Nekrasov. folk theme

Full text of the dissertation abstract on the topic "The ideological and artistic concept of righteousness in the poetry of N.A. Nekrasov"

As a manuscript

ZHITOVL Tatyana Alekseevna

IDEA AND ARTISTIC CONCEPT OF RIGHTEOUSNESS IN THE POETRY OF N.A. NEKRASOVA

Specialty: 10.01.01 - Russian literature

dissertations for the degree of candidate of philological sciences

Moscow - 2006

The work was done at the Department of Russian Literature, Faculty of Philology, Moscow State Pedagogical University

SCIENTIFIC DIRECTOR -

Doctor of Philology, Associate Professor Sapozhkov Sergey Veniaminovich

OFFICIAL OPPONENTS -

Doctor of Philology, Professor Alexander Petrovich Auer Doctor of Philology, Associate Professor Shevtsova Larisa Ivanovna

LEAD ORGANIZATION

Moscow Humanitarian Pedagogical

institute

The defense will take place in November 2006 at /F hours at the meeting

Dissertation Council D 212.154.02 at the Moscow State Pedagogical University at the address: 119992, Moscow, Malaya Pirogovskaya St., 1, room No. 304.

The dissertation can be found in the library of the Moscow State Pedagogical University at the address: 119992, Moscow, st. Malaya Pirogovskaya, 1.

Scientific Secretary of the Dissertation Council

Volkova E.V.

GENERAL DESCRIPTION OF WORK

In modern literary criticism, there is a surge of interest in the literature of the second half of the 19th century, its reassessment, and the study of previously untouched issues. Since the 1990s, more and more attention has been paid to the study of the connection between Russian literature and Christian traditions, the moral and religious issues of works of art. The monographs of I.A. Esaulova1, P.E. Kukharkina2, M.M. Dunaeva3, V.A. Kotelnikov4. Of great value are the collections "Christianity and Russian Literature" (St. Petersburg, 1994 - 2002); "The Gospel Text in Russian Literature of the 18th - 20th Centuries" (Petrozavodsk, 1995 - 1998); interuniversity collection of scientific papers "Religious and mythological trends in Russian literature of the XIX century" (M., 1997).

Let us turn to the context of the modern Nekrasov era. G.Yu. Sternip writes about this: “The general picture of the world created by Russian cultural figures (with all the differences in individuality) was imbued with Christian ideas about the predestination of the fate of Russia and man by the will of the Almighty, it is characterized by hopes for the saving effect of divine forces. Not without reason, some thinkers liked to liken the creative act to prayer, and in the artist to see the intercessor of the people before God.<...>. Through the life, social collisions presented by one or another master, the themes, images and even events of the Holy Scripture were very often shone through. In this broad sense, religious ideas are one of the life-giving foundations of the entire Russian artistic culture of the second half of the 19th century. G.G. Pospelov, characterizing the Russian culture of the 1870s-1890s, emphasizes that the ideas of suffering, heroism, self-denial, sacrifice were central to it. One of the essential features of that era, the researcher calls its ability to "project traditional gospel images onto events or figures of the surrounding life"6. Thus, it can be argued that the intelligentsia's worldview closely brought the everyday path of modern man closer to the age-old ideals of the gospel teaching.

However, we are not close to the point of view of those modern researchers who believe, following H.A. Berdyaev that "Russia has never completely emerged from the Middle Ages, from the sacred era"7. Today, for example, this position is shared by V.A. Kotelnikov, who believes that no

* Kotelnikov V.A. Orthodox ascetics and Russian literature. On the way to Optina. M., 2002.

5 Russian artistic culture of the second half of the XIX century. Rep. ed. G.Yu. Sternin. In 3 vol. M., 1996. T. 3. S. 7.

6 Pospelov G.G. Repin's Narodnaya Volya Series // Russian Artistic Culture of the Second Half of the 19th Century. Rep. ed. G.Yu. Sternin. In 3 vol. M., 1991. T. 2. S. 180.

7 Berdyaev H.A. New Middle Ages. Berlin, 1924. S. 19.

there was no ideological break between the ancient Russian culture and the culture of the New Age, that, being secular in form, “new in many themes and poetic means”, Russian literature of the 18th and especially the 19th centuries (unlike Western European), in deep tendencies “persistently continues to express medieval worldview, does not break away from the medieval (Church Slavonic) foundations of the language”8.

Thanks to the work of modern researchers, the view of the works of Russian literature has changed significantly, and this is due, first of all, to the increased interest in the role of the traditional spiritual foundations of Orthodoxy. Creativity H.A. Nekrasov is also undergoing a profound rethinking. Particular attention is paid to the connections of his works with the Christian worldview. M. Nolman writes about this: “The role of Christianity, its ethics and aesthetics in European history, including Russian poetry, is well known. Nekrasov's "muse of revenge and sorrow" was no exception, she was especially responsive to the "word of gospel truth." She often turned to the plots, motifs, images of the New Testament...”9.

Literary scholars single out new themes and motives from Nekrasov: repentance, atoning sacrifice, asceticism, the eternal Temple... And these are “signs of true spirituality and, in fact, the cornerstones of Christian Orthodoxy, evangelical and folk Christianity”10. Now Nekrasov poetry is associated not only with folk art, but also with the Bible, the Gospel, hagiographic literature (H.N. Mostovskaya, M.M. Dunaev, M. Nolman, Yu.V. Lebedev, H.N. Skatov, P.P. Alekseev, V. A. Sapogov). We give an assessment of the scientific concept of these works in the main part of our study, in the chapters devoted to various aspects of the problem of righteousness in Nekrasov's poetry. We also take into account the work

8 Kotelnikov V.A. From the Editor And Christianity and Russian Literature. Sat. Art. Ed. V.A. Kotelnikov. Part 2. St. Petersburg, 1996. P. 4.

9 Nolman M. Muse and the Gospel: Through the pages of the works of H.A. Nekrasova // Russia. 1994. No. 5. S. 89.

10 Mostovskaya H.H. Temple in the work of Nekrasov // Russian Literature. 1995. No. 1. S. 194.

pre-revolutionary and Soviet eras (S.A. Andreevsky, K.F. Gordsev, Yu.A. Veselovsky, A. Basargin, P.A. Zabolotsky; K.I. Chukovsky, V.G. Bazanov, I.M. Kolesnitskaya , B.V. Melgunova, V.G. Prokshina).

It should be noted that, with all the diversity, modern works on Nekrasov's work (over the past one and a half to two decades) are mainly articles, much less often - monographs, while dissertation research on this topic is virtually absent. Meanwhile, it is of great interest, since it has long gone beyond the framework of a private literary phenomenon and has become the semantic dominant of the cultural and literary life of Russia in the second half of the 19th century. All this determines the relevance of our study and its scientific novelty.

The scientific hypothesis of the dissertation is that the positive hero of Nekrasov is oriented towards the image of the righteous, but the image of the righteous is not in the pure church canon. The Christian tradition is certainly an important, but far from the only component that influenced the poet's worldview. The essence of our approach lies in the fact that we consider the positive image of the righteous hero in his work as the result of a complex interaction of different traditions: folklore (including folk spiritual poetry), ancient Russian literature, revolutionary democratic and populist literature, and finally, the experience of writers- contemporaries of Nekrasov, who actively developed in their work the type of righteous hero (N.S. Leskov, L.N. Tolstoy). We are interested in the ideological and artistic concept of righteousness in Nekrasov's poetry, that is, not so much in the very question of the measure of its compliance or inconsistency with certain Christian dogmas, but in the main ways and means of its artistic transformation in the individual author's work.

In the encyclopedic dictionary "Christianity", the righteous (or righteous) are defined as "saints who are in the world not in hermitage or monasticism, but in ordinary conditions of family and social life, and, in particular, Old Testament saints, for example," righteous Noah "," Righteous Simeon and Anna”, “Righteous Job the long-suffering”. The righteous are also called "persons who are locally revered as saints, but not yet canonized by the Church"11. Thus, righteousness in Orthodoxy is understood as the sanctity of a person's life, asceticism for the glory of God in ordinary conditions, and not only in a monastic cell. Simeon the New Theologian, for example, instructing the brethren, tells a “many useful tale” about a righteous young man who “did not hold long fasts, didn’t sleep on earth, didn’t wear a sackcloth, didn’t go out of the world bodily,” but “was honored to see the sweetest light of the mental Sun of righteousness, our Lord Jesus Christ.

11 Christianity. Encyclopedic Dictionary. T. 2. M., 1995. S. 379.

12 Kindness. In Russian translation, supplemented. In 5 vol. M., 1889. T. 5. S. 494.

In fiction, righteousness is traditionally viewed from the point of view of moral and spiritual idealization, but Nekrasov fills this concept with more complex content. In his artistic world, both folk images and intellectual heroes gravitate towards the righteous. Righteousness in his interpretation does not mean static, focusing on the only idea of serving God. The poet's value system includes, first of all, striving for goodness, which, at the same time, is conceived not as an abstract idea, but as specifically directed mercy, sympathy, meekness, patience.

As components of righteousness, we distinguish labor, wandering and asceticism. Labor and wandering characterize mainly heroes from the people, peasants (although not only!). The asceticism of a "people's defender", a hero-citizen, an intellectual, a revolutionary. We can talk about a certain hierarchy of the listed categories in the work of Nekrasov. If we distribute them according to the degree of significance in the artistic world of the poet, then asceticism will be in the first place, hard work in the second, and wandering in the third. These cultural and religious modifications of righteousness determine, from our point of view, the very typology of the righteous hero in Nekrasov's poetry: this is a wanderer hero, a worker hero and an ascetic hero.

The complexity of the Nekrasov righteous man is explained by the fact that he is the bearer of Christian and revolutionary culture at the same time. This leaves a significant imprint on his character, causes his inconsistency, disharmony. As rightly noted by M.M. Dunaev, “none of the great Russian poets reveals such a contrasting contradiction: between the need, the sincere religious need to find peace of mind in turning to God, and the persistent desire to overcome evil with strong-willed revolutionary efforts”13.

The main purpose of this work is an attempt to systematically analyze Nekrasov's work for the ideological and artistic implementation of the three components of righteousness in it: labor, wandering, asceticism, as well as the types of righteous hero corresponding to these modifications: worker, wanderer, ascetic.

13 Dunaev M.M. Orthodox Foundations of Russian Literature of the 19th Century: Diss. ... Dr. Philol. sciences in the form of scientific. report M., 1999. S. 20.

When analyzing the significance of modifications of righteousness in Orthodox ethics, we rely on patristic and theological literature. First of all, this is the four-volume work of Bishop Barnabas (Belyaev) “The Fundamentals of the Art of Holiness. The experience of presenting Orthodox asceticism” (Nizhny Novgorod, 1995) and the five-volume encyclopedia “The Philokalia” (Moscow, 1877-1889). We should not be embarrassed that the indicated studies are more recent than the main object of our attention - the work of H.A. Nekrasov. Unlike secular culture, church culture, due to its strict regulation, is very conservative and static. It is extremely reluctant to change, it evolves very slowly. This is what gives us the right to use for analysis both contemporary Nekrasov and later works.

In addition, to analyze the categories of labor, wandering, asceticism, we widely draw on ethnographic and cultural studies14. This makes it possible to highlight many of the lost features of the material and spiritual culture of the second half of the 19th century, to reconstruct it.

In order to reveal the significance of the categories of interest to us in the linguistic consciousness of the 19th century, in our work we use the method of "comparative conceptology"15. Under the term “concept”, which is working for our study, we mean a word-concept that has meanings and associations that are stable for a certain culture, acquires symbolic significance and has the ability to mythologize reality. Examples of concepts in Nekrasov's work are such words as

14 Guminsky V.M. Discovery of the World, or Travels and Wanderers. M., 1987; Gromyko M.M. Hospitality in the Russian peasant tradition // Problems of history, Russian literature, culture and social consciousness. Novosibirsk, 2000, pp. 9-15; Russian asceticism. Comp. T.B. Knyazevskaya. M., 199 (5; Fedotov G.P. Spiritual verses (Russian folk faith based on spiritual verses). M., 1991.

11 Vezhbitskaya A. Semantic universals and description of languages. M., 1999; Likhachev D.S. Conceptosphere of the Russian language and Russian literature. Anthology. Ed. V. Neroznaka. M., 1997. S. 280-287; Stepanov Yu.S. Constants: Dictionary of Russian Culture. 2nd edition, corrected and enlarged. M., 2001.

"hard work", "asceticism", "wandering", "sacrifice", "suffering", "patience", "sin".

Approbation of work. The main provisions of the thesis and the results obtained were discussed at the Department of Russian Literature of the Moscow State Pedagogical University (2002, 2006), at the meetings of the Postgraduate Association of the Moscow State Pedagogical University (2004), as well as at scientific conferences: at the Purishev Readings (2001, 2003, 2004), at the international conference of young scientists ( 2004), at the All-Russian Conference of Young Scientists (2005).

The first chapter is titled “Work as a Special Form of Righteousness in the Works of H.A. Nekrasov. Images of workers. AT

In its first paragraph, we reconstruct the religious and moral meaning of labor in the linguistic consciousness of the 19th century, folk culture and Christian ethics. In the Russian mentality, the idea of the need for constant application of one's own strengths, abilities, and talents has been brought up for centuries. Everyday work was a natural need, since the life of a peasant often directly depended on it.

It is significant that “labor” and “enrichment” in the national consciousness are not interconnected, moreover, very often these concepts turn out to be opposite to each other (“From the labors of the righteous you will not make chambers

stone"; “From your labors you will be full, but you will not be rich”; “I worked hard, but I didn’t achieve anything”16). In material terms, labor is an occupation that is practically useless. At best, he bestows exactly as much as is necessary for modest prosperity and the maintenance of life. However, this muting of the material incentives for labor fully mobilizes other, spiritual labor motives. The Russian peasant works for the soul, and not for good, material gain (“There is no goodness without labor”, “On good work, there is something to boast about”17).

