100 to 1. The most famous Russian poems?
- Mtsyri M. Yu. Lermontov.
- Demon M. B. LERMONTOV
- Whom in Russia to live well N. Nekrasov.
- Ruslan and Lyudmila A. S. Pushkin.
- Frost, Red nose N. Nekrasov.
- Dead souls N. Gogol.
- Gypsies A. S. Pushkin.
8 Caucasian prisoner A. S. Pushkin.
9" Bronze Horseman" A. S. Pushkin.
- These are almost all the poems of A. S. Pushkin:
Gypsies, Poltava, Ruslan and Ludmila, Brothers robbers.
- This is A. T. Tvardovsky:
Vasily Terkin.
- These are Lermontov's poems:
Prisoner of the Caucasus, Mtsyri, Criminal, Sasha, Confession, Demon and many others.
- This is N. Nekrasova:
Who lives well in Russia.
- This is a poem by N. V. Gogol:
Dead Souls.
My version of the most famous Russian poems:
1) N.A. Nekrasov Who is good to live in Russia. Perhaps not everyone read, but this question puzzled;
2) A.T. Tvardovsky Vasily Terkin. This Book about a fighter was really popular and loved by front-line soldiers;
3) Pushkin's poems from the south to Poltava;
4) M.Yu. Lermontov Demonquot ;. The poet edited this poem a dozen times. She inspired many people of art, in particular Vrubel;
5) R. Rozhdestvensky Requiem. Heartfelt and at the same time pathetic about the need to remember the heroes of the terrible war;
6) A.A. Block Twelve. Very modest, the poet wrote in his diary about this poem that he was a genius.
The first association is the most famous Russian poem Ruslan and Lyudmila Pushkin. But everyone has already written it. And in general, almost all poems in the answers of poets of the 19-20 centuries from the school curriculum.
But did these poets have other well-known poems? And there were poets before them.
So here's a slightly different list:
Tilemakhida by Vasily Trediakovsky is a 16,000-line poem about Odysseus' son Telemachus. Lines from it in the epigraph to Alexander Radishchev's Journey from St. Petersburg to Moscow.
Lermontov Mtsyri
Nekrasov Who is good to live in Russia?
Block Twelve.
Yesenin Anna Snegina.
Mayakovsky Good! , Cloud in pantsquot ;.
Akhmatova Requiem.
Tvardovsky Vasily Terkin.
Voznesensky Perhaps! .
Yevtushenko Bratskaya HPP.
In order not to repeat too much with the first answers, I will try to add the following options to the list of the most famous Russian poems:
1) Sergey Yesenin Anna Snegina" - a poem that Yuri Gagarin especially noted.
2) Vladmir Mayakovsky Good , A cloud in pants" - there was a time when people spoke with quotations from the works of Mayakovsky.
3) Anna Akhmatova Requiem" - a poem that was published only during the Perestroika period.
4) Andrei Voznesensky maybe" - this is the same poem that formed the basis of the opera Juno and Avosquot ;.
5) Evgeny Yevtushenko Bratsk HPP" - a poet in Russia is more than a poet ... this is from this poem!
Bronze Horseman Pushkin A.S.
Twelve Blok A.A.
Ruslan and Lyudmila Pushkin A.S.
Dead souls Gogol N.V.
Vasily Terkin A.T. Tvardovsky
Eugene Onegin Pushkin A.S.
Prisoner of the Caucasus Pushkin A.S.
OptionVII
Task number 1 . The concept of the poem.
Poem(from the Greek poiein - to create, poiema - creation) - a large form of the lyric-epic genre, a poetic work with a plot-narrative organization, a story or a novel in verse. The originality of the poem is based on the combination of the narrative characteristics of characters, events and other things and their disclosure through the perception and evaluation of the lyrical hero, the narrator, who plays an active role in the poem.
The heyday of the poem is associated with the era of romanticism, when the subjective-lyrical beginning receives the most vivid expression and the image of the hero in the poem has developed.
For a romantic poem, the image of a hero with an unusual fate, but certainly reflecting some facets of the spiritual world of the author himself, is most characteristic. This feature of the romantic poem was transferred in a transformed form to lyric-epic poetry.
Compared with various types of narrative prose, the plot in the poem is much more concise, compressed, dotted, far from always fully developed, the movement of the plot is sometimes replaced by a narrative description of the characters or states of the lyrical hero. In a modern poem, the plot is often not connected with the fate of a certain hero, being replaced by a broad narrative characteristic that multilaterally covers the reality hidden in front of the lyrical hero. The properties of a poem depend on the direction it acquires depending on the nature of the style, current, method, which determine the originality of its expressive means, the nature of the lyrical hero and characters, plot situations, and so on, therefore, in the history of literature, various types of poems arise, in fact cases that do not require and do not have any unified classification. On the other hand, the general genre properties of the poem, the unity of the epic and lyrical plan, the presence of a plot, determine its flexibility and capacity, which makes it a very common form in lyric literature.
Sometimes the poem also includes works of ancient and medieval epic poetry: the Iliad, the Odyssey, the Aeneid, the Nibelungenlied, but they. In essence, they already have special genre features.
1. Dictionary of literary terms. Editors-compilers L. I. Timofeev and S. V. Turaev. Moscow, Enlightenment, 1974.
Literary encyclopedic dictionary. Under total ed. V. M. Kozhevnikov and P. A. Nikolaev. Moscow, "Soviet Encyclopedia", 1987.
Task number 2. The problem of A. S. Pushkin's aesthetic innovation in the poem "Count Nulin".
Alexander Sergeevich Pushkin is a wonderful poet who worked in different genres. Everything was subject to his pen. We enjoy his beautiful lyrics, romantic poems, dramatic works. In his work, A. S. Pushkin paid tribute to realism. Interesting and original is his poem "Count Nulin" - a parody work. With the help of parody, Pushkin parted with romantic illusions, with sentimental and romantic plots, and paved the way for realistic art. Therefore, Pushkin's new artistic searches are connected with "Count Nulin".
"Count Nulin" is a poem in which the historical legend about Sextus Tarquinius and Lucretia, Collatin's wife, which is the basis of Shakespeare's tragedy, is "refaced". The tragic situation in history in modern times is comprehended in a comic key and transferred to the sphere of everyday life: the slap in the face, inflicted on the rake, had absolutely no important consequences.
To understand modernity. Pushkin decided to turn to the origins of human history, both European and Russian. Since the national character of a people and an individual is created in the course of a peculiar historical development, modernity can also be comprehended through history. At the same time, history is reflected both in documents and in works of art. Which, without losing the dignity of artistry, can also be evaluated as historical documents. From this point of view, the tragedies of Shakespeare, as well as the ancient Russian chronicles, have the value of documents, only in the first case they are artistically processed, and in the second they are not. The third type of historical documents is oral anecdotes, traditions, legends, historical rumors that have come down through the centuries. Thus, in the work of Pushkin there are three types of historical evidence.
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1. See “Note on “Count Nulin”” (1830) by A. S. Pushkin.
Pushkin processed them both in an ironic, playful, and in a serious way. Both ways of creative processing could intersect and mix. Historical evidence already obeyed a new concept and, included in a new context, acquired a different, artistic meaning.
In "Count Nulin" lively, accurate and at the same time poetic pictures show Russian nature, the life and life of the most ordinary, unremarkable people. They now attract the poet, who has set himself a new task - to cognize, consolidate in the word, the poetic image, not only exoticism and romance, but the whole vast world that surrounds him. Pushkin here completely departs from the sublime, "romantic" style and speaks in a simple, almost colloquial style, but at the same time highly poetic, with quick transitions from a light humorous tone to a penetrating lyrical one.
Thanks to his talent, a poet from everyday life can “make” high poetry. "Prose pictures" Pushkin fills with exciting poetry. There are many such ordinary pictures in the poems:
Autumn wind, light snow
Yes, the howl of wolves. - But that's happiness
Hunter! Not knowing neg
In the departing field he prances,
Everywhere he finds his lodging for the night.
