desires, and temptations. The prayer calls earthly life “the darkness of the grave earth,” probably because the earth is not only the place of people’s lives, but also a reminder that they are all mortal. The second and third sins are interconnected and opposed to the first: loving earthly passions, a person forgets about the soul and turns to God less often. The poet’s mind “wanders” far away, it is burned by the “lava of inspiration.” It is creativity that makes him forget about God. The fact that inspiration is compared to lava, to a volcanic eruption, allows us to imagine the power, beauty and destructiveness of this process. The poet is a volcano, and poems and songs are lava, bursting out, pouring out of him, perhaps against his will. This is an element that man cannot fight. Inner excitement, the feelings that prompt the poet to create, “darken the glass...of his eyes.”
It is a well-known phrase that the eyes are the mirror of the soul. The darkness of the earth with its passions darkens the human soul.
The poet is traditionally considered an intermediary between God
and people, a superman, but in Lermontov’s poem the poet’s torment lies precisely in the fact that the “earthly world” is small for him, and the “heavenly world” frightens him. Therefore, in “sinful songs,” earthly, human, he does not address God.
The second part of the prayer begins with the conjunction “but”, that is, it is opposed to the first. The composition of this poem is based on antithesis.
Then on the narrow path of salvation
I will turn to you again, -
the final lines are the promise that the poet makes in his prayer to the omnipotent.
The poet is not able to give up creativity on his own, to save himself, only the Lord, by his will, can extinguish this “wonderful flame”, “all-burning fire”, turn the poet’s heart into stone, stop the eternally “hungry gaze”. Everything that the Creator put into the poet, only he can take away. The “thirst for singing” is contrasted with the thirst for saving the soul from the torment of creativity.
Lermontov, whose 199th birthday is celebrated on October 15, and next year, 2014, will be the poet’s 200th anniversary, on the one hand, is equivalent to Pushkin, on the other, the beginning of a completely different tradition.
Pushkin is the sun, champagne, joy, gratefully accepting everything that happens on his way, and Lermontov is like a bird in a cage, rushing about and not finding a place for himself and dreaming of breaking out of the cage and flying far, far away, where there is coolness and freedom.
He was torn from this world, he felt bad here, bored, uncomfortable, and Lermontov never had any joyful notes or delight in life, even in Lermontov’s early poems.
Lermontov is the beginning of the lunar tradition, in which good fights evil, earth with heaven, everyday life with eternity. His world is split into here and there, and he himself is all directed towards the heavenly world, but still lives here, on this sinful earth.
Since the Eternal Judge
He gave me the omniscience of a prophet,
I read in people's eyes
Pages of malice and vice.
I began to proclaim love
And the truth is pure teachings:
All my neighbors are in me
They threw stones wildly.
Lermontov is entirely woven from contradictions: aspiring to Heaven, he hates earthly life; those who strive for ideality and purity crumble them into dust, barely touching them; striving for love, he does not evoke love and destroys everything he touches.
He is superfluous everywhere, does not fit into any niche, breaks out of all norms and limits, is not defined.
Mikhail Yuryevich understood his mission early, having especially established himself in it in the last four years, having had a hard time surviving the death of Pushkin. After the poet's death, Lermontov became different and, like a tuning fork, set the tone for all subsequent Russian poetry.
Lermontov, like all Russian poets later, felt life as a place where it was impossible to live, where poets were eternally persecuted Jews; prophets always stoned; eternal wanderers, called the proud and the foolish.
Lermontov was not loved for his maximalism and restlessness, his longing for the Eternal Spirit and longing for the unknown, for his harshness and pride, his quarrelsomeness and his own opinion. He hated hypocrisy, decency and masks in which soullessness was dressed, tightening itself in them like a corset. And the voice of the poet in this world sounds quieter and more unnecessary:
It used to be that the measured sound of your mighty words
Fired up the fighter for battle,
The crowd needed him like a cup for feasts,
Like incense during prayer hours.
Your verse, like God’s spirit, hovered over the crowd;
And, a review of noble thoughts,
It sounded like a bell on a veche tower,
On days of national celebrations and troubles.
But your simple and proud language is boring to us,
We are amused by glitter and deception;
Like old beauty, our old world is used to
Hide wrinkles under blush...