Saints, saints, bearers of God's truth have always been considered the personification of the moral ideal in Russia. The people deeply respected the ascetic monastic service, but next to it, in the life of the laity, they affirmed another service - hard work. “Worker” is essentially the same as “worker”. These words are semantic analogues denoting one phenomenon in different spheres of life (secular and ecclesiastical). People's worldview and Christian ethics are very closely interconnected. The Church values physical labor no less highly than spiritual labor. Similarly, according to the traditional peasant ethic, work is a necessary, glorifying, righteous deed. Hard work is pleasing to God and correlates with physical torment on earth (it is often called “suffering”) in the name of a bright future life in heaven. By torturing the body, labor instills humility, patience, and humility in a person, that is, it contributes to the exaltation of the spirit over the flesh (“God loves work”, “Pray to God, but work yourself”18). That is, an important aspect of the meaning of the analyzed concept is sacrifice, purification through suffering and, thus, communion with goodness, with God.

The next feature of the concept of "labor" is its close connection with the ideals of catholicity. Both the monastic "workers" and the "workers"-peasants pursue by no means a personal goal. The former work for monasteries, collect money for the construction of churches, the latter cultivate the land, cultivate the crops. The efforts of both are directed "for the common good", and this is what gives their lives a special meaning. After all, in accordance with Orthodox ethics, which is very humane in its essence, love for God presupposes, first of all, love and respect for His creatures - people. And Christian love is active, active love, manifested mainly in actions. Working for the good of his neighbor, serving the world, a person does a work that is pleasing to God, thus taking care of the salvation of his own soul.

The theme of labor, labor is represented in Nekrasov's poetry very widely. We consider the lyrics of the 1840s - 50s in the second paragraph of the first chapter, the lyrics of the 1860s - 70s - in the third. In early poems devoted to describing the life of the peasantry, the urban poor, "labor" receives mostly negative associations. Here the immediate internal form of the word (“heavy burden”) and the meanings of “obstacles”, “grief”, “suffering” associated with it “work”. Work life is correlated. with poverty, loneliness,

16 Dal V. Explanatory dictionary of the living Great Russian language. M., 1991-. T. 4. S..436-437.

drunkenness, misfortune ("Excerpt", "Drunkard", "Wine", "Troika", etc.). True, in some contexts, even hard physical work is perceived positively. This happens when a person understands the special moral beauty of the work in which he is engaged, spiritualizes it. An example of this is the poem "Sasha" (1855). It is a kind of transitional link in the interpretation of the concept of "labor": such meanings as "sacrifice", "salvation", "monasticism in the world" are present in it, but not yet as clearly as it will be in later works. However, in the 1840s and 50s, Nekrasov rarely resorted to such poeticization of "labor". On the contrary, he emphasizes that often a person is simply doomed to it. Forced labor, bonded labor is evaluated by the poet unambiguously negatively. It can be beautiful only when there is a deep inner need for it. This motif sounds distinctly in the poems "At the Motherland", "The Cry of the Children".

The theme of labor also appears in poems dedicated to Nekrasov's reflections on his own vocation - creativity. The poet in his interpretation is the same worker, and his Muse is often identified with a simple peasant woman (“Yesterday, at six o'clock ...”, “Muse”, “I am unknown. I did not acquire you ...”, “Shut up, The muse of revenge and sorrow!..” etc.).

One of the very common motifs in Nekrasov's lyrics is a person's disappointment in his own strengths, capabilities, and ideals. Indeed, in order to fulfill his duty to the end, he must have tremendous spiritual strength, be consistent, courageous, selfless. The lyrical hero bows to those who have dedicated themselves to serving humanity. He strives to follow this ideal and encourages others to do the same (“The hour has struck! .. I won’t say that with pleasure ...”, “Schoolboy”, “Song of Eremushks”, “Poet and Citizen”).

In the later work of the poet (the third paragraph of the first chapter), the development of the above plots, themes, motives, and images continues. But very significant changes are also taking place: the number of contexts in which even hard, exhausting labor is poeticized is increasing (this is especially pronounced in the poems “Peasant Children”, “Pedlars”, “Frost, Red Nose”). Gradually, the meaning of “labor” as a “heavy burden”, “that which burdens”, is transformed into the meaning of “the cross burden, voluntarily taken on by a person in the name of God”.

In the lyrics of the 1860s - 70s, the original Nekrasov image of a Russian woman finally takes shape - a wife, mother, housewife, hard worker, keeper of the family hearth. It should be noted that it is the works dedicated to the depiction of women's fate that largely contribute to the transformation of the semantics of the concept of "labor" (according to the scheme: "grief" - "care for loved ones" - "diligence" - "voluntary sacrifice" - "asceticism"). The theme of labor heroism occupies a special place in Nekrasov’s work (the poem “Duma”, the poems “Frost, Red Nose”, “Who Lives Well in Russia”).

The duality of the assessment of "labor" in the works of Nekrasov is largely

depends on the position of the lyrical subject. Expecting only a material reward for his efforts, he nullifies the interpretation of "labor" as righteousness. Only by renouncing the desire for earthly, lifetime retribution for what has been created, a person can overcome his own pride, passion, selfishness. The decisive role here is played by such principles of Christian ethics as humility, meekness, and patience. However, such a point of view is not always consistent with the poet's civic ideals, which reject silent resignation to fate. Nekrasov can bow before those "who endure everything, in the name of Christ, / Whose stern eyes do not cry, / Whose mute lips do not grumble ..." ("Night. We managed to enjoy everything ..." (1858)) . And maybe resent their passivity, inaction, readiness to turn the other cheek to the offender.

This contradictory worldview of the poet himself leaves a significant imprint on his interpretation of many categories of traditional folk culture, including labor. The ability to see in his hardships a purifying, inspiring power distinguishes in the work of Nekrasov, first of all, peasant heroes (poems "Peasant Children", "Pedlars", "Frost, Red Nose"). They perceive the trials that have fallen to their lot not as a punishment, but as a high holy torment, an opportunity to join the righteous way of life.

The situation is more complicated with noble heroes and intellectuals. Some (Count de Garansky, Prince Voekhotsky, father-general), although they notice this feature of folk spiritual culture, treat it ironically, considering it either a consequence of ignorance and downtroddenness, or another illusion of the peasant consciousness, saving from despair and hopelessness. As a vivid example of the collision of the people's understanding of labor as the highest destiny of man with the real conditions of modern life, we will cite the textbook famous poem "Railway" (1864). The dead builders do not point to the difficult and inhuman conditions in order to complain about the hardships they endured. Rather, on the contrary: these hardships, as it were, enhance the consciousness of the highest righteousness of the labor feat they have undertaken, for they worked for the common good and not material goods inspired them, but the hope for the godliness of the great deed ("We all endured, God's warriors, // Peaceful children of labor !..” [Italics mine, Zh.T.]). Those in power do not understand this special, ideal meaning. However, this does not prevent them from shamelessly using the Russian peasant's habit of work. The readiness of the latter for a labor feat in the name of God can easily turn into dull slavish obedience, because the line between them is very unsteady - and Nekrasov emphasizes this danger in the well-known finale of the poem.

Even more difficult is the attitude towards the righteous side of the peasant labor of the poet himself. He also sees this other side of the coin, but, unlike heroes (more precisely, antiheroes) infected with the poison of Western culture, he treats with deep understanding and even envy the desire of the people to idealize their work, to comprehend it in the categories of Orthodox ethics, believing this desire to be organic. for the peasant consciousness. In the same time

Nekrasov's attempts to project this popular view on his own work as an intellectual writer often lead to insoluble contradictions in his worldview. He cannot completely abandon his critical view of what is happening; to share the position of boundless patience and resignation to fate; ignore the profound tragedy of this position from the point of view of earthly happiness and well-being (“Poems! Poems! How long have I been a genius? ..”, “A celebration of life - youth years ...”).

The second chapter is titled “Wandering as a Special Form of Righteousness in the Works of NA. Nekrasov. In its first paragraph, we reconstruct the semantic content of the concept "wanderer"19. Firstly, this is a person who is deprived, either for some time or forever, of a permanent home, his own home, property, family, and who is on the road. The reasons for this can be very different: a pilgrimage to a shrineN1, just a journey to some remote destination (and then this is a wanderer for a certain time), voluntary or forced wandering, begging (lasting a lifetime).

Secondly, psychologically the wanderer (even "temporary") differs from

people who prefer stable road tests to endless

existence and not risking the journey. For the popular consciousness

always "strange", "wonderful", "unaccustomed". The wanderer is always separated from

other people, no matter how kindly they treat him. It can

welcome, he can even stay in a hospitable house for

for a long time, but for an ordinary, settled life, he will still remain

“foreign”, “from outside”, “alien to their environment”, “foreign”, finally, in the sense that they are the bearer of a different truth and a follower of a different way of life.

And, thirdly, in the thematic field of the concept, the seme of self-denial, “physical suffering”21 is clearly expressed, since purification is carried out precisely through acceptance and overcoming it. In this context, we are talking not just about the path that a person follows, but about the "Way of the Cross" - a difficult, full of sorrows and hardships, the path to God. The cross here becomes a symbol of the fact that earthly life must be abandoned in order to gain eternal life, it serves to crucify “flesh with passions and lusts” (Gal. 5:24).

Wandering is presented in Nekrasov's work in two main aspects, each of which, in turn, creates many modifications of the wanderer hero: 1) as "spiritual wandering", the path of spiritual quest in a metaphorical sense. In this regard, the road is understood not just as a life path, but as a transparent allegory of the gradual comprehension of the meaning of being, the difficult ascent of the soul to God, the way of the cross; 2) how

"Guminsky V.M. Discovery of the world, or Travels and wanderers. M., 1987; Gromyko M.M., Hospitality in the Russian peasant tradition // Problems of history, Russian literature, culture and public consciousness. Novosibirsk, 2000. P. 9- 15 Kalugin V. Heroes of the Russian epic, Essays on Russian folklore, Moscow, 1983.

20 Dal V. Explanatory dictionary of the living Great Russian language. M., 1991. T. 4. S. 335-336.

cultural and historical phenomenon of Russian religious life and way of life. In the latter case, the heroes of Nekrasov are actually wanderers, pilgrims, pilgrim travelers, pilgrims.

In the civil and confessional poetry of Nekrasov (we consider it in the second paragraph of the second chapter), the metaphor of "wandering" as the "spiritual path" of the subject of the lyrical narrative acquires particular importance, and the image of the road appears in a special hypostasis - "thorny", "Way of the Cross". In the poem “I got up early, the preparations were short-lived ...” (from the “Last Elegies” (1853 - 1855)), for example, the way of the wanderer corresponds to the “way of the cross” of Christ, and the wandering corresponds to the test of faith. Such details as "buckling legs", repeated "falling" and further continuation of the path are referred to the New Testament (Christ fell three times under the weight of the cross); the struggle of an unarmed hero with a "crowd of enemies"; readiness to meekly endure the hard trials that fell on him; human cruelty and indifference to other people's pain; the question “Is it possible, O God! raise labor? (remember Jesus' request to God that “this cup pass from him” in Gethsemane (Matt. 26:39)); human embarrassment after his death. With his spiritual asceticism, the lyrical hero is called upon to confirm that, despite all the suffering and inhuman torments, he is able to remain faithful to God. In this sense, he is the chosen one of God, and wandering is a kind of vow to the firmness of faith. The most important difference between Nekrasov's interpretation of the "Way of the Cross" is the tragic ending, hopelessness. The death of Christ in the Gospel is the highest point of self-denial. This is the last test of human faith before the triumph of the resurrection. Nekrasov has nothing beyond death. His intellectual hero finds "the road to the temple", but often it all ends there ("Last elegies", "Sons of the" people's scourge "..."). However, despite all the hardships and deprivations that the "Way of the Cross" promises, it is recognized as the ideal of earthly life. In some later poems, tragedy is overcome: the lyrical hero receives a reward for his deeds, his name remains forever in the people's memory ("Thanks to the Lord God", "Friends"). In this case, we can say that the hero acquires immortality, salvation in the Christian sense of this concept.

It is necessary to note the subtle and ambiguous differentiation in Nekrasov’s work of such allegorical images (they are also stable phrases) as “the way of the cross” (synonymous replacements: honest, right, narrow, thorny path) and “big, wide road” (wrong, beaten, trampled path). As a rule, they are opposed. However, sometimes the image of the “broad road” does not have evangelical overtones and does not have characteristic negative connotations. On the contrary, it symbolizes a bright dream of a new Russia, of the people's welfare. Such contexts are typical for the 1860s - 70s (“Railway”, “Who should live well in Russia”).

The romantic concept has a serious influence on Nekrasov's interpretation of the image of the wanderer (the third paragraph of the second chapter is devoted to this). Wandering acts in it as a symbol of human life and is understood

as an endless search for the absolute on earth, a constant striving for a perfect world of beauty and harmony. The image of the road (as the realization of the meaning of life in general) acquires a special meaning here, it correlates with the desire and ability of a person to develop and improve himself. The positive hero of Nekrasov is characterized by a romantic indifference to material wealth and personal gain, a passionate rejection of the existing order of things, a desire to transform the world (“Scenes from the lyrical comedy “Bear Hunt”, “In the Hospital”).

The fourth paragraph of the second chapter is devoted to the typology of the image of a wanderer from the people in Nekrasov's poems and poems. Wanderers from the people appear in his work only in the mid-1850s. The hero of the poem "Vlas" (1855) is a penitent sinner, a wanderer who collects donations for the construction of a temple. Very highly appreciated "Vlas" F.M. Dostoevsky, pointing out that in him the poet embodied the truly Russian "zeal for the" cause of God ", for holy places, for oppressed Christianity, and in general for everything repentant, divine"2 "". It is characteristic that Nekrasov is not interested in pilgrimage to holy places. His heroes walk on Russian soil - and this is a fundamental difference from the tradition of ancient Russian walking. In the center of the image is the capital city, province, village (“Vlas”, “Reflections at the front door”, “Peddlers”, “Bees”). Purification, comprehension of the meaning of life, communion with God in his interpretation is carried out not through solitary prayer, but through participation in the fate of other people, their compatriots. "Wandering", thus, turns out to be closely connected with such fundamental concepts of Nekrasov's work as "Mipb", "asceticism". In addition, this approach allows us to reveal in the work not only the “wanderer's truth”, but also the “truth of a simple farmer”. The very existence of wandering is possible, according to Nekrasov, only against the background and with the support of the settled working peasantry.