What is the female half of the landowners' estates doing? She must:
Salt mushrooms, feed geese,
Order lunch and dinner
Look into the anbar and the cellar...
Unusually organically and freely, the poet moves from describing the way of life in the estate to the heroine, her interests, way of thinking.
She is sitting in front of the window;
The fourth volume is open before her
Sentimental novel:
Love of Eliza and Armand,
Ile correspondence of two families.
Everything in the village is of interest, for example the scene:
The resulting fight
A goat with a yard dog...
An ordinary picture, but Pushkin knows how to fill it with lyricism and humor. Having shown the monotony of rural everyday life, the poet is able to look into the inner life of the manor's estate, with its simple worries and activities. And the arrival of even a random guest becomes a real event:
How far the bell is distant
Count Nulin, from foreign lands,
Where he squandered in a whirlwind of fashion
Your future earnings.
Show yourself like a wonderful beast,
He is going to Petropolis now.
The count is full of snobbery, he is accustomed to easy victories in Parisian society, he is unaware that in the world there is loyalty to the word, purity of thoughts, devotion to principles.
The hero takes hospitality and curiosity out of boredom for flirting and moves too quickly to active actions. Having received a decisive rebuff from the hostess, the count is surprised, even discouraged. He absolutely does not understand how to behave in this situation.
With the advent of a new hero, the owner of the estate, the dynamics of the action change. A. S. Pushkin is fluent in the technique of verbal characterization of the hero. The speech of the landowner, who has not yet cooled down from the hunt, the excitement of the chase, is built on fragmentary phrases, inconsistency of questions. It seems that he is not talking, but uttering a monologue. This is also a characteristic of the character, a self-satisfied, straightforward and narrow-minded, but kind and simple-hearted person. The landowner is simple-hearted, he sees in all the surrounding "friends", he is a rather hospitable and hospitable host:
What bad weather!
At the forge I saw your
Completely ready crew...
Natasha! There by the garden
We hunted down the Rusak...
Hey vodka! Count, please taste...
And at the end, continuing the comic tone of the story, the poet says some pretty serious things. He carries this idea into many of his works:
Now we can rightly
Say that in our time
Spouse faithful wife,
My friends, it's not surprising at all.
This poem was a challenge to stiff criticism. The norms of taste of which were abstract "beautiful readers". "Count Nulin" was a decisive work in Pushkin's struggle against the affectation and conventionality of language and plot. This poem became a typical form of a story about Russian landowner life, one of the first works of the "natural school".
List of used literature:
2. B. Tomashevsky. Pushkin. - M.-L., 1961.
Slonimsky A. Pushkin's Mastery. - M., 1963.
5. Pushkin A. S. Graf Nulin.
Task number 3. Lyric text analysis. V. A. Zhukovsky "Spring feeling".
Zhukovsky's poetry is the poetry of experiences, feelings and moods; it can be called the beginning of Russian psychological lyrics. Her lyrical hero is filled with a peculiar charm; this charm is in poetic reverie, in the loftiness and nobility of spiritual life.
Zhukovsky is the first Russian poet who managed not only to embody in verse the real colors, sounds and smells of nature - all that makes her charm for a person - but also, as it were, to spiritualize nature with the feeling and thought of a person who perceives it. “We would omit one of the most characteristic features of Zhukovsky’s poetry,” wrote Belinsky, “if we didn’t mention the wondrous art of this poet in painting pictures of nature and putting romantic life into them.” one
The main feature of Zhukovsky's artistic manner is lyricism. It cannot be said that his work, with all its focus on feelings and experiences, was psychological in the sense that the work of Pushkin, Lermontov, Baratynsky, Tyutchev. The hero of Zhukovsky's poems is still conditional to a certain extent, devoid of a specific psychological characteristic. But the atmosphere of poetically sublime lyricism penetrates all his poetry as a whole, and each poem separately. The unity of this lyrical tone determines the individual peculiarity of Zhukovsky's poetry.
The lyricism of Zhukovsky - and this is the specific feature that distinguishes Zhukovsky from other major Russian poets - the lyricism of the song type. Zhukovsky devotes a very large place in his poems to the development of intonation. Interrogative intonation is most common in him.
__________________________________________________________
1 V. G. Belinsky, vol. VII, p. 215.
Zhukovsky's poetic word is capacious, ambiguous, rich in lyrical overtones and associations. Zhukovsky discovered for Russian poetry the principle of polysemy of the poetic word, which distinguishes the word in poetry from the prose word:
I look to heaven...
Clouds, flying, shine
And, shining, fly away
For distant forests.
("Spring Feeling")
The repetition of “shining”, “shining” has a direct, so to speak, material meaning (clouds are illuminated by the sun); in addition, this repetition expresses the joy of the "spring feeling" that gripped the poet. The same - in the epithet "distant". Forests are far away in a concrete spatial sense, and at the same time the word "distant" has a different, lyrical meaning, embodying the poet's aspiration in "enchanted there" and its inaccessibility. Zhukovsky was very fond of the very word "enchanted" and used it many times in his poems. It was Zhukovsky who gave this word its emotional, poetic, dreamy meaning. This word lives in Zhukovsky's poetry both in its literal sense, and in the beauty of its sound, and in many additional associations; it becomes a whole complex of meanings for the reader.
In the descriptions, he is dominated by the fluctuation of outlines. It conveys not a specific landscape, but space, air, distance, sounds - everything that cannot be touched, touched, but can only be felt, smelled, seen, felt. Zhukovsky takes the reader into an unknown distance of charm, convincing him of the transfer of a breath of beauty, her breath, her invisible, but intelligible presence to the soul. He inspires the reader with the idea of the perfection and harmony of the unearthly world and thereby encourages him to shed the burden of earthly vanity, to despise petty interests and revive truly human properties.
List of used literature:
1. History of Russian literature of the XIX century. At 3 h. Ch. 1 (1795-1830): textbook. for university students studying in the specialty 032900 “Rus. lang. or T." / ed. V. I. Korovin. – M.: Humanitarian. ed. Center VLADOS, 2005. - 478 p.
Revyakin A. I. History of Russian literature of the XIX century (first half). - M., 1985.
3. Zhukovsky V. A. Spring feeling.
Ministry of Education of the Republic of Belarus
Educational Institution “Mozyr State Pedagogical University named after I.I. I.P. Shamyakin"
Department of Russian and Foreign Literature
Test work on the history of Russian literature of the first half XIX century
A special question of a student of the 2nd year of the 3rd group, Faculty of Philology, correspondence course, Kazakova Albina Vladimirovna
Mozyr 2009
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THE POEMS OF A. S. PUSHKIN IN THE HISTORY OF THE EVOLUTION OF THE POEM GENRE IN WORLD LITERATURE.
In its historical development, the poem appeared in various and diverse genres; it is extremely difficult to give its single, general definition. In most cases, the poem is a lyrical-epic work, written as a rule in verse and glorifying any significant events, outstanding characters, wonderful human deeds.
"Poem" in Greek means creation. Poems are called poetic stories about remarkable events in the life of prominent personalities. Epic poetry got its name from the Greek word "epos", which means a story, since any epic work is a story about some event or incident that took place not in the soul of the poet, but in the world around him.
The oral epos consists of those epic works that are composed orally by an illiterate people and are orally transmitted from generation to generation. The folk epic is distinguished by two properties: 1) the predominance of fantastic fiction, that is, the creation of such images (monsters, heroes) to which nothing corresponds in the real, real world, and 2) strict objectivity, that is, the complete absence of a lyrical element: the author nowhere talks about himself, nowhere expresses his feelings or his judgments, he is aloof, he is not visible.
The main types of folk epic: fairy tales, epics, historical songs, proverbs and riddles.
The written epic is made up of those epic works that are created not by illiterate people, but by individuals - writers.
The written epic differs from the folk epic not only in its origin, but also in the predominance of natural fiction and non-strict objectivity, that is, writers often interrupt the story with their remarks, judgments and expression of their personal feelings.