From here the voice of a lonely wanderer, a lonely sail, a lonely cliff and a lonely cloud sounds like a refrain. Lermontov is looking for parallels of his life with the lives of prophets and wanderers, restless and persecuted from everywhere, who are uncomfortable, but who strive, like an oak leaf, to attach themselves to at least something, to be needed by at least someone with their wonderful fairy tales. But in response he hears only one thing:
And therefore life “turns out to be an empty and stupid thing” from which you no longer expect anything. At school, and later, I always considered Lermontov to be Pushkin’s shadow, paying attention to the themes, quotes and words that Mikhail Yuryevich borrowed and scattered in his poems from his predecessor.
But Lermontov’s intonation is completely different. She is the dimension that makes his poems tragic, mystical and very personal at the same time. Only over the years, having experienced a lot, having discovered my personal prayer experience, I read Lermontov in a different way, being surprised: how did I not notice this before!
Meanwhile, his prayers are full of longing and only one request - to be merciful to him:
Don't blame me, Omnipotent,
And don’t punish me, I pray,
Because the darkness of the earth is grave
With her passions I loved.
In a difficult moment of life
Is there sadness in my heart:
One wonderful prayer
I repeat it by heart.
There is a power of grace
In the consonance of living words,
And an incomprehensible one breathes,
Holy beauty in them.
Like a burden will roll off your soul,
Doubt is far away -
And I believe and cry,
And so easy, easy...
Finally, “Testament”, in which Lermontov, anticipating his end, says goodbye to life and, turning to his friend, asks to fulfill his dying requests.
Don't blame me, Omnipotent,
And don’t punish me, I pray,
Because the darkness of the burial ground
With her passions I love;
For something that rarely enters the soul
Your living speeches flow;
For wandering in error
My mind is far from You;
Because lava is inspiration
It bubbles on my chest;
For the wild excitement
The glass of my eyes is darkened;
Because the earthly world is small for me,
I'm afraid to get close to you,
And often the sound of sinful songs
I, God, do not pray to You.But extinguish this wonderful flame,
All-burning bonfire
Turn my heart to stone
Stop your hungry gaze;
From a terrible thirst for song
Let me, Creator, free myself,
Then on the narrow path of salvation
I will turn to You again.
Analysis of Lermontov’s poem “Prayer (Don’t blame me, omnipotent...)”
In his youthful work, dated 1829, the reader encounters a vivid and fully formed image of Lermontov’s lyrical hero - strong in spirit, rebellious, daring.
The work contains formal features of the sacred genre, justified by the name: the poetic text contains an appeal to the deity, recognition of his power, a request and a solemn promise of the hero. However, in its ideological content, the poem not only contradicts the classical canons, but undermines them. “Prayer” is a sincere attempt to talk with God on an equal basis, without humility and repentance.
The composition of the work is interesting: two unequal parts represent two complex sentences. Such syntax is intended to convey a fast pace of speech, generated by an emotional outburst and even anguish, which is not characteristic of the meditative mood of traditional prayer. Each part is pronounced as if in one breath.
The lyrical hero asks the Almighty not to impose punishment. The list of sins turns into a listing of the character traits of the person praying. It is formed using a group of subordinate sentences in which the anaphora “for that” is highlighted. The hero declares his closeness to everything earthly, gradually moving towards the main issue that worries him most. Creative inspiration encourages the romantic to overcome the boundaries of the cramped earthly world. The first stanza ends with a blasphemous confession: the hero is not only afraid to trust God, but replaces him with another eternal entity.
The requests that are heard in the final stanza are more like the terms of an equal contract. If the Almighty fulfills the wishes, then the hero will enter the “narrow path of salvation.” Polemical intonations are increasing: “a terrible thirst for singing” is the essence of the nature of the lyrical “I”. Refusal of the “wonderful flame” of creativity entails the death of the individual.
The iconic definition “close” sounds twice in relation to key concepts - the earthly world and the saving exodus. The hero of “Prayer” realizes that the path of self-restraint, self-restraint and asceticism is destructive for his poetic gift. In the intonations of the lyrical monologue one can hear bewilderment and reproach: if the hero has become the chosen one, the bearer of God’s spark, then why limit the “lava of inspiration” to the framework of traditions and conventions?
The focus of “Prayer” is the psychology of internal conflict: the lyrical subject needs the support of a bright higher principle and at the same time realizes the intrinsic value of the individual striving for freedom and creativity.