The lyrics of Nekrasov in the 1840s - 50s and 1860s - 70s prepared the appearance of his final work - “Who should live well in Russia” (1863 - 1877). "Wandering" in the poem is a multifunctional concept; it is expressed at different levels: ideological, plot, figurative, linguistic. The author creates a whole concept of the phenomenon of wandering in Russia, artistically illustrates those thoughts that in previous works sounded either concisely or even in subtext.

We offer our own interpretation of the textbook, based on the analysis of the functioning of the cultural concept "wanderer" both in the poem itself and in earlier works. “Who in Russia should live well” opens with a meeting of seven peasants and their decision to go on a journey to find the answer to the question of who is happy in Russia. This question appears as if from nowhere, but gradually it turns from idle to vital. The task of the wanderers acquires special significance - against the backdrop of universal grief, happiness appears as salvation. To find

22 Dostoevsky F.M. Writer's Diary // Dostoevsky F.M. Poly. coll. op. V 30 t. L., 1983. T. 25. C 216.

happiness means finding the answer to the questions “how should one live righteously?”, “what ideals should one strive for?”, “is earthly happiness possible at all?”.

The very concept of happiness here must be considered not as concrete, but as philosophical, endowed with a special meaning. The original definition is given to him in the poem by the pop, meaning by him "peace, wealth, honor", and the wanderers agree with him. However, gradually it becomes more complicated, acquires new nuances, shades; the ideal of “objective, material abundance” is replaced by the realization of happiness as a “cross”, “suffering” path of a person; “happiness-consumption” is transformed into “happiness-renunciation”, which is a synonym for Salvation in the Christian sense.

The question of the happy in the poem is of fundamental importance, since the fate of the country depends on its decision. It is connected, in fact, with the search not for a specific happy person, but for a certain worldview, a righteous way of life. In addition, the journey of wanderers aims to show the plight of the people, and to identify the reasons for this. In the poem, serfdom is recognized as universal grave guilt. Moreover, Nekrasov is far from unambiguous assessments not only of the landowners, but also of the peasants. Proclaiming a reform is not enough to achieve happiness; a lot of time must pass before people realize that they are really free. The "new prophets" - "people's defenders", such as Grisha Dobrosklonov, are called to help them in this, support, teach. Fate prepares numerous difficulties for them, but despite all the trials, they will remain true to their duty, because this “Way of the Cross” is the only acceptable one for them, and it is with it that both their own and popular ideas about happiness are connected.

The third chapter is called “Asceticism as a special form of righteousness in the works of N.A. Nekrasov. Its first paragraph is traditionally devoted to the definition of the moral and religious meaning of asceticism. The main problem that arises when trying to define the analyzed concept is its functioning in two cultural spaces - in Orthodox ethics and in secular, secular everyday life. It cannot be said that they contradict each other, but there are quite significant differences between them.

From the point of view of the Christian catechism, the first and main condition for the life of an ascetic is removal from the world. Only a monk, an ascetic can become an ascetic. Only away from worldly bustle is it possible to overcome one’s own passions (these include gluttony, fornication, love of money, anger, sadness, despondency, vanity, pride) and learn humility, which is the essence of asceticism (Bishop Barnabas (Belyaev), S.N. Bulgakov, V. Kotelnikov)23. The meaning of the life of an ascetic lies in consistent improvement, overcoming carnal passions, the triumph of the spirit over the body, and, finally, communion with God.

23 Bishop Barnabas (Belyaev). Fundamentals of the art of holiness. Experience of presentation of Orthodox asceticism. In 4 vols. Nizhny Novgorod, 1995. Vol. 3. S. 122; Bulgakov S.N. Heroism and asceticism // Milestones. From deep. M., 1991. S. 58; Kotelnikov V. Orthodox ascetics and Russian literature. On the way to Optina. M., 2002. S. 23.

Secular culture is much more loyal in this sense. It does not put forward such strict requirements as Orthodox asceticism, the principles of piety and asceticism in it, in comparison with the latter, are generalized, blurred, deconcretized. The defining idea of asceticism in secular ethics is service for the benefit of mankind (therefore, it can rank outstanding figures of science and art, politicians, philosophers, educators, military men, etc. among the ascetics). “Asceticism in the world” is characteristic of secular culture, and strict Christian ethics denies such a possibility.

Analyzing the work of Nekrasov, we must remember that it is incorrect to apply church canons to secular literature. However, one should not underestimate their influence both on folk culture and on the poet himself, who relied on this folk culture and sought to embody it in his work. We distinguish two main types of ascetic hero in Nekrasov's work:

1) ascetics in the strictly religious (narrowly specialized) sense - holy fools (for example, Pahom from the poem "Frost, Red Nose"; Fomushka from "Who Lives Well in Russia"). This type, with some reservations, can be classified as the "Old Believer" Kropilnikov, the "townsman's widow" Evfrosinyushka from the last poem. It cannot be said that the images of the holy fools carried a special symbolic meaning in Nekrasov's works. He has very few such heroes - literally a few. Moreover, these are always episodic characters. Nevertheless, they are an integral part of the peasant world, although they are on its periphery.

2) ascetics in the broad general cultural sense of the word. For Nekrasov, as well as for many writers of his era (L.N. Tolstoy, F.M. Dostoevsky, N.S. Leskov), it was this type of “ascetics in the world” that was of particular interest. The Nekrasov ascetic accomplishes his spiritual feat through communication with people. This is not a gloomy recluse, but a person who loves people, striving with all his might to make the world a better, kinder and fairer place. At the same time, he is very strict with himself, with his weaknesses, observes bodily and spiritual purity. In our work, we focused on this group, having previously divided it into several more subgroups (a separate paragraph of the third chapter is devoted to the analysis of each of them):

Revolutionary ascetic, intellectual, fighter, martyr (the hero of the poet's lyrics);

Woman-ascetic (the image of the mother, as well as the heroine of the Decembrist poems);

An ascetic from the people ("people's defenders" from the poem "Who should live well in Russia").

The image of the ascetic in the work of Nekrasov acts as the ideal of a positive hero. In it, the author paradoxically seeks to combine two truths: revolutionary and Christian. The first is associated with such traits as courage, pride, a sense of duty and civic responsibility. From the second - love for one's neighbor, moral purity, the ability to self-denial. The complexity of the author's position lies in understanding the objective impossibility of their merging (the lyrical heroes of "Muse" and "On

the death of Shevchenko”, the images of Saveliy, the serf Yakov from “Who Lives Well in Russia”) and at the same time a passionate desire to combine them in some higher, ideal-abstract synthesis (Kudeyar, Grisha Dobrosklonov). Here arises the question that was asked by F.M. Dostoevsky: can human sacrifice be the basis of universal harmony? But, if Dostoevsky answers this question negatively with all his work, then Nekrasov argues the opposite, recognizing its legitimacy and necessity (“Poet and Citizen”, “Zina” (“You still have the right to life ...”), “To the portrait ***").

He comes to this conclusion not immediately, but gradually. In the 1850s, the lyrical hero is tormented by the tragic incompatibility of humility, Christian all-forgiving love and civil rejection of the modern way of life. The contradiction between these two principles largely explains the weakness, disharmony, and drama of Nekrasov's ascetics (this is especially evident in the poems "Blessed is the gentle poet ...", "Muse", "On the death of Shevchenko"). In the poem "On the Death of Shevchenko" (1861), the author seems to be ironic about the Christian canon of asceticism and martyrdom. Already the first lines (“Do not indulge in special despondency: // The case is foreseen, almost desirable. // This is how a wonderful person perishes by God’s mercy // of the Russian land ...”) reveal this paradox. The best, most talented sons of the fatherland must die, and it is death, at a young age, in suffering, in exile, that is the main proof of their viability. But by earthly standards, these are people with unhappy destinies, even despite the glorious civil and creative field that was left as a legacy to descendants. Christian ethics comes to the rescue here, because only it is capable of rehabilitating the untimely death of an outstanding Ukrainian poet. Death itself - "by the grace of God" - thus appears as the only justification for the hopelessness of the struggle, for it can be understood as the death of a "chosen one", a "martyr". But Nekrasov would not be Nekrasov if he could humbly accept this truth. The ideal biography of Shevchenko, mythologized in the context of Orthodox ideas, as an ascetic martyr, comes into sharp conflict with the real biography of the brilliant Ukrainian poet, whose life was ruthlessly and cruelly distorted first by serfdom, and then by exile and soldiery. And the first biography cannot justify the second. Hence the author's sarcasm and skepticism.

At the next stage, the conflict we have outlined is leveled, goes to the periphery. Features that cannot be criticized come to the fore: a thirst for social activity, the desire to live for the good of one's neighbor, humanism. It is in serving humanity that the poet sees the highest meaning of life (“Unfortunate”, “Grandfather”),

from the maximalism of the spiritual aspirations of the Orthodox-minded Nekrasov, he develops a craving for glorifying revolutionary asceticism as one of the most striking varieties of asceticism in general. For Nekrasov, the self-sacrifice of such people as Belinsky, Dobrolyubov, Chernyshevsky, such figures as the Decembrists, was undoubtedly surrounded by a halo of Christian martyrdom (“In Memory of Dobrolyubov”, “Do not cry so madly over him ...”, “Prophet”).

A special place in the poet's work is occupied by the image of his mother (the poem "Knight for an Hour", the poem "Mother"). In the poem "Knight for an Hour" (1862), the author emphasizes her meekness and humility: "And a thunderstorm broke over you! // You, without flinching, took the blow, // For the enemies, dying, you prayed, // The mercy of God called on the children. This feeling is inaccessible to the lyrical hero himself. He is deprived of mercy, the ability to forgive and love his enemies, he cannot renounce his "I" and love God as she can. This is perfectly emphasized by the sharp contrast between her self-denial (“You lived all your life for others. / With your head, open to the storms of life, / All your life under an angry thunderstorm / You stood, - with your chest / Protecting your beloved children ... ”) and his murmuring, almost a challenge to God (“Is it possible that during the years of suffering // The one who was honored by you so much // Will not send you the joy of meeting // With your dying son? ..”). The lyrical hero recognizes the spiritual superiority of the mother, and this prompts him to ask her for help, for support. Her image is likened in the poem to the image of the merciful Mother of God. With a confession, almost a prayer, he addresses her as an intercessor, a comforter, a prayer book for the entire Christian race.

Asceticism in the perception of Nekrasov can determine not only male, but also female fate. As the analysis of his works shows, when creating female images, he was guided, among other things, by the traditions of ancient Russian hagiography, the apocrypha (“The Virgin’s Passage through Torment”, “The Word of the Dormition of the Virgin”). In addition to the mother, the category of ascetics in his work includes the images of the Decembrists, who dared to challenge the state, society, the tsar himself and follow their husbands to Siberia (“Russian Women”). Turning to the topic of the uprising on Senate Square gave the author the opportunity, on the one hand, to show his contemporaries a living example of a fighter for the people's happiness (the Decembrists appear to be such in Nekrasov's assessment), and on the other hand, to give this real image the mythological features of God's chosen one.

In the 1870s, the poet managed to solve the problem of combining civil and Orthodox ideals in one image that had long tormented him. This becomes possible thanks to a new look at the origins of civil hatred. In the perception of the lyrical hero, serfdom begins to be regarded as a vice, and its supporters as atheists, challenging the Creator himself and violating the law approved by him. The revolutionary struggle thus acquires the features of an ascetic opposition to sin, is perceived not as a violation of God's commandments, but as a necessary righteous deed (the legend "About two great sinners"). Nekrasov, formerly

who turned to the origins of folk-Christian morality in order to embody his own civic ideals, here shows the objective limitations of the position of spiritual humility, when, taken to the extreme (“to endure - the abyss”), it discredits the very religious ideal of the ascetic, making him unarmed, untenable in the face of social evil .

So, Nekrasov makes significant adjustments to the definition of the category of "asceticism". The cultural and historical type of the ascetic, embodied in the personalities of the monk, ascetic, holy fool, stylite, canonical for folk religious culture, turns out to be irrelevant for the poet's work. Such heroes are very rare in his works, and always as episodic characters. These images do not carry a deep semantic load. In Nekrasov's interpretation, an ascetic is always a layman. He does not move away from the human community, but strives into it. And it is through service to the people, to the people that one acquires holiness. Who is distinguished by such qualities as honesty, consistency, loyalty to his principles, intransigence in the fight against evil, no matter what form it takes. The life of a Nekrasov ascetic often resembles the life of a Christian saint. The author emphasizes his high moral purity, purity, piety, detachment from transient earthly values, the desire to sacrifice himself for the good of his neighbor and his homeland. The latter - readiness for suffering, martyrdom - turns out to be one of the main criteria for evaluating a hero and introducing him to the category of an ascetic in the poet's work.

Nekrasov recognizes the absolute, timeless significance of Christian ideals and undoubtedly focuses on them. But, besides this, he, firstly, understands how vulnerable they are to the realities of life, and, secondly, he tries to justify the need for revolutionary actions, that is, violence, protest, struggle. Here we see the main reason for the inconsistency, disharmony of the poet's artistic world. A special role in it is played by the antinomies of "love - hate", "humility - rebellion", "retribution - crimes", "sacrificial death - useless death". The boundary between these moral categories in the poetic biographies of Nekrasov's ascetics turns out to be easily crossable and largely depends on the point of view from which they are considered. Let us recall Savely from the poem “Who Lives Well in Russia” with his conceptual phrase: “Untolerate - an abyss, endure - an abyss! . In the image of Savely, one can observe, in fact, the same contradictions that tormented the lyrical hero of the poem "Muse", only projected onto the biography of the peasant. With all the deep respect Nekrasov has for the categories of Orthodox ethics, he treats them not as an absolute, but critically. The poet subjects them to close analysis, reveals the weak, from his point of view, sides, and rethinks the folk-religious categories within the framework of his own worldview. We are sure that when analyzing Nekrasov's work, these contradictions should not be hushed up.

and try to settle them, even more, they need to be discussed first of all, since it is they that determine its originality.