The heroic poem, or epic, is a literary adaptation of the heroic (heroic) epic. The best examples of heroic poems are the Iliad and the Odyssey. The Greeks originally had heroic songs, or rhapsodies, similar to our epics, about the exploits of individual heroes: Achilles, Ajax, Odysseus, Hector. Subsequently, these rhapsodies were combined into two poems: the Iliad, which depicts the last months of the ten-year Trojan War, and the Odyssey, which depicts the ten-year wandering of the king of the island of Ithaca after this war. The Greeks attributed the creation of these poems to the blind singer (rhapsodist) Homer. Poems have been handed down from one generation to another orally for several centuries.
With the spread of Christianity in the Roman Empire, pagan education was persecuted and fell into complete decline. The works of ancient scientists and poets were partly forgotten, and partly completely destroyed. Only since the 16th century did European peoples awaken interest in the works of classical antiquity. The so-called era of the revival of classical education is coming. The study of the Iliad, the Odyssey, and especially the Aeneid, in which all aspects of ancient Greek and Roman life are depicted with remarkable skill, aroused the desire to imitate these works. Almost every nation has its own imitative poem.
However, they imitated in many ways, but not in the most essential - in the truthful reproduction of the events depicted. Such imitation cannot but be called false, and therefore the very poems of this kind are called false classical.
The poem of modern times tends to reality and in this respect is closer to the classical poems than imitative poems.
The types of poems found in the new literature are as follows: historical, lyrical-epic and romantic.
In a historical poem, some important historical event is usually depicted: Describing it, the poet at the same time reveals his idea. To this end, he takes only those aspects of the depicted event that contribute to its better elucidation.
An example of a historical poem is Pushkin's poem "Poltava". Its idea is stated in the epilogue (conclusion). Having asked the question: "What is left after a hundred years of these strong, proud men, so full of will of passions?" - the poet answers: Peter the Great created a huge monument for himself - this is all of Russia, enlightened, arranged and exalted by him; nothing remained of the exploits of Charles XII; and the grave of Mazepa has long been forgotten, and only the church betrays him with an anathema (curse); everyone treats the memory of Kochubey and Iskra with respect; Maria's name is preserved only in a few Ukrainian songs. Thus, individuals who put public interests above their own left a glorious memory of themselves. Those who put personal interests above public ones did not leave any memory of themselves, and if they did, it was shameful. The poem takes those aspects of the depicted event that contribute to the best clarification of this idea.
M. Lermontov's historical poem "Song about Tsar Ivan Vasilyevich..." depicts a fictitious event, but this fiction paints a true picture of the morals of the time of Ivan the Terrible.
In a lyrical-epic poem, some remarkable event is usually depicted in the life of a private, and not a historical person. The main goal of such a poem is the image of the inner world of the hero. Depicting the inner world of his heroes, the poet himself, as it were, experiences the feelings that agitated them, and therefore involuntarily shows his personality in this story, introduces a lot of lyrical element into it, which is why poems of this kind were called lyrical-epic.
The English poet Byron was the first to write lyrical-epic poems (for example, The Prisoner of Chillon). In imitation of Byron, poems of this type were written by Pushkin ("Prisoner of the Caucasus", "Gypsies"), Lermontov ("Mtsyri", "Demon") and others.
The Romantic poem got its name from the fact that it arose originally among the Romance peoples. This is the name of the peoples who destroyed the Western Roman Empire and mixed with the Romans. The French, Italians, Spaniards, Portuguese are of Romanesque origin.
The poetry of the Romanesque peoples reached a great development in the Middle Ages. The peculiarity of medieval life is chivalry. The main attention of the poets of that time was drawn to the depiction of the exploits of the knights, about which many fantastic, legendary tales circulated in the medieval superstitious society. The main subject of romantic poems originally served as knightly adventures.
In a romantic poem, some wonderful event of a fantastic nature is usually depicted. In the spirit of medieval romantic poems, Pushkin wrote his first major work - the poem "Ruslan and Lyudmila". The event depicted in it takes place under Prince Vladimir, during the time of Russian heroism. There is a lot of wonderful, fantastic in the poem. Along with the knights, there are magicians (Finn, Naina, Chernomor), mermaids, a living head; Ruslan during the battle with Chernomor rushes through the air; Finn returns the murdered Ruslan to life with the help of living water; Returning to Kyiv, Ruslan kills a whole army of Pechenegs.
Pushkin's romantic poems are characterized by the enormous influence of Byron's work, this problem is considered by the literary critic G. M. Fridlender in his scientific work "Pushkin's Poems of the 1820s in the History of the Evolution of the Poem Genre in World Literature".
He notes five main stages in the study of the "Pushkin-Byron" problem.
1) 1820s. The main issue attracting the attention of critics in these years is the widely understood problem of the romantic poem genre as a freer, new poetic form that has replaced the old, traditional forms of the heroic-patriotic epic, descriptive-didactic and humorous, fabulously heroic poem. The initiative to create this genre is associated with Byron as the first poet who provided him with fame and lasting success. Therefore, it arises naturally for this stage and Pushkin's characterization as
"Russian Byron", that is, the poet who created in Russian poetry analogue Byron's romantic poem, a historical phenomenon typologically related and close to it.
2) 1830-1840s. Pushkin's evolution in the second half of the 1820s-1830s, which sharply deviated from the traditional ways of developing romantic poetry during this period, persistently raises the question of the individual creative and national originality of Pushkin's poetry as a whole and already of his early works before criticism. This entails a revision of the ideas of the critics of the 1820s about the closeness of Pushkin and Byron. Instead of their former rapprochement, the thesis about dissimilarity the main mood of the poetry of Pushkin and Byron. As a poet, more akin to Byron in his inner, rebellious pathos, the reading mass is now inclined to consider Lermontov as opposed to Pushkin. This reassessment of the positions of criticism of the 1820s in the interpretation of the problem of "Pushkin and Byron" is completed in the 1840s in Belinsky's articles on Pushkin, where the thought persistently sounds as one of the leitmotifs: " ... it is difficult to find two poets so opposite in their nature, and, consequently, in the pathos of their poetry, as Byron and Pushkin.
3) The end of the XIX-beginning of the XX century. Under the influence of the dominance of eclecticism in historical and literary science, the former clear outlines of the problem of "Pushkin and Byron" are obscured. Thanks to the expansion of the volume of historical and literary science, this problem acquires a number of new aspects - biographical, psychological, historical and cultural, etc. But the existing methodological confusion leads to an indiscriminate confusion of these aspects, and in the eyes of the majority of literary critics it receives dominant importance - in contrast to critics in the first half of the nineteenth century. - not the problem of the relationship between the poetic systems of Byron and Pushkin as broad and integral phenomena, but the establishment between them of separate - heterogeneous - connections, analogies and parallels, which are mechanically combined under the general concept of "influences".
4) Early 1920s. In contrast to the empiricism of the positivist-oriented historical and literary science of the late XIX-early XX century. the idea of considering the work of Byron and Pushkin as two integral, dissimilar (and at the same time having certain historically determined points of contact) artistic systems is being revived. It was this idea that formed the basis of V. M. Zhirmunsky’s study “Byron and Pushkin” (1924), which was insufficiently appreciated at the time. Prepared for this work by his early works of the 1910s and early 1920s (“Overcoming Symbolism”, 1916; “V. Bryusov and Pushkin’s Legacy”, 1922), which, based on the experience of modern Russian poetry, led him to the formulation of a general theoretical problem the differences between “classical” and “romantic” poetry as two different types of poetic creativity (the article “On Classical and Romantic Poetry”, 1920), V. M. Zhirmunsky based the conclusions of this article on the basis of a comparative description of Byron’s and Pushkin’s romantic poems. Intentionally concentrating only on the analysis of composition and, in general, on the issues of the internal, immanent structure of the poems of the English and Russian poets (which affected the well-known methodological constraint of the scientist by the ideas of the then formal school), V. M. Zhirmunsky nevertheless based his analysis on a true and fruitful thought about the dissimilarity between Byron's romantic poetry and Pushkin's classical poetry in its general spirit, which determined the corresponding difference in their interpretation of the genre of "lyrical" (or, rather,
lyric-epic) poem. This general idea of his, which, in our opinion, is of fundamental importance for the further study of the romantic poem genre in Pushkin's work in modern historical and literary science, V. M. Zhirmunsky substantiated even more widely at the later stage of his scientific biography. Not limiting himself now to questions of the formal compositional structure of Pushkin's southern poems, he enriched and supplemented his previous conclusions with data of an artistic-ideological and cultural-historical order ("Pushkin and Western Literature", 1937).
5) Modern stage. It is characterized by a significant number of works that continue the fruitful line outlined by Zhirmunsky and develop the analysis of the genre of Pushkin's romantic poem in various directions, taking into account its artistic originality and a special place in the history of the development of the romantic poem genre in Russian and world literature. Along with the works of Soviet Pushkinists - M. P. Alekseev, D. D. Blagoy, N. V. Izmailov, B. S. Meilakh, B. V. Tomashevsky and the historian of the Russian poem A. N. Sokolov - of particular importance for determining the ways From our point of view, the study of the romantic poem genre in Pushkin's work at the present stage has, from our point of view, from the recent works, the book of I. G. Neupokoeva “Revolutionary-Romantic Poem of the First Half of the 19th Century. The experience of the typology of the genre "(1971), the work of V. M. Zhirmunsky.
Thus, the poem is a lyrical epic, written, as a rule, in verse and glorifying any significant events, lofty characters, wonderful human deeds. This genre is subdivided into a historical poem, which tells about the great in the past, and the author examines what is depicted through the eyes of the people, expresses people's views and aspirations. The creator of the lyrical epic poem was D. Byron. It is based on the image of the inner world of the characters. This genre was introduced into Russian literature by A. S. Pushkin, who adopted the traditions of the Byronic poem and transformed them on Russian soil. A romantic poem is characterized by a fantastic plot; heroic epics served as its prototype.
The question of the relationship between the poems of D. Byron and A. S. Pushkin has always interested literary researchers. Throughout the history of studying this problem, the views of scientists have changed. At present, the concept of V. M. Zhirmunsky continues its development, suggesting dissimilarity in the general spirit of the poetry of Byron and Pushkin.
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Poetry K.F. Ryleeva
One of the brightest Decembrist poets of the younger generation was Kondraty Fedorovich Ryleev. His creative life did not last long - from the first student experiments in 1817-1819. until the last poem (early 1826), written in the Peter and Paul Fortress. Widespread fame came to Ryleev after the publication of the ode-satire "To the temporary worker" (1820), which was written in a completely traditional spirit, but was distinguished by its bold content. Initially, in Ryleev's poetry, poems of different genres and styles coexist in parallel - odes and elegies. The "rules" of the then piitiks weighed heavily on Ryleyev. Civil and personal themes are not yet mixed, although the ode, for example, is acquiring a new structure. Its theme is not the glorification of the monarch, not military prowess, as was the case in the lyrics of the 18th century, but ordinary civil service. The peculiarity of Ryleev's lyrics is that he not only inherits the traditions of civil poetry of the last century, but also assimilates the achievements of the new, romantic poetry of Zhukovsky and Batyushkov, in particular Zhukovsky's poetic style, using the same stable verse formulas. Gradually, however, the civic and intimate streams in the poet's lyrics begin to intersect: elegies and messages include civic motifs, while ode and satire are imbued with personal moods. Genres and styles begin to mix. In other words, in the civil, or social, course of Russian romanticism, the same processes take place as in the psychological course. The hero of elegies, messages (genres that were traditionally dedicated to describing intimate experiences) is enriched with the features of a social person (“V.N. Stolypina”, “On the Death of Byron”). Civil passions receive the dignity of living personal emotions. This is how genre barriers collapse, and genre thinking suffers significant damage. This trend is characteristic of the entire civic branch of Russian romanticism. Typical, for example, is Ryleev's poem "Will I be in a fateful time ...". On the one hand, the features of ode and satire are obvious in it - high vocabulary (“fatal time”, “citizen of dignity”), iconic references to the names of heroes of antiquity and modernity (Brutus, Riego), contemptuous accusatory expressions (“pampered tribe”) , oratory, declamatory intonation, designed for oral pronunciation, for public speech addressed to the audience; on the other hand, an elegiac reflection imbued with sadness about the fact that the younger generation does not enter the civil field. Dumas . Since 1821, a new genre for Russian literature began to take shape in Ryleev's work - thoughts, a lyrical epic work similar to a ballad, based on real historical events, legends, devoid, however, of fantasy. Ryleev especially drew the attention of his readers to the fact that the thought is an invention of Slavic poetry, that as a folklore genre it existed for a long time in Ukraine and Poland. In the preface to his collection Dumy, he wrote: “The Duma is an ancient heritage from our southern brothers, our Russian, native invention. The Poles took it from us. Until now, Ukrainians sing thoughts about their heroes: Doroshenko, Nechai, Sahaidachny, Paley, and Mazepa himself is credited with writing one of them. At the beginning of the XIX century. this genre of folk poetry became widespread in literature. It was introduced into literature by the Polish poet Nemtsevich, whom Ryleev referred to in the same preface. However, not only folklore became the only tradition that influenced the literary genre of the Duma. In the duma, one can distinguish signs of a meditative and historical (epic) elegy, an ode, a hymn, etc. The poet published the first duma - "Kurbsky" (1821) with the subtitle "elegy", and only starting with "Artemon Matveev" does a new genre definition appear - a thought . The similarity with the elegy was seen in the works of Ryleev by many of his contemporaries. So, Belinsky wrote that “a thought is a trinity for a historical event or simply a song of historical content. Duma is almost the same as an epic elegy. Critic P.A. Pletnev defined the new genre as "a lyrical story of some event." Historical events are comprehended in Ryleev's thoughts in a lyrical way: the poet is focused on expressing the inner state of a historical personality, as a rule, at some climax of life. Compositionally, the thought is divided into two parts - a biography into a moral lesson that follows from this biography. Two principles are connected in the Duma - epic and lyrical, hagiographic and propaganda. Of these, the main thing is lyrical, agitational, and biography (hagiography) plays a subordinate role. Almost all thoughts, as Pushkin noted, are built according to one plan: first, a landscape, local or historical, is given, which prepares the appearance of the hero; then, with the help of a portrait, the hero is displayed and immediately delivers a speech; from it the background of the hero and his current state of mind become known; What follows is a summary lesson. Since the composition of almost all thoughts is the same, Pushkin called Ryleev a "planner", referring to the rationality and weakness of an artistic invention. According to Pushkin, all thoughts come from the German word dumm (stupid). Ryleev's task was to give a broad panorama of historical life and create monumental images of historical heroes, but the poet solved it in a subjective-psychological, lyrical way. Its purpose is to excite the patriotism and love of freedom of contemporaries with a high heroic example. At the same time, a reliable depiction of the history and life of the heroes faded into the background. In order to tell about the life of the hero, Ryleev turned to the sublime language of civil poetry of the 18th - early 19th centuries, and to convey the feelings of the hero - to the poetic style of Zhukovsky (see, for example, in the thought “Natalya Dolgorukaya”: “Fate gave me joy In my sad exile…”, “And into the soul, compressed by melancholy, Involuntarily poured sweetness”). The psychological state of the heroes, especially in a portrait, is almost always the same: the hero is depicted only with a thought on his forehead, he has the same postures and gestures. Heroes of Ryleev most often sit, and even when they are brought to execution, they immediately sit down. The environment in which the hero is located is a dungeon or a dungeon. Since the poet portrayed historical figures in his thoughts, he faced the problem of embodying a national historical character - one of the central ones both in romanticism and in the literature of that time in general. Subjectively, Ryleev was not at all going to encroach on the accuracy of historical facts and "correct" the spirit of history. Moreover, he strove to observe historical truth and relied on Karamzin's History of the Russian State. For historical persuasiveness, he attracted the historian P.M. Stroev, who wrote most of the prefaces-comments to the thoughts. And yet this did not save Ryleyev from taking a too free view of history, from a peculiar, albeit unintentional, romantic-Decembrist anti-historicism. The Genre of Thought and the Concept of Romantic Historicism of the Decembrists . As a romantic, Ryleev placed the personality of a freedom-loving patriot at the center of national history. History, from his point of view, is the struggle of freedom lovers with tyrants. The conflict between the adherents of freedom and despots (tyrants) is the engine of history. The forces involved in conflict never disappear or change. Ryleev and the Decembrists do not agree with Karamzin, who asserted that the past century, having left history, never returns in the same forms. If this were the case, the Decembrists, including Ryleev, decided, then the connection between times would break up, and patriotism and love of freedom would never reappear, because they would lose their parental soil. As a result, love of freedom and patriotism as feelings are not only characteristic, for example, of the 12th and 19th centuries, but are also the same. The historical person of any past century is equated to a Decembrist in his thoughts and feelings (Princess Olga thinks in a Decembrist way, talking about the “injustice of power”, the soldiers of Dimitry Donskoy are eager to fight “for liberty, truth