In the Conclusion, we summarize, reflect on the inconsistency of the poet's artistic world and, mainly, about its possible causes. Nekrasov is trying to combine Orthodox and revolutionary ideals4 in his work, that is, two essentially different worldview systems of values. It is here that lies, from our point of view, the main reason for the internal disharmony of his artistic system. He strives with all his might to comprehend and justify the people's truth warmed by Christian love for one's neighbor and spiritual humility. In moments of such insights, the soul of the lyrical hero finds true peace and happiness. Such contexts are especially characteristic of Nekrasov's late work. However, the internal conflict does not leave his works, since the poet's own faith is, as it were, constantly tested by critical consciousness, and is questioned. Conscious of his involvement in the revolutionary ideology, he cannot fail to notice the vulnerability of the position of spiritual asceticism, reveals the inconsistency of the ideal of "cathedral" life, the ideas of the Russian people about local life as a kind of universal "brotherhood" of masters and servants, where social strife recedes into the background before the community faith and national traditions.

Controversial in the image of Nekrasov and the wanderer. It would seem that in his interpretation the poet is closest to traditional Christian ethics. However, this is not quite true. The motivation for wandering in his works is predominantly not religious, but social in nature: pilgrims go to get through to the truth (“Reflections at the front door”); go to work peddlers; because of judicial arbitrariness, a wretched wanderer, a saint of Christ (“Peddlers”); seven men go to find out who lives well in Russia (“Who lives well in Russia”). The Nekrasov wanderer goes his way to the end, but far from always reaching the intended goal, if we understand it as gaining spiritual harmony and communion with the highest divine truth. This is most striking

manifests itself in poems about the "spiritual wandering" of the lyrical hero-intellectual. The finale of wandering, according to Nekrasov, is tragic, since a person realizes the impossibility of combining Christian virtues with the cruelty and indifference of modern life, sees their “otherworldliness”.

As for the image of the ascetic, this is the most complex and ambiguous type of the righteous in Nekrasov's work. It was in it that all the author's thoughts, doubts, contradictions were most clearly embodied. His image is built on the clash and interaction of Christian and civil ideals: love and hatred, humility and anger, patience and rebellion, sacrifice and pride. The Nekrasov ascetic is non-canonical. The author creates his own canon of asceticism: recognizing the highest Christian virtues, he opposes them with active resistance to evil, which is understood as a violation of a person's right to earthly, lifetime happiness. But this scheme is by no means always superimposed on real biographies and destinies, which the poet strives to recreate and generalize in his work (“On the Death of Shevchenko”),

Nekrasov does not deny Christian ideals, but he is completely unable to accept them for himself. Hence the broken worldview of his lyrical hero, sometimes leading to an eclecticism of civil, Old and New Testament motifs. Perhaps S.N. is right. Bulgakov, who argued that the root of the spiritual contradictions tormenting the Russian intellectual lies in the fatal impossibility of joining the Christian faith: “Having renounced Christ, she [the intelligentsia] bears His seal on her heart and rushes about in unconscious longing for Him, not knowing to satisfy her thirst spiritual. And this restless anxiety, this unearthly dream of unearthly truth leaves its own special imprint on her, makes her so strange, frenzied, unbalanced, as if possessed. Or, as D.S. said about Nekrasov. Merezhkovsky, "he has a religious feeling, but no religious consciousness"25.

Our work does not provide answers to all questions; rather, it raises them. The main difficulty lies in the fact that, while analyzing the artistic heritage of the poet, we somehow come to the mental warehouse of his personality, to the features of his spiritual biography. If we outline further prospects for the study of Nekrasov's work in connection with the problems raised, then, in our opinion, a close study of biographical material and its comparison with the poetic heritage can be of great scientific value.

PROVISIONS FOR THE DEFENSE

1. Nekrasov's poetry reflects the individual author's ideological and artistic concept of righteousness, which is realized in three categories: labor, wandering and asceticism.

24 Bulgakov S.N. Heroism and asceticism // Milestones. From the depth. M., 1991. S. 72.

25 Merezhkovsky D.S. Two secrets of Russian poetry: Nekrasov and Tyutchev II Merezhkovsky D.S. In the stillness. M., 1991. S. 445.

2. Each of these categories has its own type of righteous hero: worker, wanderer, ascetic (this typology applies to the entire system of Nekrasov's characters, that is, to male and female images, to folk images and images of a raznochintsy hero, an intellectual).

3. The positive hero of Nekrasov, the righteous hero, is the result of the interaction of different traditions: Orthodox culture, folklore (including folk spiritual poetry), ancient Russian literature, the experience of Nekrasov's contemporaries, who actively developed the type of righteous hero in their work.

4. The image of Nekrasov's righteous hero is built on the close coexistence and interaction of two truths: revolutionary and Christian, between which the poet's consciousness fluctuates. Often they remain unreconciled despite the author's obvious desire to reconcile them.

1) Gorbatova T.A. (Zhitova T.A.) The concept of "labor" in the work of H.A. Nekrasova // Philological science in the XXI century: the view of the young. Materials of the third international conference of young scientists. - Moscow - Yaroslavl: MIGU - Remder, 2004. - S. 89-91 (0.2 square);

2) Zhitova T.A. The image of Grisha Dobrosklonov in the context of the problem of understanding happiness in the poem by H.A. Nekrasov “Who should live well in Russia” // Philological science in the XXI century: the view of the young. Materials of the fourth all-Russian conference of young scientists. - Moscow - Yaroslavl: Remder, 2005.-p. 191-195 (0.3 square);

3) Gorbatova T.A. (Zhitova T.A.) The image of the road, the motive of wandering and the types of heroes-"wanderers" in the works of H.A. Nekrasova // Philological science in the XXI century: the view of the young. Materials of the third international conference of young scientists. - Moscow - Yaroslavl: MPGU - Remder, 2004. - S. 92-95 (0.2 square);

4) Gorbatova T.A. (Zhitova T.A.) The evolution of the category "labor" in the work of H.A. Nekrasov // XV Purishev Readings: World Literature in the Context of Culture: Collection of Articles and Materials / Ed. ed. M.I. Nikola, Rev. ed. release E.V. Zharinov. - M.: MPGU, 2003. - S. 67-68 (0.1 square);

5) Gorbatova T.A. (Zhitova T.A.) Wandering in the works of H.A. Nekrasov // XVI Purishev Readings: World Literature in the Context of Culture: Collection of Articles and Materials 7 Responsible. ed. M.I. Nikola, Rev. ed. issue A.B. Korovin. - M.: MPGU, 2004. - S. 43 (0.1 square);

6) Gorbatova TA. (Zhitova T.A.) The concept of "m1r" in the work of H.A. Nekrasov // XIII Purishev Readings: World Literature in the Context of Culture: Collection of Articles and Materials / Ed. ed. M.I. Nikola, Rev. ed. release N.I. Sokolov. - M.: MPGU, 2001. At 2 o'clock - Part 1. - S. 57 (0.1 square).

Podl, to the stove. 06/13/2006 Volume 1.25 p.l. Order no. 134 Tire 100 copies.

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Labor as a special form of righteousness in the works of H.A. Nekrasov. Images of workers

1.1. Religious and moral aspects of labor in the linguistic consciousness of the 19th century, folk culture and Christian ethics.

1.2. Types of heroes-workers in the works of H.A. Nekrasov 1840 - 50s

1.2.1. Workers from the people.

1.2.2. Nekrasov's interpretation of the poet's image: the poet as a worker.

1.3. Types of heroes-workers in the works of H.A. Nekrasov 1860 - 70s

1.3.1. Workers from the people.

1.3.2. Nekrasov's interpretation of the image of the poet: the poet as a worker

1.4. Findings.;.

Wandering as a special form of righteousness in the works of H.A. Nekrasov

2.1. Religious and moral aspects of wandering in the linguistic consciousness of the 19th century, folk culture and Christian ethics.

2.2. The gospel concept of the hero-wanderer in the poetry of H.A. Nekrasov.

2.3. The romantic concept of the wandering hero in the poetry of H.A. Nekrasov.

2.4. Types of "wanderers from the people" in the lyrics and poems of H.A. Nekrasov

2.4.1. Wandering as a phenomenon of national religious life in ancient Russian literature.

2.4.2. The specifics of understanding the righteous path of the hero-wanderer in the works of H.A. Nekrasov.

2.4.3. The images of wanderers in the poem H.A. Nekrasov "Who is it good to live in Russia".

2.5. Findings.

Asceticism as a special form of righteousness in the works of H.A. Nekrasov

3.1. Religious and moral aspects of asceticism in the linguistic consciousness of the 19th century, folk culture and Christian ethics.

3.2. The ideal of a revolutionary ascetic in the poems and poems of H.A. Nekrasov 1840-1870s.

3.3. Women ascetics in the lyrics and poems of H.A. Nekrasov

3.3.1. The image of the mother in the works of H.A. Nekrasov.

3.3.2. The image of an ascetic wife in the poem by N.A. Nekrasov "Russian women".

3.4. The type of "people's protector" in the system of characters in the poem by N.A. Nekrasov "Who should live well in Russia"

3.5. Findings.

Dissertation Introduction 2006, abstract on philology, Zhitova, Tatyana Alekseevna

In modern literary criticism, there is a surge of interest in the literature of the second half of the 19th century, its reassessment, and the study of previously untouched issues. In recent years, a large number of works have appeared on JI.H. Tolstoy, F.M. Dostoevsky, N.S. Leskov, M.E. Saltykov-Shchedrin. At the same time, since the 1990s, more and more attention has been paid to the study of the connection between Russian literature and Christian traditions, the moral and religious issues of works of art. The monographs of I.A. Esaulova1, P.E. Bukharkina2, M.M. Dunaeva3, V.A. Kotelnikov4. Of great value are the collections "Christianity and Russian Literature" (St. Petersburg, 1994 - 2002); "Gospel text in Russian literature

XVIII - XX centuries" (Petrozavodsk, 1995 - 1998); interuniversity collection of scientific papers "Religious and mythological trends in Russian literature of the XIX century" (M., 1997).

We are not close to the point of view of those modern researchers who believe, following H.A. Berdyaev that "Russia has never completely emerged from the Middle Ages, from the sacred era"5. Today, for example, this position is shared by V.A. Kotelnikov, who believes that there was no ideological break between the ancient Russian culture and the culture of the New Age, that, being secular in form, "new in many topics and poetic means", Russian literature of the XVIII and especially

of the 19th century (unlike the Western European), in the deep tendencies "persistently continues to express the medieval worldview, does not break away from the medieval (Church Slavonic) foundations of the language"6.

2 Bukharkin P.E. Orthodox Church and Russian Literature in the 18th - 20th Centuries (Problems of Cultural Dialogue). SPb., 1996.

3 Dunaev M.M. Orthodoxy and Russian literature. Proc. manual for students of theological academies and seminaries. At 5 h. M., 1996.

4 Kotelnikov B.Ä. Orthodox ascetics and Russian literature. On the way to Optina. M., 2002.

5 Berdyaev H.A. New Middle Ages. Berlin, 1924. S. 19.

6 Kotelnikov V.A. From the editor // Christianity and Russian literature. Sat. Art. Ed. V.A. Kotelnikov. 4.2. SPb., 1996. S. 4.

We proceed from a diametrically opposed conceptual setting, from the recognition of the indisputable fact that the Russian literature of the New Age, of course, not only in form, but also in worldview, remained secular, secular, artistic literature, which, of course, did not mean that it had forgotten its own religious origins, spiritual roots. We are fundamentally convinced that the Christian religion and fiction are two qualitatively different systems of organizing a person's spiritual experience, and the interaction between them proceeded in the form of a dialogue, and by no means a mechanical assimilation of certain Christian dogmas. Secular culture not only assimilates, but at the same time transforms (sometimes significantly) Christian ideas, images, symbols, and the very forms of spiritual religious communication - according to the laws peculiar to fiction, according to the settings of the individual author's worldview.

Let us turn to the context of the modern Nekrasov era. G.Yu. Sternin writes about this: “The general picture of the world created by Russian cultural figures (with all the differences in individuality) was imbued with Christian ideas about the predestination of the fate of Russia and man by the will of the Almighty, it is characterized by hopes for the saving effect of divine forces. Not without reason, some thinkers liked to liken the creative act to prayer, and in the artist to see the intercessor of the people before God.<.>. Through the life, social collisions presented by one or another master, the themes, images and even events of the Holy Scripture were very often shone through. In this broad sense, religious ideas are one of the life-giving foundations of the entire Russian artistic culture of the second half of the 19th century. G.G. Pospelov, characterizing the Russian culture of the 1870s-1890s, emphasizes that the ideas of suffering, achievement, self-denial,

7 Russian artistic culture of the second half of the XIX century. Rep. ed. G.Yu. Sternin. In 3 vols. M., 1996. T. Z.S. 7. sacrifices were central to her. One of the essential features of that era, the researcher calls her ability to "project traditional gospel images onto events or figures of the surrounding life" . “And such associativity intensified most of all precisely in the 1870s, in the circles of young people who participated in “going to the people.<.>The gospel legend became in those years the direct support of an unprecedented mass religious and moral denomination. Thus, it can be argued that the intelligentsia's worldview closely brought the everyday path of modern man closer to the age-old ideals of the gospel teaching.

Literary critics highlight Nekrasov's new themes and motives: repentance, redemptive sacrifice, asceticism, the eternal Temple. And these are “signs of true spirituality and, in fact, the cornerstones of Christian Orthodoxy, evangelical and folk Christianity”11. Now Nekrasov poetry is associated not only with folk art, but also with the Bible, the Gospel, hagiographic literature

8 Pospelov G.G. Repin's Narodnaya Volya Series // Russian Artistic Culture of the Second Half of the 19th Century. Rep. ed. G.Yu. Sternin. In 3 vol. M., 1991. T. 2. S. 180.