and law”, Volynsky is the embodiment of civil courage). From this it is clear that, wanting to be true to history and historically accurate, Ryleev, regardless of personal intentions, violated historical truth. His historical heroes thought in terms of Decembrist concepts and categories: patriotism and love of freedom of the heroes and the author did not differ in any way. And this means that he tried to make his heroes at the same time what they were in history, and his contemporaries, thereby setting himself contradictory and, therefore, impossible tasks. Ryley's anti-historicism aroused a strong objection from Pushkin. Regarding the anachronism committed by the Decembrist poet (in the Duma “Oleg the Prophetic” the hero Ryleev hung his shield with the coat of arms of Russia on the gates of Constantinople), Pushkin, pointing to a historical mistake, wrote: “... during the time of Oleg, there was no Russian coat of arms - and the double-headed eagle is Byzantine and means the division of the empire into Western and Eastern ... ". Pushkin understood Ryleev well, who wanted to shade Oleg's patriotism, but did not forgive the violation of historical authenticity. Thus, the national-historical character was not artistically recreated in the thoughts. However, the development of Ryleev as a poet went in this direction: in the thoughts "Ivan Susanin" and "Peter the Great in Ostrogozhsk" the epic moment was noticeably enhanced. The poet improved the transfer of national color, achieving greater accuracy in describing the situation (“a slanting window” and other details), his narrative style also became stronger. And Pushkin immediately responded to these shifts in Ryleev's poetry, noting the thoughts "Ivan Susanin", "Peter the Great in Ostrogozhsk" and the poem "Voinarovsky", in which he, not accepting the general plan and character of historical figures, especially Mazepa, appreciated the efforts Ryleev in the field of poetic narration.
Poem "Voynarovsky". The poem is one of the most popular genres of romanticism, including civil or social.
Ryleyev's poem "Voynarovsky" (1825) was written in the spirit of romantic poems by Byron and Pushkin. The basis of the romantic poem is the parallelism of pictures of nature, stormy or peaceful, and the experiences of an exiled hero, whose exclusivity is emphasized by his loneliness. The poem developed through a chain of episodes and monologues of the hero. The role of female characters in comparison with the hero is always weakened. Contemporaries noted that the characteristics of the characters and some episodes are similar to the characteristics of the characters and scenes from Byron's poems "Gyaur", "Mazeppa", "Corsair" and "Parisina". There is also no doubt that Ryleev took into account Pushkin's poems "The Prisoner of the Caucasus" and "The Fountain of Bakhchisarai", written much earlier. Ryleev's poem has become one of the brightest pages in the development of the genre. This is due to several factors. First, the love story, so important to the romantic poem, is relegated to the background and noticeably muted. There is no love collision in the poem: there are no conflicts between the hero and his beloved. Voinarovsky's wife voluntarily follows her husband into exile. Secondly, the poem was distinguished by its accurate and detailed reproduction of pictures of the Siberian landscape and Siberian life, revealing to the Russian reader a natural and everyday way of life largely unknown to him. Ryleev consulted with the Decembrist V.I. Shteingel about the objectivity of the painted pictures. At the same time, the harsh Siberian nature and life are not alien to the exile: they corresponded to his rebellious spirit (“I was pleased with the noise of the forests, I was pleased with the bad weather, And the howling storm and the splashing of the ramparts”). The hero was directly correlated with the natural element related to his moods and entered into complex relationships with it. Thirdly, and most importantly, the originality of Ryley's poem lies in the unusual motivation for exile. In a romantic poem, the motivation for the hero's alienation, as a rule, remains ambivalent, not entirely clear or mysterious. Voinarovsky ended up in Siberia not of his own free will, not as a result of disappointment, and not in the role of an adventurer. He is a political exile, and his stay in Siberia is forced, determined by the circumstances of his tragic life. In the exact indication of the reasons for the expulsion - Ryleev's innovation. This both concretized and narrowed the motivation for romantic alienation. Finally, fourthly, the plot of the poem is connected with historical events. The poet intended to emphasize the scale and drama of the personal destinies of the heroes - Mazepa, Voinarovsky and his wife, their love of freedom and patriotism. As a romantic hero, Voinarovsky is ambivalent: he is depicted as a tyrant-fighter, thirsting for national independence, and a prisoner of fate ("I was promised cruel fate"). The poem revealed in the process of evolution a tendency to the epic, to the genre of the story in verse, evidence of which was the strengthening of the narrative style in the poem "Voinarovsky". He was noticed and approved by Pushkin, especially praising Ryleev for his "sweeping style." Pushkin saw in this Ryleev's departure from the subjective-lyrical manner of writing. In a romantic poem, as a rule, a single lyrical tone dominated, the events were colored by the author's lyrics and were not of independent interest to the author. Ryleev broke this tradition and thereby contributed to the creation of verse and stylistic forms for an objective image. His poetic searches corresponded to Pushkin's thoughts and the needs of the development of Russian literature.
Romantic poem.
A romantic poem is a multipart poetic work of a large form, reflecting the ideological and artistic principles of a romantic worldview. A romantic poem is characterized by such a combination of lyrical and epic elements, in which the epic beginning (realized in pictures of historical reality) is subordinate to the lyrical beginning (realized in pictures of the inner world of the individual), which leads to a free composition, the presence of various authorial digressions, a pronounced lyrical tone of the narration and other characteristic features of this genre. The romantic poem developed intensively in the literature of the first third of the 19th century. V. G. Belinsky assessed the genre of a romantic poem as “a special kind of epic that does not allow the prose of life, which captures only poetic, ideal moments of life, the content of which is the deepest worldview and moral questions of modern mankind.” The romantic poem is perhaps the leading genre of romanticism. When they talk about a romantic hero, they most often mean the hero of such a poem, since the feature of this lyrical-epic genre is the presence of a detailed plot, and with it the formation of a new type of hero. I. G. Neupokoeva speaks about the genre of the poem as the leading one in the era of romanticism in the book “Revolutionary-romantic poem of the 1st floor. 19th century." She notes that each literary epoch has its dominant genres and their definite system. One of the first signs of a change in literary epochs is significant changes in the artistic structure of its main genres and their system. The transformation of the genre of the poem at the turn of the 18th - 19th centuries, the gradual overcoming of the classic features characteristic of it in the previous era, gave this genre great opportunities in the context of the artistic development of the 19th century. The break with classicist norms allowed the “free poem” to absorb the most important socio-philosophical, moral and historical problems of its era. Access to a free structure allowed the poem to widely absorb the discoveries of other poetic genres (primarily small lyrical forms and poetic drama). I.G. Neupokoeva identifies two dominant types of poem: lyrical-epic and philosophical-symbolic. Each of these types has its own history, its own national and European peaks. They "are not closed in themselves, they are not fenced off from one another by an impenetrable line." The appearance of the lyric-epic poem was the true beginning of a new era in the history of European literature. The development of this genre can be attributed to the 10th - 20th years of the XIX century. Such are Byron's Childe Harold's Pilgrimage, Shelley's Hellas, Ryleev's Voinarovsky, Mickiewicz's Grazhina, Lermontov's The Last Son of Liberty. We can talk about the presence within the lyric-epic poem of the Romantics of several genre forms, marked by a stable artistic structure. A comparative analysis of the lyrical-epic poem allows us to clearly see its genre forms (each of which has its own distinct artistic structure), such as the so-called "oriental poem", monody poem, hymn and national heroic poems. The philosophical-symbolic poem is a complex "fusion" of borrowings from historical traditions and legends, from mythology and its poetic revisions. Examples are "Queen Mab" by Shelley, "Cain" by Byron. It merges different streams of romantic poetry - hymn and satirical, highly pathetic and penetratingly personal. As Neupokoeva notes, a new system of "universal" poetic imagery is being created. In each of the national literatures, preference is given to the material that was most familiar to its poetic tradition. In England, this is a tradition of the genre of vision and social utopia, dating back to William Langland and Thomas More, an appeal to biblical images that have become a national artistic tradition here after Paradise Lost, as well as a free interpretation of ancient myths. There is every reason to speak of the philosophical and symbolic poem of the Romantics as a certain artistic whole. At the same time, here, as in the lyrical-epic poem, one can see both the internal differentiation of the genre and the stages of its development. Comparative consideration makes it possible to distinguish such genre forms of the philosophical-symbolic poem as cosmological, tragic and lyrical-symphonic. For example, the cosmological poem is most prominently represented in English literature. In particular, Blake has "The Marriage of Heaven and Hell", "Prophetic Books", and tragic poems - by Byron, Mickiewicz, Lermontov.
Creativity of I. Krylov in the first quarter of the 19th century. Fables, their classification, artistic method, problems.
Creativity of I. Krylov in the first quarter of the 19th century. Having finished publishing, Krylov wandered around the Russian provinces for a long time. But with the accession of Alexander in 1801, everything changed. Gradually, he ceased to write for the theater and from 1806. Krylov completely switches to fables. In 1808, he published 17 fables, including the famous "Elephant and Pug". In 1809, the first collection of his fables was published. If at first Krylov's work was dominated by translations or transcriptions of Lafontaine's famous fables ("The Dragonfly and the Ant", "The Wolf and the Lamb"), then gradually he began to find more and more independent plots, many of which were connected with topical events in Russian life. So, the fables "Quartet", "Swan, Pike and Cancer", "Wolf in the kennel" became a reaction to various political events. The writer, who at one time laughed at Karamzin for his predilection for excessively vulgar expressions, now he himself created works understandable to everyone, and became a truly folk writer. With his fables, live folk speech entered Russian literature. A fable is a poetic or prose literary work of a moralizing, satirical nature. At the end of the fable there is a brief moralizing conclusion - the so-called morality. Fables are poetic and prose. An example of the former is the fables of Jean de La Fontaine, I.A. Krylova, S. Mikhalkov and others; the second - the ancient fables of Aesop, Phaedra, etc. Still fables can be divided into "animals" and "everyday". In the first, the heroes are various animals, in the second - objects, people or mythological characters. The artistic method is the principle (method) of selecting the phenomena of reality, the features of their assessment and the originality of their artistic embodiment. In his fables, Krylov forms realism as an artistic method, i.e. artistic method - realistic. According to their problems, Krylov's fables can be conditionally divided into
1. socio-political ("Lion in fishing"; "Elephant in the province"; "Fish dance")
2. moral and philosophical ("Dragonfly and Ant"; "Gardener and Philosopher"; "Sheets and Roots")
3. social and household (“Elephant and Pug”; “Pig under an oak tree”).
Creativity of A.Griboedov. "Woe from Wit" as the first realistic comedy.
In 1815, his poetic comedy in one act, Young Spouses, was published and staged on the stage - an adaptation of the play by the French playwright Crezet de Lesser. In 1817, in collaboration with P.A. A.A. Shakhovsky and N.I. Khmelnitsky - the comedy “His Family, or the Married Bride” (Griboyedov wrote the beginning of the second act). Written jointly with A. A. Zhandr, the comedy Feigned Infidelity (a free translation of the comedy of the French playwright Barthes “Les fausses infidelites”) was staged in 1818 on the stages of Moscow and St. Petersburg. Participation in the work on these everyday plays was a test of the young playwright's strength before starting work on his main work - in the second half of the 1810s. the idea of the comedy "Woe from Wit" was formed. Making Comedy: The plan of the work is connected with the political mood of Russian society after the war of 1812. In St. Petersburg, where Griboyedov lives, secret societies are organized (“Green Lamp”, “Union of Salvation”). Early 1820s. Griboyedov serves in the Caucasus as a secretary for foreign affairs. Here he begins to work on a future comedy. In June 1824 the text of the comedy was ready. Fearing metropolitan censorship, Griboyedov travels to St. Petersburg: he reads his play in literary circles, reworks it and improves it. Comedy becomes an event. "Woe from Wit" as the first realistic comedy. The main feature of realism is the depiction of typical characters in typical circumstances. Woe from Wit fully meets this basic requirement of realism. Typifying the image, Griboyedov gives each character of the comedy individual features and properties. In the comedy, the playwright realistically convincingly showed the tense situation in the noble society, depicting the main conflict of his time - the clash of conservative nobles with new forces in the person of Chatsky.
Character system of the comedy "Woe from Wit". The image of the main character. Pushkin and Goncharov about Griboyedov's comedy.
Griboedov is an innovator of his time. Deviating from the canons of classicism, it exceeds the allowable number of actors. In addition, a large number of off-stage characters are introduced into the comedy, the number of which exceeds the stage ones, which is also an innovation for a classic work. We can divide all the images in the comedy into three groups: the main characters - they are involved in a personal conflict (Sofya, Silent, Chatsky, Famusov and Lisa), secondary and off-stage. The second group includes the guests of the Famus dance evening. The third includes all off-stage characters that we learn about from the dialogues of the characters on the stage. Also, the heroes can be divided into two large camps - representatives of the "past century" and representatives of the "present century". The first and most prominent representative of the "age of the past" is Famusov. A feudal lord, “like all Moscow ones,” who dreams of getting a son-in-law “with stars and ranks” for his daughter. Service for Famusov, as for all representatives of noble Moscow, is only a means of moving up the career ladder. His daughter Sofia stands out from others. Fascinated by reading French novels, she imagines herself to be their heroine. That is why there are many psychological motives in her speech. Molchalin- a bright representative of the Famus society. The purpose of his life is to be at the right time in the right place, and most importantly, to follow the precepts of his father: "to please all people without exception." Every word and step is well thought out. He skillfully pretends to be the lover of his master's daughter, although he himself has sympathy for the maid Lisa (“Her position, you ...”). An important role is played Lisa, Sophia's maid, a smart, lively, lively girl. On the one hand, she is a soubrette (the traditional role of classicism), helping her mistress arrange love dates. In addition, Liza is the second reasoner on stage. She gives apt characteristics to the heroes: “Who is so sensitive, and cheerful, and sharp, like Alexander Andreevich Chatsky". Secondary characters are presented in the third act of the comedy at a dance evening at Famusov's. They complete the picture of the Moscow nobility. Colonel Skalozub, in whose image military careerism and passion for drill are denounced, is a striking example of military and Arakcheevism. Next, we see a whole gallery of representatives of the Moscow nobility. This is Gorichi, which is a typical noble family. This is Prince Tugoukhovsky with his wife and six dowry daughters, who travels around the balls in search of suitors. These are the Countess Khryumina: the Countess-granddaughter, an old maid, always dissatisfied with everything, and her grandmother, who no longer sees or hears anything, but stubbornly attends entertaining evenings. This is the “swindler, rogue” Zagoretsky, who found “protection from court” in the best houses of Moscow. Finally, in comedy there are a large number of off-stage characters, the number of which exceeds the number of stage ones, which is a violation of the canons of classicism. The role of these characters is great: they expand both the temporal and spatial boundaries of the comedy. It is thanks to them that Griboedov manages to cover the period of time from Empress Catherine II to the beginning of the reign of Nicholas I. Like all stage ones, they can be divided into two opposing camps - into the “past century” and the “current century”. Image Chatskog o - the main discovery of Griboyedov. In Russian literature, it is with Chatsky that the line of the hero-fighter, the hero-protestant, begins. In the image of Chatsky, Griboedov for the first time in Russian literature showed a “new man”, inspired by lofty ideas, raising a revolt against a reactionary society in defense of freedom, humanity, mind and culture, cultivating a new morality, developing a new view of the world and human relations. Alexander Andreyevich Chatsky is a young man, a nobleman. Chatsky's parents died early, and he was brought up in the house of Famusov, a friend of his late father. Chatsky is not only an intelligent, but also a developed person, with a feeling. Chatsky ardently loves his homeland, but not the state of tsars, landowners and officials, but people's Russia, with its mighty forces, cherished traditions, intelligence and hard work. He believes that it is necessary to serve "to the deed, not to the persons." Chatsky defends the right of a person to freely choose his occupation: travel, live in the countryside, "set his mind" on science or devote himself to "creative, lofty and beautiful arts", so Famusov declares Chatsky a dangerous person who does not recognize the authorities. Chatsky's personal drama is his unrequited love for Sophia, Sophia, with all her good mental inclinations, still belongs entirely to the