9 Ibid. S. 181.

10 Nolman M. Muse and the Gospel: Through the pages of the works of H.A. Nekrasova // Russia. 1994. No. 5. P. 89. Mostovskaya H.H. Temple in Nekrasov's works// Russian Literature. 1995. No. 1. S. 194.

H.H. Mostovskaya, M.M. Dunaev, M. Nolman, Yu.V. Lebedev, H.H. Skatov, P.P. Alekseev, V.A. Boots). We give an assessment of the scientific concept of these works in the main part of our study, in the chapters devoted to various aspects of the problem of righteousness in Nekrasov's poetry.

It is especially necessary to note the merit of Yu.V. Lebedev, who has been dealing with this problem for a long time. He approaches the consideration of Nekrasov's poetry from a universal, humanistic, Christian position, while revealing their organic connection with civic ideals. In his opinion, Nekrasov “tried in his work to combine politics with Christian morality and invariably set the image of Christ as an ideal for the people's intercessor. The poet took upon himself the task of affirming with his poetic work the spirit of high citizenship, the essence of which was that Russian politics should be determined by the precepts of Christ and strive to implement His commandments. In his work, he tried to embody the national type not of monastic holiness, but of the holiness of the laity, precisely to the extent that this holiness was affirmed by Christian doctrine and organically entered the Russian people's consciousness.

The appeal to gospel motifs and images allowed Nekrasov to rise from a concrete fact to a universal meaning, from an individual fate to a universal one. However, one should not go to extremes, explaining all his work by one influence of Christianity. The ethics and aesthetics of Christianity were part of his works not in a pure, canonical form, but in a transformed form, in accordance with their content and poetics. At the same time, the poet was largely guided by folk tradition. The task of the modern reading of Nekrasov is to take into account all the components of his poetry. It is also important not only to build new theories, but also not to forget about previous works of both the pre-revolutionary and Soviet eras.

12 Lebedev Yu.V. Our favorite poet, passionate for suffering. End // Literature at school. 1997. No. 1. S. 36.37. we note here the studies of S.A. Andreevsky, K.F. Gordeeva, Yu.A. Veselovsky, A. Basargin, P.A. Zabolotsky; K.I. Chukovsky, V.G. Bazanova, I.M. Kolesnitskaya, B.V. Melgunova, V.G. Prokshina). It should be noted that, with all the diversity, modern works on the work of Nekrasov (over the past one and a half to two decades) are mainly articles, much less often monographs, while dissertation research on this topic is practically absent. Meanwhile, it is of great interest, since it has long gone beyond the framework of a private literary phenomenon and has become the semantic dominant of the cultural and literary life of Russia in the second half of the 19th century. All this determines the relevance of our study and its scientific novelty.

The scientific hypothesis is that the positive hero of Nekrasov is focused on the image of the righteous, but the image of the righteous is not in the pure church canon. The Christian tradition is certainly an important, but far from the only component that influenced the poet's worldview. The essence of our approach lies in the fact that we consider the positive image of the righteous hero in his work as the result of a complex interaction of different traditions: folklore (including folk spiritual poetry), ancient Russian literature, revolutionary democratic and populist literature, and finally, the experience of writers- contemporaries of Nekrasov, who actively developed in their work the type of righteous hero (N.S. Leskov, L.N. Tolstoy). We are interested in the ideological and artistic concept of righteousness in Nekrasov's poetry, that is, not so much in the very question of the measure of its compliance or inconsistency with certain Christian dogmas, but in the main ways and means of its artistic transformation in the individual author's work.

The subject of the dissertation is the typology of the images of righteous heroes in the work of Nekrasov on the material of lyrics and poems.

13 as saints, but not yet canonized by the Church. Let us note that righteousness in Orthodoxy is understood as the sanctity of a person's life, asceticism for the glory of God under ordinary conditions, and not only in a monastic cell. Simeon the New Theologian, for example, instructing the brethren, tells a “many useful tale” about a righteous young man who “did not hold long fasts, didn’t sleep on earth, didn’t wear a sackcloth, didn’t go out of the world bodily,” but “was honored to see the sweetest light of the mental Sun of righteousness, our Lord Jesus Christ.

In literature, righteousness is traditionally viewed from the point of view of moral and spiritual idealization, but Nekrasov fills this concept with more complex content. In his artistic world, both folk images and intellectual heroes gravitate towards the righteous. Righteousness in his interpretation does not mean static, focusing on the only idea of serving God. The poet's value system includes, first of all, striving for goodness, which, at the same time, is conceived not as an abstract idea, but as specifically directed mercy, sympathy, meekness, patience.

As components of righteousness, we distinguish labor, wandering and asceticism. We will not dwell here on their differentiation (this will be done in the main part of the work), we will only note that labor and wandering characterize mainly heroes from the people, peasants (though not only!). Asceticism

13 Christianity. Encyclopedic Dictionary. T. 2. M., 1995. S. 379.

14 Philokalia. In Russian translation, supplemented. In 5 vols. We can talk about a certain hierarchy of the listed categories in the work of Nekrasov. If we distribute them according to the degree of significance in the artistic world of the poet, then asceticism will be in the first place, hard work in the second, and wandering in the third. These cultural and religious modifications of righteousness determine, from our point of view, the very typology of the righteous hero in Nekrasov's poetry: this is a wanderer hero, a worker hero and an ascetic hero.

The main purpose of this work is an attempt to systematically analyze Nekrasov's work for the ideological and artistic implementation of the three components of righteousness in it: labor, wandering, asceticism, as well as. the types of the righteous hero corresponding to these modifications: worker, wanderer, ascetic.

We set ourselves the following tasks:

1) to reconstruct the essence of the categories of labor, wandering, asceticism in the linguistic consciousness of the 19th century, folk culture and Christian ethics;

2) to show how the content of these religious and moral categories and the corresponding images of righteous heroes in Nekrasov's poetry changes depending on its ideological and artistic evolution;

15 Dunaev M.M. Orthodox Foundations of Russian Literature of the 19th Century: Diss. scientific report M., 1999. S. 20. Dr. Philol. sciences in the form

3) to reveal all the complex, sometimes tragic inconsistency of the interaction in the poet's work of the components of religious and secular (both noble and raznochinskaya) culture;

4) to give a systematic analysis of the numerous moral antinomies of the consciousness of Nekrasov's righteous hero in their tragic insolubility;

5) trace the connection between the poetics of the image of a righteous hero in Nekrasov's poetry and the traditions of folklore, ancient Russian literature and the literature of modern times.

The methodology of our research is complex in nature and is based on the intersection of linguistic, cultural and literary methods, because the problematic itself, of course, requires going beyond the pure analysis of poetics. From this point of view, the works of H.A. Nekrasov have not been studied enough. It seems that such an approach can significantly enrich the ideas about them, as well as give a new impetus to the study of the poet's work.

In order to reveal the meaning of the categories of interest to us in the linguistic consciousness of the 19th century, we use the method of "comparative conceptology" and the term "concept" in our work. It was developed by such scientists as D.S. Likhachev, Yu.S. Stepanov, N.I. Tolstoy, A. Vezhbitskaya. Now this is already a generally recognized concept, but today there is no unambiguous and exhaustive definition of it, therefore the term itself appears in our study as a working one. In our understanding, a concept (from Latin conceptus, concipere - “concept, conception”) is a word-concept that has meanings and associations that are stable for a particular culture, acquires symbolic significance and has the ability to mythologize reality. The concept is not reduced to either a motive, or an image, or a symbol, or a myth. It covers a whole range of cumulative concepts and ideas, logical and intuitive, rational and figurative, scientific and artistic are merged in it. Examples of concepts in Nekrasov's work are such words as "hard work", "asceticism", "wandering", "sacrifice", "suffering", "patience", "sin".

In addition, to analyze the categories of labor, wandering, asceticism, we widely involve ethnographic and cultural studies. This makes it possible to highlight many of the lost features of the material and spiritual culture of the second half of the 19th century, to reconstruct it.

When analyzing the modifications of righteousness in Orthodox ethics, we rely on patristic and theological literature. First of all, this is the four-volume work of Bishop Barnabas (Belyaev) “The Fundamentals of the Art of Holiness. The experience of presenting Orthodox asceticism” (Nizhny Novgorod, 1995) and the five-volume encyclopedia “The Philokalia” (Moscow, 1877-1889). We should not be embarrassed that the indicated studies are more recent than the main object of our attention - the work of H.A. Nekrasov. Unlike secular culture, church culture, due to its strict regulation, is very conservative and static. It is extremely reluctant to change, it evolves very slowly. This is what gives us the right to use for analysis both contemporary Nekrasov and later works.

The goals and objectives set in the work determined its structure. It consists of the following parts:

Introduction, which provides a brief historiographical review of the literature on the problem under consideration; justifies the relevance of the chosen topic; the purpose, tasks, methodology, structure of the study, its practical significance are indicated.

Three chapters that consider the implementation in the work of Nekrasov of the concepts of labor, wandering and asceticism, respectively.

Conclusion, which summarizes the results and outlines further prospects for the study.

Bibliography, which has several sections: sources, theological, religious and philosophical literature; cultural and ethnographic literature; scientific-critical literature on the main problems of creativity H.A. Nekrasov; scientific-critical literature on related issues of dissertation research; bibliographic publications; dictionaries, reference books. There are 296 titles in the bibliography in total.

The practical value of the results of the study lies in the fact that they can be used in the further study of the problems posed by Nekrasov's work and the phenomenon of righteousness in literature in general, as well as in the practice of university teaching - in courses on the history of Russian literature of the second half of the 19th century, in special courses and special seminars.

All works by Nekrasov in this work are cited from the following edition: Nekrasov H.A. Poly. coll. op. In vol. 15, 1981 - 2000. After each quotation, it is indicated in brackets: Roman numeral - volume, Arabic - page. The exception is the word “God” and its synonymous replacements: we write them with a capital letter, not with a capital letter, which corresponds to the Russian spelling of the 19th century and is recorded in the Complete Collection of Poems by H.A. Nekrasov (St. Petersburg, 1884).

Conclusion of scientific work dissertation on the topic "The ideological and artistic concept of righteousness in the poetry of N.A. Nekrasov"

3.5. findings

So, the image of the ascetic in the work of Nekrasov acts as the ideal of a positive hero. In it, the author paradoxically seeks to combine two truths: revolutionary and Christian. The first is associated with such traits as courage, pride, a sense of duty and civic responsibility. From the second - love for one's neighbor, moral purity, the ability to self-denial. The complexity of the author's position lies in understanding the objective impossibility of their merging (the lyrical heroes of "Muses" and "On the Death of Shevchenko", the images of Saveliy, the serf Yakov from "Who Lives Well in Russia") and at the same time a passionate desire to unite them in some higher, ideal -abstract synthesis (Kudeyar, Grisha Dobrosklonov).

Here arises the question that was asked by F.M. Dostoevsky: can human sacrifice be the basis of universal harmony? But, if Dostoevsky answers this question in the negative with all his work, then Nekrasov argues the opposite, recognizing its legitimacy and necessity (“Poet and Citizen”, “Zine” (“You still have the right to life.”), “To the portrait ** *").

He comes to this conclusion not immediately, but gradually. In the 1850s, the lyrical hero is tormented by the tragic. incompatibility of humility, Christian all-forgiving love and civil rejection of the modern way of life. The contradiction of these two principles largely explains his weakness, disharmony, drama (this is especially pronounced in the poems “Blessed is the gentle poet.”, “Muse”, “On the death of Shevchenko”).

Nekrasov is characterized by an artistic understanding of the fate of his contemporaries. The images of Belinsky, Dobrolyubov, Dostoevsky, Turgenev, Pisarev, Herzen, Chernyshevsky, without losing their concreteness, are generalized in his work into an ideal image of a revolutionary ascetic who consciously chose for himself the path of suffering on the cross in the name of universal happiness. The scale of aspirations, spiritual purity, readiness for self-sacrifice, uncompromisingness, consistency bring him closer to the Christian martyr, and, moreover, to Jesus Christ himself ("In Memory of Dobrolyubov", "Do not cry so madly over him.", "Prophet").

A special place in the poet's work is occupied by the image of his mother. Surprisingly integral and harmonious, it is devoid of those contradictions that torment the lyrical hero himself. This prompts him to constantly turn to the memory of his mother, to ask her for strength, support, patience, love. Her bright image invariably accompanies the hero as a guardian angel, being an example of the highest virtue, moral purity, Christian humility. Nekrasov raises the image of the mother to an unattainable height, equating her with the Mother of God (the poem "Knight for an Hour", the poem "Mother").

Asceticism in the perception of Nekrasov can determine not only male, but also female fate. As the analysis of his works shows, when creating female images, he was guided, among other things, by the traditions of ancient Russian hagiography, apocrypha. In addition to the mother, the category of ascetics in his work includes the images of the Decembrists, who dared to challenge the state, society, the tsar himself and follow their husbands to Siberia (“Russian Women”). Turning to the topic of the uprising on Senate Square gave the author the opportunity, on the one hand, to show his contemporaries a living example of a fighter for the people's happiness (the Decembrists appear to be such in Nekrasov's assessment), and on the other hand, to give this real image the mythological features of God's chosen one.

A peculiar result of Nekrasov's poetic reflections on the problem of a positive hero and on the meaning of human life in general was summed up by the poem "Who should live well in Russia." In non-beauty studies, it has been studied quite deeply. However, both authors of the Soviet era and modern ones are primarily interested in the social value of this work. Its connection with folk culture, with the traditions of Christianity in the form in which it was assimilated in Russia, remains on the periphery of research or is not discussed at all. We set ourselves the goal of discovering this connection, to trace in what way Nekrasov focuses on Orthodox folk culture, and in what he departs from it, and, if possible, to explain the reasons for this.