Famus world. One of the main distinguishing properties of Chatsky is the fullness of feelings. It manifested itself both in the way he loves, and in the way he is angry and hates. In everything he shows true passion, he is always hot in soul. He is ardent, sharp, smart, eloquent, full of life, impatient. He is the embodiment of good youth, honesty, gullibility, youthful boundless faith in himself and his abilities. These qualities make him open to error and vulnerable. About the essence of the comedy Woe from Wit, Pushkin wrote: “Griboyedov’s goal is characters and a sharp picture of morals. In this respect, Famusov and Skalozub are excellent. ; was it not necessary to make a coward out of him? An old spring, but a civilian coward in the big world between Chatsky and Skalozub could be very funny. Sick conversations, gossip, Repetilov's story about the klob, Zagoretsky, notorious and universally accepted - these are the features of a truly comic Pushkin also said: "I'm not talking about poetry - half - should be included in proverbs." Goncharov described this work in the article "A Million of Torments". "Woe from Wit" is one of the most famous and accurate estimates of this work. In general, I.A. Goncharov evaluates the play as an immortal work, in which problems that are relevant at all times and peoples were raised. The only image of the play, according to the critic, which remains open is the image of Chatsky. It can be corrected and discussed for a long time.
A.D. KAKSIN
(N.F.Katanov Khakass State University, Abakan, Russia)
UDC 821.161.1 (Gogol N.V.)
BBK Sh5 (2Ros=Rus)5
ABOUT THE BORDERS OF THE POEM GENRE IN THE RUSSIAN LITERATURE OF THE FIRST HALF OF THE XIX CENTURY AND THE GENRE ADEQUACY OF "DEAD SOULS" N.V. GOGOL
Annotation. The article is devoted to the definition of the genre of the work of Nikolai Gogol "Dead Souls". It is known that the writer himself chose between the definitions of "novel" and "poem", but as a result he leaned towards the second option. This genre definition of Gogol's epic work is justified from different points of view, and the article considers the plot, composition and images of the protagonist and some other characters as those components that express Gogol's idea that "Dead Souls" is a poem.
Key words: Russian classical literature, genres, genre dynamics, Nikolai Gogol's artistic world, Dead Souls, poem.
In Russian literature of the first half of the 19th century, there was no particular variety of large, epic and ideologically interesting genres, and therefore N.V. Gogol had to choose only between the novel and the poem. This is well shown in the comments of S.I. Mashinsky to the academic edition of "Dead Souls"; and in the same place, as a result of his reasoning, the literary critic comes to the conclusion that Dead Souls is a novel-poem.
Apparently, the point of view about the genre syncretism of the great work of N.V. Gogol from the height of the next century should be recognized as correct, but the thinking reader, we dare to hope, from time to time asks the question: why the author himself, N.V. Gogol, considered his work to be a poem? Apparently, he had good reason for this.
Our point of view: despite the fact that there are some signs of a novel in Dead Souls, in terms of its main characteristics it is a poem, an epic poem (we are talking only about the first volume, the second volume, as if, is not completed, and about it hard to say for sure). The distinctive properties (features) of the epic poem stem from its comparison with the novel and the romantic poem.
Russian Classics: Dynamics of Artistic Systems
In the novel, events take place in a wide, but at the same time, real and delineated space. And usually in real time. The main characters (there are several or even a lot of them in the novel) are typical representatives of their class. The plot slowly and calmly unfolds following the changes in the lives of the characters. And - no lyrics (or very little of it), and - nothing particularly philosophical.
In a romantic poem, an indefinite, very wide space is often presented. The plot is usually invented, characterized by sharp, unexpected turns. The heroes are loners (and each in their own way), they are romantic natures, which are characterized by vices and passions. A striking example here are the poems of M.Yu. Lermontov, which are so original that it is customary to speak separately about the “Lermontov stage” in the development of a romantic poem1.
If we look at "Dead Souls" from these positions, we will see: it seems, indeed, that there are still more features (or characteristics) of the poem. Mother Russia acts as a space (much wider and more indefinite). The plot, of course, is not invented, but if you look at it closely, you will find many unexpected twists and turns. There are plenty of other surprises too. The main character, in principle, is alone, and this is nature, if not romantic, then vicious and passionate. The figures of a number of landlords and officials, or rather, urban residents, are depicted individually, and in these descriptions they do not look like typical representatives of the class, but, on the contrary, they are different, very bright, images of a person, human nature.
So Dead Souls is a poem, but an epic poem, not a heroic or romantic one. Precisely because the plot and description of the way of life in N.V. Gogol are closer to reality than similar components in A.S. Pushkin or "Demon" by M.Yu. Lermontov.
Two more points, in our opinion, eloquently testify to the fact that we have before us - albeit an epic, but a poem. The first moment is a general wide panorama in which the plot unfolds, and another is the composition of the work, which clearly breaks up, again in the sense of the plot, into two similar parts that are repeated in their internal structure. The first part consists of chapters one through ten, the second part is chapter eleven.
1 Sokolov A.N. Essays on the history of Russian poetry of the 18th and first half of the 19th century. M. : Publishing house Mosk. un-ta, 1955. S. 589-615.
Russian Classics: Dynamics of Artistic Systems
Compositionally, each of these parts is built in this way: unfolding wide from below, going in a spiral and narrowing upward, the chain of events pushes Chichikov, as the protagonist of the poem, at the end of the tenth chapter - away from the city, and at the end of the eleventh - completely into the obscure distance.
The second point, indicating that we still have a poem before us, is, of course, the image of the protagonist. Chichikov loves fast driving! This is so clearly written in the final, eleventh chapter. This chapter is generally remarkable in that it contains not even one philosophical thought, but several, and all of them are very skillfully woven into the fabric of a seemingly simple narrative. Let us consider these lyrical, or rather, philosophical digressions in more detail, following the author, Gogol, and his hero, Chichikov (in this chapter, all the author's digressions are somehow connected with the main character).
It is interesting that the first significant digression begins immediately after the words about the boundless space, after the words that complete the long sentence, which lists many signs of this boundless space: bells ringing, crows like flies and a horizon without end. Rus! Rus! I see you, from my wonderful, beautiful far away I see you: poor, scattered and uncomfortable in you; daring divas of nature, crowned with daring divas of art, will not amuse, will not frighten the eyes, cities with many-windowed high palaces, grown into cliffs, picture trees and ivy, grown into houses, in noise and in the eternal dust of waterfalls; the head will not tip back to look at the stone blocks piled up endlessly above it and in the heights; they will not flash through the dark arches thrown one on top of the other, entangled in vine branches, ivy and countless millions of wild roses; Openly deserted and exactly everything in you; like dots, like badges, your low cities imperceptibly stick out among the plains; nothing will seduce or charm the eye. But what incomprehensible, secret force attracts you? Why is your melancholy song, rushing along your entire length and width, from sea to sea, heard and heard incessantly in your ears? What's in it, in this song? What calls, and sobs, and grabs the heart? What sounds painfully kiss, and strive to the soul, and curl around my heart? Rus! what do you want from me? what incomprehensible bond lurks between us? Why do you look like that, and why does everything that is in you turn eyes full of expectation on me? .. And still, full of bewilderment, I stand motionless,
Russian Classics: Dynamics of Artistic Systems
a formidable cloud dawned on my head, heavy with coming rains, and thought was dumb before your space. What does this vast expanse prophesy? Is it not here, in you, that an infinite thought is born, when you yourself are without end? Is there not a hero to be here, when there is a place where to turn around and walk for him? And menacingly embraces me mighty space, with terrible power reflected in my depths; my eyes lit up with an unnatural power: wow! what a sparkling, wonderful, unfamiliar distance to the earth! Russia!..” 2.