Of particular interest in this regard is the image of the "people's protector". This is not a static image, it is gradually formed in the poem. Each character - Yermil Girin, Matrena Timofeevna, Savely, Vlas Ilyich - complements him with new touches. The pinnacle of the evolution of the "people's protector" is the image of Grisha Dobrosklonov. The text of the poem, as well as Nekrasov's previous work, allow us to talk about his correlation with the image of the Savior and the Mother of God at the same time. Moreover, if the Savior is associated primarily with the idea of sacrifice, then the Mother of God is associated with the idea of mercy and intercession for people before God.

In the 1870s, the poet managed to solve the problem of combining civil and Orthodox ideals in one image that had long tormented him. This becomes possible thanks to a new look at the essence of civil hatred. In the perception of the lyrical hero, social evil begins to be regarded as a vice, and its carriers - as atheists, challenging the Creator himself and violating the law approved by him. The revolutionary struggle thus acquires the features of ascetic opposition to sin, is perceived not as a violation of God's commandments, but as a necessary righteous deed. Nekrasov, who previously turned to the origins of folk-Christian morality to embody his own civic ideals, here shows the objective limitations of the position of spiritual humility, when, taken to the extreme (“endure”), it discredits the very religious ideal of the ascetic, making him unarmed, untenable in the face of public evil.

In Nekrasov's interpretation, an ascetic is always a layman. He does not move away from the human community, but strives into it. And it is through service to the people, to the people that one acquires holiness. He is distinguished by such qualities as honesty, consistency, loyalty to his principles, intransigence in the fight against evil, no matter what form it takes. The life of a Nekrasov ascetic often resembles the life of a Christian saint. The author emphasizes his high moral purity, purity, piety, detachment from transient earthly values, the desire to sacrifice himself for the good of his neighbor and his homeland. The latter - readiness for suffering, martyrdom - turns out to be one of the main criteria for evaluating a hero and introducing him to the category of an ascetic in the poet's work.

Nekrasov recognizes the absolute, timeless significance of Christian ideals and undoubtedly focuses on them. But, besides this, he, firstly, understands how vulnerable they are to the realities of life, and, secondly, he tries to justify the need for revolutionary actions, that is, violence, protest, struggle. Here we see the main reason for the inconsistency, disharmony of the poet's artistic world. A special role in it is played by the antinomies of love - hatred, "humility - rebellion", "retribution - crimes", "sacrificial death - useless death". The boundary between these moral categories in the poetic biographies of Nekrasov's ascetics turns out to be easily crossable and largely depends on the point of view from which they are considered. With all the poet's deep respect for the categories of Orthodox ethics, he treats them not as an absolute, but critically. Nekrasov subjects them to close analysis, reveals the weak, from his point of view, sides, and rethinks folk-religious virtues within the framework of his own worldview. So, love for the people coexists in the heart of a lyrical hero with hatred for his oppressors; the fight against the latter is regarded not as a crime, but as a feat; rebellion is welcomed, humility is perceived as an expression of weakness and narrow-mindedness.

However, not all artistic images of Nekrasov fit into this abstract, artificially created scheme. There are many contexts in the poet's work with directly opposite interpretations based on traditional folk culture. And, it should be noted that they seem to us more sincere, alive, full-blooded. As a striking example, here we can cite the image of the mother, to whom the lyrical hero refers to as a holy ascetic. We are sure that when analyzing Nekrasov's work, one should not hush up these contradictions and try to resolve them, even more, they should be discussed first of all, since it is they that determine his originality.

Conclusion

So, we highlight in the work of H.A. Nekrasov three types of righteous hero: worker, wanderer, ascetic (this typology applies to both male and female images). The most significant is undoubtedly the last one. It seems that there is no point in repeating the conclusions that are given at the end of each of the chapters devoted to the above phenomena. Here I would like to reflect on the inconsistency of the poet's artistic world and, mainly, on its possible causes.

At one time, H.H. Skatov noted that folk-religious ideas about asceticism, self-sacrifice are organically included in Nekrasov's worldview complex135. At present, the connection of the latter's artistic heritage with Orthodox culture is increasingly becoming the object of research analysis. In any case, the presence of a religious complex in his poetry does not surprise anyone today. At the same time, this complex is so peculiar in all its manifestations that literary critics, one might say, have only begun to identify the specifics of the object of study. The essence of the matter lies in the fact that Nekrasov in his work seeks not so much to oppose revolutionism and Orthodoxy, but to merge them in a bizarre way. It is this phenomenon that lies behind the term D.S. Merezhkovsky "religious populism": "It was in Nekrasov. And here he is closer to us, more modern than all our contemporaries. Through their heads, he stretches out his hand to the future - to what might be called religious populism. Here is his last secret, which, perhaps, remained unsolved for him, at least in life. Dunaev that the poet “constantly matched the case. sacrificial struggle with spiritual concepts, no doubt

135 Skats H.H. Poets of the Nekrasov school. L., 1968. S. 74.

136 Merezhkovsky D.S. Two secrets of Russian poetry: Nekrasov and Tyutchev // Merezhkovsky D.S. In the stillness. M., 1991. S. 443. religious ". It only remains to clarify the nature of this Nekrasovian phenomenon, to understand what are the points of convergence in his poetry of revolutionary and religiosity.

The central point that focuses Nekrasov's entire worldview is the category of ascetic sacrifice. Only a sacrifice, only a renunciation of oneself in the name of a lofty goal can “sanctify” any worthy deed. Without a sacrifice for Nekrasov, people are dead, their words and deeds. He constantly returns to the concept of sacrifice, self-sacrifice, thinking, among other things, about himself. It is precisely from the maximalism of the spiritual aspirations of the Orthodox-minded Nekrasov that he develops a craving for glorifying revolutionary asceticism as one of the most striking varieties of asceticism in general. For Nekrasov, the self-sacrifice of such people as Belinsky, Dobrolyubov, Chernyshevsky, such figures as the Decembrists, was undoubtedly surrounded by the halo of Christian martyrdom.

However, the evangelical world in the work of Nekrasov, voluntarily or involuntarily, but sometimes turns out to be turned upside down. The fact is that his ascetics, who sacrifice their souls “for their friends”, do not act in the name of Christ. This is not a victim of humility, but of rebellion. This fundamentally changes things. Often Nekrasov's worldview turns out to be. contrary to the gospel spirit. The gospel calls for God's love, but only sin teaches to hate. Nekrasov's formula: "That heart will not learn to love, which is tired of hating" - all in its spirit is purely worldly, establishing not God's, but human justice and truth. In the Gospel, the poet did not take the main thing - the spirit of humility, but read it as a teaching about building the kingdom of truth and justice on earth.

This tragic incompatibility was emphasized by S.N. Bulgakov, who denied asceticism to the intelligentsia in a strictly Christian sense and proposed the term "heroism" to express their spiritual ideals. He

137 Dunaev M.M. Orthodoxy and Russian literature. At 5 hours M., 1997. 4. 3. S. 170. explains this as follows: “It has been repeatedly pointed out (following Dostoevsky) that in the spiritual image of the Russian intelligentsia there are features of religiosity, sometimes even approaching Christian. These properties were brought up, first of all, by external historical destinies: on the one hand, government persecution, which created in her a sense of well-being of martyrdom and confession, on the other hand, by forcible isolation from life, which developed daydreaming, sometimes beautiful soul, utopianism, in general, an insufficient sense of reality.<.>The well-known otherworldliness, the eschatological dream of the City of God, of the coming kingdom of truth (under various socialist pseudonyms) and then the desire to save mankind - if not from sin, then from suffering - are, as you know, the invariable and distinctive features of the Russian intelligentsia. In this striving for the Coming City, in comparison with which earthly reality pales, the intelligentsia retained, perhaps in the most recognizable form, the features of the lost churchness.<.>And yet, in spite of all this, it is known that there is no intelligentsia more atheistic than the Russian, [italics mine, Zh.T.]<.>In relation to Russian history and modernity, the intelligentsia has become in the position of a heroic challenge and heroic struggle, relying on its own self-esteem. Heroism is the word that, in my opinion, expresses the basic essence of the intelligentsia's worldview and ideal, moreover, the heroism of self-deification.<.>Just as between the martyrs of early Christianity and the revolution, in essence, there is no inner resemblance, with all the outward identity of their feat, so between intellectual heroism and Christian asceticism, even with the outward similarity of their manifestations, there remains an abyss, and it is impossible at the same time

138 to be on both sides of it. With all the unconditional significance of this concept for us, we cannot fully subscribe to it, since we believe that Nekrasov's work is determined not so much

138 Bulgakov S.N. Heroism and asceticism // Milestones. From the depth. M., 1991. S. 35, 36, 37.44, 62-63. heroism” in the sense in which S.N. Bulgakov, how many such concepts as "love for one's neighbor", "sacrifice", "feat".

Nekrasov is trying to combine Orthodox and revolutionary ideals in his work, that is, two essentially different worldview systems of values. It is here that lies, from our point of view, the main reason for the internal disharmony of the poet's artistic system. He strives with all his might to comprehend and justify the people's truth warmed by Christian love for one's neighbor and spiritual humility. In moments of such insights, the soul of the lyrical hero finds true peace and happiness. Such contexts are especially characteristic of Nekrasov's late work. However, the internal conflict does not leave his works, since the poet's own faith is, as it were, constantly tested by critical consciousness, and is questioned. Conscious of his involvement in the revolutionary ideology, he cannot fail to notice the vulnerability of the position of spiritual asceticism, reveals the inconsistency of the ideal of "cathedral" life, the ideas of the Russian people about local life as a kind of universal "brotherhood" of masters and servants, where social strife recedes into the background before the community faith and national traditions.

Nekrasov shows how shamelessly exploited by the powers that be the love and habit of the Russian peasant to work; how it turns from a blessing for the peasant into a hard labor ordeal; how its “non-worldly” essence is reduced to nothing. Faced with real life, that ideal interpretation of labor, which is characteristic of folk culture, breaks against a wall of misunderstanding and cruelty. The worker turns into a mechanism, into a silent slave, who must unquestioningly obey orders and work until he loses strength - until he breaks. The poet exposes this discrepancy, this injustice. Therefore, instead of respect, which should cause difficulty, it sometimes causes confusion, irony, sarcasm in the lyrical hero. Therefore, he himself cannot completely take the position of stubborn, unceasing, but invaluable work, although he is largely guided by it in life. Therefore, he is in no hurry to condemn such vices as, for example, drunkenness.

As for the image of the ascetic, then, as we have shown in our work, this is the most complex and ambiguous type of the righteous in the work of Nekrasov. It was in it that all the author's thoughts, doubts, contradictions were most clearly embodied. His image is built on the clash and interaction of Christian and civil ideals: love and hatred, humility and anger, patience and rebellion, sacrifice and pride. The Nekrasov ascetic is non-canonical. The author creates his own canon of asceticism: recognizing the highest Christian virtues, he opposes them with active resistance to evil, which is understood as a violation of a person's right to earthly, lifetime happiness. But this scheme is by no means always superimposed on real biographies and destinies, which the poet seeks to recreate and generalize in his work.

Nekrasov does not deny Christian ideals, but he is completely unable to accept them for himself. Hence the broken worldview of his lyrical hero, sometimes leading to an eclecticism of civil, Old and New Testament motifs. Perhaps S.N. is right. Bulgakov, who argued that the root of the spiritual contradictions that torment a person lies in the fatal impossibility of joining the Christian faith: “Having renounced Christ, she [the intelligentsia] bears His seal on her heart and rushes about in unconscious longing for Him, not knowing to satisfy her spiritual thirst . And this restless anxiety, this unearthly dream of unearthly truth leaves its own imprint on her, makes her so strange, frenzied,

1 one unbalanced, as if possessed. Or, as D.S. said about Nekrasov. Merezhkovsky, "he has a religious feeling, but no religious

140 consciousness".

Our work does not provide answers to all questions; rather, it raises them. The main difficulty lies in the fact that when analyzing the artistic heritage of the poet, we somehow come to his personality, to the features of his spiritual biography. If we outline further prospects for the study of Nekrasov in connection with the problems raised, then, in our opinion, a close study of biographical material and its comparison with poetic work can be of great scientific value.

139 Bulgakov S.N. Heroism and asceticism //Milestones. From the depth. M., 1991. S. 72.

140 Merezhkovsky D.S. Two secrets of Russian poetry: Nekrasov and Tyutchev // Merezhkovsky D.S. In the stillness. M., 1991. S. 445.

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68. Boyko M. Lyric Nekrasov. M., 1977.

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87. Gin M.M. On Nekrasov's relationship with populism in the 1970s. // Questions of Literature. 1960. No. 9. pp. 112-127.

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94. Gruzdev A.I. Poems H.A. Nekrasov 1860 1870s: (Nature genre): Diss. . Dr. Philol. Sciences. J1., 1971.

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141. Maslov B.C. The first poem by H.A. Nekrasova ("Sasha"): Diss. . cand. philol. Sciences. L., 1955.

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148. Melgunov B.V. Nekrasov-journalist: (Little-studied aspects of the problem): Diss. . Dr. Philol. Sciences. L., 1989.

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150. Melnikov I.A. Lyric H.A. Nekrasov: Diss. . cand. philol. Sciences. M., 1954.

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155. Mostovskaya H.H. Twenty-first Nekrasov conference // Russian literature. 1998. No. 4. pp. 225-229.

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158. Mostovskaya H.H. The temple in the work of Nekrasov // Russian literature. 1995. No. 1. pp. 194-202.

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176. Paykov H.H. The phenomenon of Nekrasov: (Selected articles on the personality and work of the poet). Yaroslavl, 2000.

177. Parashina B.JI. Patterns of the functioning of color words in the poetic works of H.A. Nekrasov: Diss. . cand. philol. Sciences. L., 1983.

178. Plakhotishina V.T. Nekrasov's poem "To whom in Russia it is good to live." Kyiv, 1956.

179. Pokrovsky V.I. Nikolai Alekseevich Nekrasov. His life and writings. Collection of historical and literary articles. M., 1915.

180. Polyakov H.H. Nekrasov the satirist: Diss. . cand. philol. Sciences. M., 1952.

181. Priyma F.Ya. Nekrasov and Russian literature. Rep. ed. K.N. Grigoryan. L., 1987.

182. Prozorov Yu.M. H.A. Nekrasov and Russian Romanticism: Diss. . cand. philol. Sciences. L., 1980.

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184. Prokshin V.G. H.A. Nekrasov. Path to epic. Ufa, 1979.

185. Prokshin V.G. Poem H.A. Nekrasov "Contemporaries": Diss. . cand. philol. Sciences. M., 1951.

186. Prokshin V.G. The creative history of the epic H.A. Nekrasov "Who should live well in Russia": Diss. . Dr. Philol. Sciences. Ufa, 1980.

187. Rozanova JI.A. H.A. Nekrasov and Democratic Poetry in the Last Third of the 19th and Early 20th Centuries: Diss. . Dr. Philol. Sciences. JI., 1974.

188. Rozanova JI.A. Poetry of Nekrasov and populists. Ivanovo, 1972.

189. Romashchenko S.A. Genre reception of H.A. Nekrasov ("Poet and Citizen", "Frost, Red Nose"): Diss. . cand. philol. Sciences. Novosibirsk, 2000.

190. Rymashevsky V.V. A familiar stranger: Yaroslavl pages of the life and work of H.A. Nekrasov. Rybinsk, 1996.

191. Sakulin P.N. H.A. Nekrasov. M., 1928.

192. Sapogov V.A. Analysis of a work of art: The poem by H.A. Nekrasov Frost, Red Nose. Special course guide. Yaroslavl, 1980.

193. Sapogov V.A. The idea of a "construction sacrifice" in H.A.'s "Railroad" Nekrasova // Literary process and problems of literary culture. Tallinn, 1988, pp. 28-30.

194. Semenov M.A. Observations on the vocabulary and phraseology of H.A. Nekrasov: Diss. . cand. philol. Sciences. Kyiv, 1956.

195. Sivtseva N.S. Nyokrasov's "Last Songs" and Russian Lyrics of the 1870s: Diss. . cand. philol. Sciences. M., 1971.

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209. Solodkova C.B. Biblical reminiscences in the lyrics of A.K. Tolstoy and H.A. Nekrasov // Cyril and Methodius traditions on the Lower Volga. Volgograd, 1999. Issue. 4. S. 32-33.

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218. Tunimanov V.A. Dostoevsky and Nekrasov // Dostoevsky and his time. Leningrad, 1971. S. 33-66.

219. Filat T.V. Koltsov's traditions in Nekrasov's lyrics: (On the problem of literary continuity in the development of the nationality): Diss. . cand. philol. Sciences. Dnepropetrovsk, 1990.

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ON THE. Nekrasov was recognized as a great poet during his lifetime. His contemporaries considered him a fighter for the rights of all people and an ardent patriot. Nekrasov entered our literature as a truly folk poet, a poet-citizen. He sincerely sympathized with the common people, knowing firsthand the difficulties of their lives. All Nekrasov's work is dedicated to his selflessly beloved homeland. However, this love did not blind, it helped the poet to see those shortcomings that were not noticed by society, and to fight for the happiness of the people.

Nekrasov's work covers many topics related to the life of an ordinary person, shows a variety of types. Very often, the main character is not one person, but a certain group, a community, behind which the entire Russian people is guessed. But there are also individual characters that deserve attention. Be that as it may, Nekrasov was always attracted by the fate of the common man.

In many poems, the author highlights the helplessness and impotence of the most ordinary heroes - fair-haired village men. But for the lyrical hero, it is not the appearance that is important, and not even the character, but the fate of the peasants. This theme can be traced in many works, in particular, we can recall "Reflections at the front door."

Once I saw the men came here,

Village Russian people

We prayed to the church and stood far away,

Dangling blond heads to the chest.

The lyrical hero deliberately emphasizes the typicality of these characters. Against the background of the unexpressed individuality of the heroes, their fate, on the contrary, completely captures the attention of the lyrical hero. He denounces the nobleman with anger, pities the peasants. But one person is not able to change the fate of an entire estate, and the lyrical hero with impotent pity looks after the unfortunate peasants, mourning their fate. Of course, it is not difficult to guess the author's attitude to the problem raised, Nekrasov here acts not so much as an accuser, the reader is conveyed the author's pain for the people who endure such torment for nothing.

The people as the main character are also represented in the poem "Railway". The same motives are traced here as in the previous one. The lyrical hero reflects on the troubles that befell the builders of the road, that is, about the people, since there is a clear indication that passengers owe the presence of the railway not to the count or the contractor, but to ordinary long-suffering people. They exactly repeat the fate of the heroes of "Reflections at the front door", the descriptions are similar, however, new motifs, elements of mysticism appear in the railway:

Chu! terrible exclamations were heard!

Stomping and gnashing of teeth.

A shadow ran over the frosty glass...

What's there? Crowd of the Dead!

The people are not silent, the dead have risen and menacingly ask if the living remember what they owe them. But the author deliberately put such words into the mouths of the dead, he emphasizes that living people will never rise to such a "rebellion". According to the author, the misfortune of an ordinary person lies in the fact that he does not know how to defend his rights.

In particular, a specific character appears in this poem, one of those dead men, but he is shown much brighter. This is a Belarusian worker. His image is introduced by the author not only to show the hardships that the people endure, although this is also important:

Lips bloodless, eyelids fallen,

Ulcers on skinny arms

Forever knee-deep in water

The legs are swollen; tangle in hair.

But all the dead are sick and mutilated, the main distinguishing feature of the Belarusian is that he is silent. By this, the author emphasizes the helplessness of a person, the inability to stand up for himself. And, of course, the main purpose of introducing these images is to reveal the theme of people's suffering, the fate of people.

In general, the theme of the fate of the people is the main one in Nekrasov's lyrics. The lyrical hero shows the hopelessness of the situation of the peasants. The same fate as that of the peasants who came to the nobleman, the workers who built the railway, awaits all young people. A vivid example of this is the image of the "free farmer" from the poem "The Forgotten Village". He "fell into the soldiers", and in the understanding of Nekrasov was doomed to suffering until his death. Here again the theme of hopelessness, the suffering of the peasants sounds.

A special place in Nekrasov's poetry is occupied by the image of a woman. In the mind of the author, this is a single image, however, Nekrasov's women are very diverse and, at first glance, are unlike each other.

Women's fate in the understanding of the poet is inseparable from the fate of the whole people. This idea is confirmed by the introduction of two different female images in the poem "The Forgotten Village". This is Nenila's grandmother and Natasha's girlfriend. The old woman lives her life alone, and Natasha raves about the wedding, but their fate is the same: Nenila dies without waiting for the master, and the girl’s hopes for a happy family life also went to dust. Natasha will repeat the fate of Nenila, like many peasant girls.

The same theme is touched upon in "Troika", where the main character is a young girl. The lyrical hero both yearns and is indignant at the same time, like the lyrical hero of the Forgotten Village. Like Natasha, the prospects for the girl are by no means bright.

And in your face, full of movement,

Full of life - will suddenly appear

An expression of dull patience

And senseless, eternal fear.

Of course, the central place in Nekrasov's lyrics is occupied by the image of a suffering woman, but this image is real, and the image of the suffering muse in the incarnation of a young peasant woman is especially interesting. She is silent under torture, the author introduces here the theme of poetry, which will endure everything for the truth.

Not a sound from her chest

Only the whip whistled, playing ...

All these interesting images received a new incarnation in the poem "Who should live well in Russia?". These are the men themselves, looking for a happy one, and young people, and girls, and suffering women. But along with them, new images appear.

The merry man, Yakim Nagoi, amazes with his cheerfulness, and the hero Saveliy with wisdom that is not characteristic of the rest.

But, of course, Grisha Dobrosklonov can be considered the central image of the poem. He absorbed all the features of the images of Nekrasov's lyrics. The lyrical hero represents him as a hero, the savior of Russia. It's more of a folkloric image. The poem is not finished, and subsequently the author, apparently, wanted to introduce a new hero, but the image of Grisha still does not lose its attractiveness from this, the reader believes that he is an ideal person.

Poetry N.A. Nekrasov is very diverse, the author presents many interesting characters to the readers. However, the image of the people, the people whom he served all his life, occupies a key place in the poet's work.

Nekrasov's merit lies in the fact that, turning to the theme of national grief, he did not sacrifice the complexity and originality of the nature of his lyrical "I".

The poem "On the Road" (1845) opens the folk theme in Nekrasov's work. It is with him that the selection of texts in the book "Poems" of 1856 begins. In the plot of the poem, a knot of moods and motives is tied, which will be characteristic of all the "folk" lyrics of the poet.

The coachman's story about his fate is a typical situation in many folk songs and romances. The running of the daring troika, the ringing of bells - this is the characteristic figurative accompaniment of the "coachman's were." And her indispensable characters, respectively, are the “daring coachman”, the “good fellow” and the “red maiden”. Under the pen of Nekrasov, this traditional love "triangle" is filled not with conventionally poetic, as in folklore, but with deeply vital content. Instead of a “good fellow,” there is a bored author: “Boring, boring! .. / A daring coachman, / Disperse my boredom with something!” However, instead of a “daring coachman”, the author sees before him an internally confused person, completely immersed in thoughts in the squabbles of his failed family life: “I myself am not happy, master: / The villain-wife crushed ...” , reflects, like in a drop of water, the mundane and bewildered by the misfortune that has fallen down the consciousness of a “man from the people”. And finally, instead of the “red maiden” in the coachman’s story, the image of the young peasant lady Grusha appears, brought up in a masterly way, and then given “to the village”, to a peasant family with its harsh patriarchal mores. Thus, the "coachman's story" unites three broken, failed human lives, three lonely destinies, accidentally converged on the same space of an endless, like Russian melancholy, road. Three destinies seeking support and sympathy from each other. It turns out the same "mutual responsibility", which Nekrasov would later write about in a letter to L. N. Tolstoy. And even if, in the end, the longing of the lyrical hero is resolved by nothing, and the driver’s story is interrupted by him, the reader still has a feeling of the close fusion of the destinies of the “tops” and “bottoms”: the drama of human relations, alas, knows no class boundaries.

In the famous poem "Troika" (1846), we have before us a sketch of an ordinary village picture, which the attentive look of the lyrical author, as it were, accidentally snatched out of the stream of everyday trifles: a village girl stared at a handsome cornet rushing past on a dashing troika. But it is precisely by the power of the author's vision that this scene seems to slow down before our eyes, stretching out in time. As a result, the reader, together with the author, has the opportunity to comprehend this isolated case in the context of a certain general, “typical” fate of a Russian peasant woman, to elevate the particular to the general, to see the connection between a single fact and the tragic fate of any girl prepared for her by the entire ruthless system of serf village life. The author mentally, as it were, looks into the future of his heroine, reconstructs, in the spirit of a “physiological sketch”, her social biography, which will flow along the once and for all established channel: an unhappy marriage, the harsh oppression of a patriarchal peasant family, hard physical labor and early death. The author can only regret the “uselessly fading strength” and the ruined beauty of the heroine, who did not have time to blossom and “warm the chest” of her beloved. A look into its tragic future returns the lyrical author to the original picture that served as an impetus for his thoughts, and now, from the height of the achieved social generalization, he imagines the essence of what is happening in a new light: the idyllic nature of the picture he sees is deceptive, and the hopes of the "black-browed savage" happiness is impossible. That is why the final appeal of the author to the heroine-peasant is full of inescapable bitterness and sober skepticism:

Do not look longingly at the road
And do not rush after the three,
And sad anxiety in my heart
Shut it down forever!

A sober look at the possibility of peasant “happiness” in the conditions of the serf way of life in modern Russia, the ability to see the connection between a single phenomenon and some common, deep reason that gave rise to it, sometimes gives rise in the soul of a lyrical author not only sympathy for the fate of the disadvantaged lower classes, but also merciless irony at the address of the faith in the “good” gentleman, deeply ingrained in the peasant consciousness, in happiness bestowed “from above”, through the efforts of those in power. The well-known poem “The Forgotten Village” (1855), whose genre can be defined as a patriarchal dystopia, is dedicated to debunking such patriarchal illusions. the failure of the ideal of "cathedral" life, the ideas of the Russian people about local life as a kind of universal "brotherhood" of masters and servants, where social discord recedes into the background before the community of faith and national traditions.

However, Nekrasov would not be Nekrasov if he stopped only at criticizing the "limitedness" of the people's consciousness, its inability to reckon with the realities of harsh social reality. The fact is that the patriarchal moral ideals rooted in the spiritual structure of the people's Orthodox consciousness, despite all their utopianism, at the same time had for Nekrasov the meaning of some kind of absolute moral norm, independent of transient historical conditions. These were the very "eternal" values that the people did not change even in spite of the requirements of momentary historical truth. And Nekrasov perfectly understood the whole spiritual height of such a position. And in this case, he could put aside his intellectual skepticism and assess the actions of those in power from the height of the people's religious ideal. Sometimes these two positions - criticism and idealization of the religious worldview of the people - are difficult to combine within the framework of the author's consciousness and form a whimsical polyphony (polyphony) of points of view on what is happening. This is what happens in the famous poem Reflections at the Front Door (1858).

The composition of "Reflections at the front door", as you know, is three-part. The first part is a live sketch of an everyday street scene: a porter drives peasant petitioners away from the doors of an “important” state institution. This "accidental" fact, as if snatched from the city bustle, in the plot of the poem receives a generalized, deeply symbolic meaning. And all thanks to the image of the author-narrator. On the one hand, we see a collective image of the bureaucratic Petersburg, obsessed with the "servile disease." On the other hand, in contrast, a collective image of another “ailment” appears, embodied in the humble figures of folk walkers: “Let it go,” they say with an expression of hope and torment. Their portrait, including speech, the narrator gives, as it were, one for all. Already in this picture, petitioners - "serfs" and petitioners - "pilgrims" (wanderers) are both close, and at the same time opposed to each other. They are brought together by the very fact of human need, which led them to the same “front door”, and separated by class arrogance and swagger, which prevent them from seeing each other as “brothers in misfortune”.