But either the lyrical or philosophical digression about wonderful, unfamiliar, wide Russia did not have time to end, as the second, the same conceptual digression begins - about the road: “What a strange, and alluring, and bearing, and wonderful in the word: road! and how wonderful she herself is, this road. .
Then, immediately after a short story about Chichikov's feelings and desires, a discussion begins about the writer's choice - to take a virtuous person or such a scoundrel as Chichikov as a hero: “... Alas! all this is known to the author, and for all that he cannot take a virtuous person as a hero, but. perhaps, in this very story, other strings that have not yet been scolded will be felt, the incalculable wealth of the Russian spirit will appear, a husband gifted with divine valor will pass, or a wonderful Russian maiden, which cannot be found anywhere in the world, with all the wondrous beauty of the female soul, all out of generosity and selflessness. And all the virtuous people of other tribes will appear dead before them, just as a book is dead before the living word!<.>A virtuous person is still not taken as a hero. You can even say why not taken. Because it is time to finally give rest to the poor virtuous person, because the word “virtuous person” is idly revolving on the lips; because they turned a virtuous man into a horse, and there is no writer who would not ride him, goading him with a whip and everything. No, it's time to finally hide the scoundrel. So let's harness the scoundrel!" .
If you read this passage carefully, it becomes clear that the author has mentioned almost all of his characters here. Obviously, by “scoundrel” we mean Chichikov, but we can say about others: and for sure, on the pages of the poem one senses “other, hitherto not abusive strings”, “the incalculable wealth of the Russian spirit” appears (Sobakevich’s men), passes “husband, gifted with divine virtues "(Nozdrev? young Plyushkin?), or" a wonderful Russian girl, which cannot be found
Russian Classics: Dynamics of Artistic Systems
nowhere in the world, with all the wondrous beauty of a woman's soul, all out of generous aspiration and self-sacrifice ”(is it really Korobochka? Putting aside the irony, we can say: she is the best!). “And all the virtuous people of other tribes will appear dead before them ..!”
And then, after a lengthy story about the life path of the protagonist, the writer again returns to the topic of a work of art, and you won’t understand his (either the author or the work) characters: “... readers should not be indignant at the author if the faces that had hitherto appeared were not to his liking; this is Chichikov's fault, he is the complete master here, and wherever he pleases, we must drag ourselves there. For our part, if, for sure, the accusation falls for the pallor and homeliness of faces and characters, we will only say that at the beginning one can never see the whole broad course and volume of the case.
Here, in these lines, Gogol, anticipating the continuation of his story about the adventures of Chichikov (in the second volume that he planned), as if justifying himself for the “paleness and nondescriptness” of the heroes already drawn, continues this justification with the parable of Kif Mokievich and Mokiya Kifovich. But the reader seems to have the right to exclaim: why is he, Gogol, doing this, why is he making excuses?! They are not so “pale and nondescript” - Manilov, Korobochka, Nozdrev, Sobakevich, even Plyushkin! After all, the author himself, voluntarily or involuntarily, describing the heroes mentioned, seemed to act exactly in the scheme followed by nature (or nature, as it is said in the text), creating Sobakevich: “she was not wiser for long, did not use any small tools. entire shoulder." . As a result, these amazing characters came out, most of whom have everything bright in the past, but it was. This is a former army officer, Manilov, whose house now stands “alone in the south, that is, on a hill, open to all the winds that you want to blow.” There is nothing to say about the Box! After all, even in the past, even today, "a different and respectable, and even statesman man, but in reality the perfect Box comes out." Nozdryov - pale and nondescript!? "This was. a fine fellow with full ruddy cheeks, teeth as white as snow, and sideburns as black as pitch. He was fresh as blood and milk. And the character!? After all, this is about him, about Nozdryov, we read at the end of the fourth chapter: “Beat him! he shouted in the same voice as during a great attack he shouts to his platoon. some desperate lieutenant, whose eccentric courage has already gained such fame that a special order is given to hold his hands during hot deeds.
Russian Classics: Dynamics of Artistic Systems
Sobakevich is best characterized by his own phrase: “It’s not like that with me. When I have pork - let's put the whole pig on the table, lamb - drag the whole ram, goose - just the goose! . What remains is Plyushkin, who seems to be more suitable for the definition of pale and unprepossessing. But even Plyushkin is a swindler, and was once "married and a family man, and a neighbor came to dine with him, listen and learn from him housekeeping and wise stinginess." It is he who is now a miser and a “hole in humanity”, and his daughter, on the contrary, ran away from home with a staff captain, and his son decided to join the regiment, i.e. both showed determination and independence bordering on adventurism.
And, then, in the end, they are all Russian people! “And what Russian does not like to drive fast! Does his soul, seeking to spin, take a walk, sometimes say: “Damn it all!” - Is it possible for his soul not to love her?<.. .>Russia, where are you going? Give an answer. Doesn't give an answer. A bell is filled with a wonderful ringing; the air torn to pieces rumbles and becomes the wind; everything that is on earth flies past, and, looking askance, step aside and give it the way other peoples and states.
And one more thing, indicating that we have before us a poem, and not a novel (or story) - the presence of a poetic lofty idea at the very end (although the beginning may not portend the appearance of such a romantic-heroic note). Let's compare Pushkin's beginning and end of "Gypsies": "Gypsies are marching in a noisy crowd through Bessarabia" - and - "And everywhere fatal passions, and there is no protection from fate."
In conclusion, let's compare the hero of the poem "Dead Souls" Chichikov with another hero N.V. Gogol - Khlestakov. It is obvious almost immediately that there is much in common between them. For us, living in Russia, in a provincial town, but living at the beginning of the 21st century, the main similarity between the two heroes of the works of N.V. Gogol, Khlestakov and Chichikov lies on the surface: they both arrive in the province not from the province (but take it higher!). In any case, this is how they are perceived (and accepted) by city officials (in "Dead Souls" - and landowners).
At the peak of their rise, these two heroes turn into important people before us. Although, of course, they are not such: one is a clicker, a liar (although, maybe, he really is from St. Petersburg, so what of that ?!), the other is a scammer, what to look for. But they have one thing in common: if they are crooks, then not without abilities. They have a special gift, talent, breadth of soul: after all, Khlestakov knows about Pushkin, and Chichikov “always kept purity in his soul” and in general was a “cheerful disposition person.”
Russian Classics: Dynamics of Artistic Systems
But, unlike Khlestakov, Chichikov still loves fast driving, and this alone differs from Khlestakov, who is generally afraid of sudden movements.
Only the low conceit of others makes Chichikov and Khlestakov important persons. It is no longer only the capitals directly (or abroad) that “district”, even “provincial”, provincials are semi-contemptuously called (“backwoods”, in the words of Famusov, the hero of A.S. Griboyedov). The county and provincial officials themselves are so convinced of their provincial level (and, moreover, of their right to do all sorts of outrages) that they are ready to take rogues for significant persons.
The difference, apparently, is again in the degree of symbolism of the protagonist. Even if Khlestakov was not a character in a dramatic work, he still could not become the main character of an epic poem. (Probably could be the central figure of a melodramatic story, a vaudeville story, and something like that). Chichikov is still bigger, more tragic. Because he is a hero - poems.