And only the author's gaze, rising above this "vanity of vanities", allows us to discover in it a certain reconciling meaning. The voices of all the actors of the street incident seem to be woven into a single author's monologue. First, we can clearly distinguish the angry-sarcastic tone of the author himself. Then official intonations of bureaucratic jargon are wedged into the author's narration: “having written down his name and rank”, “wretched faces”, “projector”, “widow”, etc. "village Russian people". However, this voice immediately slips into a slightly different, folk-song style register: “hanging fair-haired heads”, “pilgrims unleashed the bag”, “meager mite”. Thus, in historical songs and spiritual verses, the people themselves call their “protectors”, “kalik passers-by”, wanderers. Before the narrator had time to take his usual “suffering” note (for example, about the peasants: “they speak with an expression of hope and torment”), she is interrupted by the philistine reprimand of the doorman: “he looked at the guests: they are ugly in the eyes!”, “the Armenian is thin”, “to know , wandered for a long time. Such polyphony will be characteristic of the author's speech until the end of the poem. The author's consciousness turns out to be able to contain the consciousness of people of different classes, which indicates the responsiveness of his soul. He equally grieves for the "servile illness" of high-ranking petitioners, and for the insulting obsequiousness of the porter, and for the expression of "hope and torment" on the faces of the walkers. The author does not divide Russia into "peasant" and "other". Everything hurts his heart. The whole of Russia is knocking on the cherished doors of the “front door”, with all the good and bad that is in it.

The second part - a portrait of a "happy" nobleman - is contrasted with the picture of the life of the "unfortunate" in the first part. The portrait of the “owner of the luxurious chambers” is maximally generalized, which gives the contrast between the “unfortunate” and the “happy” a universal meaning that cannot be reduced only to the “topic of the day”.

The fact is that if the misfortune of the people is a harsh truth, then the “serene Arcadian idyll” of the life of a nobleman is an illusion diligently instilled in him by flatterers, as well as by his “dear and beloved” family, “waiting for death” of him “with impatience”. And the conclusion again suggests itself: the "bottoms" and "tops", the unfortunate and the so-called happy, in essence, are deeply lonely. The callousness and indifference of others equally threaten both. The “owner of luxurious chambers” is experiencing the same drama of misunderstanding that the wanderers he had just driven out experienced. One unfortunate rudely pushes other equally unfortunate people away from him, not realizing that he is driving away his own sympathizers:

Wake up! There is also pleasure:
Take them back! you are their salvation!
But the happy are deaf to good...

The attitude of the Russian people towards the wanderer is respectful, bordering on admiration for his asceticism. He is perceived not as an ordinary person, but as a “man of God”, offending whom is a sin. Therefore, the "owner of luxurious chambers" is to blame not only before these specific peasants, but also before the entire "Baptized Russia" ("And you will go to the grave ... hero, / Secretly cursed by the fatherland ..."). And he commits not some official crime, but a crime against conscience, against God (“The thunders of heaven do not frighten you ...”).

And only now, having closed all the bitterness of hopeless grief on the “deaf to good”, the author begins his famous epic “lament”, crowning the poem. Here the author's voice completely merges with the rhythm of folk recitative. Woven from an endless chain of anaphoras beginning with the same “Moaning”, this “lament” is epic primarily because it is addressed not only to the “people” proper. He is addressed to the Motherland: “Native land! Name me such a monastery…” And that means to all “pilgrims”, and to all “owners”, and… to yourself.

Loyalty to the theme of "suffering of the people" Nekrasov confirmed in the program poem "Elegy" (1874). The very choice of genre for the embodiment of this theme is unusual. In the Russian poetic tradition, the elegy, as a rule, was associated with a poem of a personal theme, in the sad structure of feelings of which the discord between dream and reality was reflected, the mood of disappointment and loneliness of the lyrical hero. These sentiments, in essence, dominate in Nekrasov's "Elegy", only their root cause is not personal, but national disasters, and the addressee is not the hero himself or his beloved, but the Russian peasantry. The poet is concerned about his fate in the post-reform era:

In recent years
Have you become more tolerable, peasant suffering?

And did freedom, which came to replace the long slavery, finally bring about a change In the people's destinies? To the tunes of rural maidens?

Or is their discordant melody just as woeful? ..

As the lyrical plot of the poem develops, one can observe how personal emotion merges without a trace with a sense of civil anxiety for the fate of the people and eventually dissolves into the latter. The poet is concerned about the main question: “The people are freed, but are the people happy?” In other words, has the relative economic and social freedom led to the inner emancipation of the Russian peasant, his spiritual growth? Is there a direct causal relationship between these processes? Or does this connection actually appear in a not so unambiguous, straightforward expression? In the course of his reflections, the poet tends to the latter conclusion, for the one “to whom the poet’s dreams are dedicated, - / Alas! He does not heed - and does not give an answer ... ". Thus, already in the "Elegy" the problem of people's happiness is understood very broadly: it is not only a question of contentment and material well-being of the peasantry, but also a question of preserving the moral, including religious, ideals of the people, as they are reflected in their work, life , beliefs, rituals, various types of creativity, finally. And such a broad formulation of the problem is understandable and understandable: in 1874, Nekrasov was already working on his most significant poem, the title of which only slightly paraphrases the question formulated in the Elegy: “Who should live well in Russia?”

So, with the whole course of the development of poetic creativity, Nekrasov naturally moved towards the creation of an epic, to the writing of large poems. The poet's lyricism becomes truly large-scale, all-encompassing.

The polyphony, which includes the author's voice in the choir of voices of heroes belonging to different social and cultural strata, portends the virtuoso stylistic polyphony of Nekrasov's poems - "Pedlars", "Frost, Red Nose" and, of course, "Who in Russia live well". In Nekrasov's lyrics, the main types of heroes of future poems were also determined - folk ascetics and righteous people, people's intercessors, and with them the moral philosophy based on the principles of folk Christian ethics.

1. Variety of lyrical characters in poetry.
2. The fate of the heroes of the poet's lyrics.
3. The meaning of Nekrasov's poetry.

The poetry of N. A. Nekrasov is evidence of the life of a simple Russian person, with his sorrows and joys, tragedies and everyday scenes. Nekrasov's lyrical heroes are diverse: they are peasants, and workers, and barge haulers, and master's servants. In his poems, the poet gives each of them the right to vote so that he can tell about his fate, complain about what is sore. In the obituary on the death of the poet, Birzhevye Vedomosti (No. 334, 1877) wrote: “Russia lost in him a poet who was the first to be able to look into the heart of a simple Russian person and, in strong, involuntarily imprinted in the memory of each verse, express his overwhelming sorrow and hopes. The younger generation, first of all, memorized Nekrasov's poems and learned from them to sympathize with the people's grief and to be aware of their civic obligations to the people. The sad news of the death of the writer will penetrate into the most remote corners of our fatherland and cause sincere condolences for him as a powerful public figure.

Each poem by N. A. Nekrasov is a folk groan, a tragic story. So, for example, the poem “On the Road” tells us about the fate of the unfortunate Grusha, ruined by the gentlemen, and about the grief of her husband, the coachman. She, brought up by the master's whim as a real young lady, suddenly found herself in the position of a peasant's wife. We sympathize with both the coachman and Grusha. But at the same time, we cannot fail to note the deep ignorance of the coachman, who treats enlightenment with suspicion and even as some kind of evil:

Everyone is looking at some kind of patret
Yes, he is reading a book...
Sometimes fear hurts me, you hear,
What will destroy her and her son:
Teaches literacy, washes, cuts ...

A pear that has been brought up and has become accustomed to culture strives for happiness, but this desire cannot be realized in the social conditions in which it finds itself. But her husband's life is also crippled - widowhood awaits him ahead, and nothing can be changed here. Broken dreams, the predestination of the life and fate of a simple peasant woman are also heard in the poem "Troika", at the beginning of which the author draws the beauty and spirituality of a young peasant woman:

It's not surprising to look at you
Everyone does not mind loving you:
The scarlet ribbon curls playfully
In your hair, black as night;
Through the blush of your swarthy cheek
Light fluff breaks through
From under your semicircular eyebrow
Looks smartly crafty eye.
One look of a black-browed savage,
Full of spells that ignite the blood
The old man will be ruined for gifts,
In the heart of a young man will throw love ...

In this poem, the heroine herself does not speak about her fate, but the author talks about her tragic predestination. Nekrasov understands the dreams of a young beauty who looks at a troika passing by, but he bitterly pronounces a sentence: she cannot catch up with this troika, that is, her dreams are not destined to come true, because there is one road ahead of the peasant woman:

Live and celebrate to your heart's content,
Life will be full and easy...
Yes, not that fell to your lot:
For a slut you go man.
Having tied an apron under the arms,
You will drag an ugly chest,
Your picky husband will beat you

And the mother-in-law to bend in three deaths ...

Her beauty will fade, her old dreams will also come to naught and she will become one of those women who will never be noticed or how their life passed in a series of endless days filled with hard work:

From work and black and hard
You will bloom, not having time to bloom,
You will plunge into a deep sleep,
You will babysit, work and eat.
And in your face, full of movement,
Full of life - will suddenly appear
An expression of dull patience
And senseless, eternal fear...

Another Nekrasov poem, "The Uncompressed Band," tells us about a sick peasant who is never destined to reap the harvest. The lyrical narration is not in the first person, but we clearly hear the voice of the plowman. Even the autumn landscape itself - "the fields are empty" - is given through the eyes of a plowman. From the point of view of the peasant, it is said about the trouble: he is grieving that the harvest is not harvested. And with the approach of death, the peasant did not think about himself, but that now his land allotment would be orphaned.

Nekrasov in one of his poems said about his mission as follows:

I dedicated the lyre to my people.
Perhaps I will die unknown to him,
But I served him - and my heart is calm ...

The national nature of Nekrasov's lyrics allows us to speak of him as a poet of national significance. Yu. V. Lebedev wrote: “At one time, in a speech about Pushkin, Dostoevsky spoke of the “worldwide responsiveness” of the Russian national poet, who knew how to feel someone else’s as his own, to be imbued with the spirit of other national cultures. Nekrasov inherited a lot from Pushkin. His muse is surprisingly attentive to the people's worldview, to different characters of people, sometimes very far from the poet. This quality of Nekrasov's talent manifested itself not only in lyrics, but also in poems from folk life.

The poetry of N. A. Nekrasov is the poetry of life, in which there is nothing far-fetched, fictional, unreal, but there is only a completely new view of the poet on the difficult nature of the fate of an ordinary person, on his problems and worries, on human suffering and human pain. The main character of Nekrasov is the people, the most ordinary, ordinary Russian people. And the essence of Nekrasov's poetry is most accurately reflected in one of his lines: "I dedicated the lyre to my people." And the main task for the poet was not to mourn for the enslaved people and lament about their sad fate, but to join the people himself, to make his poetry its true voice, its cry and groan, the embodiment of its thoughts and feelings. The main source of this poetry was sympathy for the oppressed people:

Go to the downtrodden
Go to the offended -
You are needed there.

Nekrasov never violated this commandment of his. And this is his main difference from all other Russian poets of that era. There were many pitiful people, but only Nekrasov was able to speak on behalf of the people at that time.

He, who grew up in a noble environment, had to go through a terrible breakdown in order to make the "peasant's eyes" his own, and learn to look at the world and at himself with these eyes. His heart was wounded at the very beginning of his life, pain for the suffering of his people strengthened in him from childhood. Indeed, already in those early years, the poet knew the life of the serf peasantry to the smallest detail. He often secretly ran away to the village children, fished with them, swam in the river, went to the forest for mushrooms. Their estate stood by the very road, which at that time was crowded and lively. Here the boy met with all kinds of working people: with stove-makers, blacksmiths, diggers, carpenters, who moved from village to village. The future poet listened to their stories with enthusiasm. The boy also hung out with fishermen on the Volga. “Blessed river, breadwinner of the people! "- the poet later said. But it was here, on this river, that he experienced his first deep grief when he saw barge haulers moaning from overwork. The shocked, frightened boy ran after them for a long time and heard how one of them, without any complaint, very calmly said that he would like to die as soon as possible. These words horrified Nekrasov:

Oh, bitterly, bitterly I sobbed,
When I stood that morning
On the bank of the native river,
And called her for the first time
A river of slavery and longing! .

This noble teenager opened the "spectacle of the disasters of the people", to which many other noble children were so insensitive. But it was not pity but protest that aroused in him these disasters. And already becoming an adult, the poet felt the impressions of childhood in a new way, remembered the bitter life of the peasants and decided to devote his work to the struggle for people's happiness.

Could he have written "Korobeinikov", "Peasant Children", "Frost, Red Nose", "Who Lives Well in Russia", if he had not spent his childhood in close proximity to his native people. According to these works, one can study the life and life of the peasants, their beliefs, customs, folk language. They are the pinnacle of Nekrasov's craftsmanship. So the poem "Peasant Children" is full of originality, lyricism, which gives the narrative the character of an enthusiastic song about the Russian people, whose "noble work habit" begins at the age of six. The basis of this work can be considered the dialogue of a little boy with an unfamiliar passerby. Already from his first words, the author shows us how this “man with a fingernail” feels, how perfectly he knows how to stand up for himself and rebuff anyone who decides to offend him. Age-old slavery did not corrupt the people, a sense of freedom and honor was preserved even in its minor representatives:

Saved in slavery
Free heart -
Gold, gold
The heart of the people!

Portal for the student. Self-training

Full text of the dissertation abstract on the topic "The ideological and artistic concept of righteousness in the poetry of N.A. Nekrasov"

Dissertation Introduction 2006, abstract on philology, Zhitova, Tatyana Alekseevna

Conclusion of scientific work dissertation on the topic "The ideological and artistic concept of righteousness in the poetry of N.A. Nekrasov"

List of scientific literature Zhitova, Tatyana Alekseevna, dissertation on the topic "Russian literature"

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