A. Koltsov - a collector of folk songs

The artistic originality of Koltsov is revealed with particular force in his landscape painting. In his poems, nature is inseparable from people and their work, from everyday human worries, joys, sorrows and thoughts.

According to Saltykov-Shchedrin, "Koltsov is great, his talent is powerful, because he never becomes attached to nature for nature's sake, but everywhere he sees a person hovering above her."

The pictures of his native land created by Koltsov are fresh and new. “The beauty of the dawn caught fire in the sky” (“Song of the plowman”), and the ripening rye “Smiles on a merry day” (“Harvest”). In the poem "What are you sleeping, little man? .." (1839), Koltsov finds unique colors to describe late autumn:

After all, autumn is already in the yard

Looking through the curtain...

- and Russian rural winter:

Winter follows her

In a warm coat goes

The path is covered with snow

It crunches under the sleigh.

Koltsov knows how to say in his own way about the free Russian steppe. Reading the poem "Mower" (1836), it seems that you see all its boundless expanse, you breathe the smell of its herbs and flowers. For the Koltsovo mower, it is not only spacious, but also somehow joyful and bright in a special way:

Oh you, my steppe,

The steppe is free,

You are wide, steppe,

Spread...

In the poem "Harvest" (1835), a slowly approaching cloud darkens, grows, "is enraged by thunder, storm, fire, lightning," and immediately, as if after a momentary calm, it

Take up arms -

And expanded

And hit

And spilled

Big tear...

In this stanza, which consists almost entirely of verbs, the very rhythm and selection of sounds (primarily the voiced consonants "r" and "l") contribute a lot to the depiction of powerful thunder and pouring rain. Especially great dynamism, breadth, strength gives the verbs the sound “and” in front of them.

One of the features of Koltsov's poetic skill is the accuracy, concreteness, almost visual tangibility of the image with exceptional economy, brevity of artistic means. Organically perceiving folk-song speech, the poet developed his own style corresponding to the theme, his own imagery, his own special voice.

Koltsov achieves fresh and precise words (in the sense of conveying a certain psychological state), comparisons and metaphors, akin to the very spirit of folk song creation. This feature of Koltsov’s realistic poetics is clearly manifested in the song “The Poor Man’s Share” (1841), where the author was able to simply and at the same time convey in a completely new way the bitterness of the experiences of a peasant-bobyl, hidden from the eyes of people:

From the soul or sometimes

Joy breaks out -

Evil mockery

Instantly poisoned.

Speech elements that come directly from folklore (“And you sit, look, Smiling; And in your soul you curse the Bitter Share!”), The poet is natural and artistically justified.

We also see original mastery in the instrumentation, melody, metrics and rhythm of Koltsov's poems. Koltsov's widely used five-syllable and iambic trimeter with dactylic endings, internal rhymes, repetitions and alliteration give his poems the semantic expressiveness and musicality already noted above.

And when you read, for example, into the song “Don’t make noise, you rye ...”, you clearly see that even its very size is very suitable for the sorrowful mood that this poem is filled with:

Heavier than mountains

Darker than midnight

Lies on the heart

Thought is black!

No less expressive is such a Koltsovo song as "The Last Kiss". In her instrumentation, attention is drawn to the first and second lines, where the sounds “l”, “p” (“kiss, snuggle, caress”) are well heard, the third and fourth - with the sound “r” standing out in them (“Once again, hurry up, kiss hot").

Repetitions of words and internal rhymes are also found (“Do not grieve, do not grieve, Do not shed tears from the eyes”). All this gives the lyrical intonation of Koltsov's songs musicality, which was so highly appreciated by M. Balakirev, who wrote his famous romance on the words of this poem. According to the reviews of A. Cui, the romance is a perfect example of the fusion of music and text into one harmonious whole.

In general, it should be noted that Koltsov played an exceptional role in the development of national musical culture. His lines inspired the creation of wonderful works by such composers as Glinka, Varlamov, Gurilev, Dargomyzhsky, Balakirev, Rimsky-Korsakov, Mussorgsky, Rubinstein, Rachmaninov, Grechaninov, Glazunov and others.

Koltsov enriched our poetry with artless Russian speech. Avoiding any deliberate "beauties", he introduces ordinary words taken from the living folk language into his poems, giving them a special poetic flavor. According to Belinsky, Koltsov's songs "boldly included bast shoes, and torn caftans, and disheveled beards, and old onuchi - and all this dirt turned into pure gold of poetry" (9, 534).

Using the colloquial speech of the peasants, Koltsov carefully selects the most typical in it, which helps him more vividly express the feelings and thoughts of the people, truthfully show the life of the common people. In "The Second Song of Likhach Kudryavich" (1837) we read:

Ragged caftan

Pull on your shoulders

Raise your beard

Put on your hat,

You will become silent

Over someone else's shoulders...

Koltsov is extremely characteristic of the frequent use of diminutive speech forms, which are most consistent with the folk style:

The sadness-longing is heavy

On a twisted head...

You take my spinner...

Proverbs and sayings are typical for Koltsov's songs, organically interspersed in the speech of his lyrical hero. For example, in The Bitter Share (1837):

Without love, without happiness

I wander around the world:

Deal with misfortune

I will meet grief!

The significance of Koltsov in the history of Russian literature is determined by his indissoluble connection with the people, which, according to Belinsky, found a vivid expression in the poet's artistic reproduction of peasant life and the characteristics of the character, mindset and feelings of ordinary Russian people. It was these most important aspects of Koltsovo's work that had the most fruitful impact on Russian poetry.

Based on the literary and aesthetic concept of Belinsky, the revolutionary democrats of the 60s. considered the poetic heritage of Koltsov in accordance with the new and increased requirements put forward by the era of a comprehensive display of life in its essential manifestations.

Dobrolyubov in the very first statements about Koltsov (1858) defines him as a poet who, by the very essence of his talent, was close to the people. At the same time, the critic directly and, perhaps, even excessively categorically pointed out the insufficient connection between Koltsov's works and socio-political issues.

According to Dobrolyubov, “Koltsov lived a folk life, understood its sorrows and joys, knew how to express them. But his poetry lacks a comprehensive view; a simple class of the people appears to him in seclusion from common interests ... ".

Dobrolyubov was able to single out and highly appreciate that "real healthy" side of Koltsov's poems, which, according to the critic, needed to be "continued and expanded." Dobrolyubov emphasized the inextricable link between advanced Russian poetry and the Koltsovo traditions. Saltykov-Shchedrin also wrote about the significance of these traditions for Russian literature: “The whole series of modern writers who have devoted their work to the fruitful development of the phenomena of Russian life are a number of successors of Koltsov’s work.”

The artistic heritage of Koltsov was especially dear to N. A. Nekrasov. Speaking of Koltsov as a truly original poet, he put him on a par with our greatest poets - Pushkin, Lermontov, Zhukovsky, Krylov.

In the work of Nekrasov, the theme of labor introduced into poetry by Koltsov found a further continuation. Nekrasov gave it that political sharpness that Koltsov lacked. Nekrasov was undoubtedly close to the folk view expressed in the songs of Koltsov on the physical and spiritual beauty of working people.

Koltsov's experience largely prepared Nekrasov's appeal to folklore, to the lively colloquial speech of the peasants. Nekrasov to some extent can be considered the successor of Koltsov in the field of versification. Very indicative in this regard is the poem "Who Lives Well in Russia", in which the predominantly iambic trimeter with dactylic endings coming from Koltsov is widely used.

Koltsov's tradition is also palpable in the work of the poet of the Nekrasov camp, I. S. Nikitin. Relying on the artistic experience of his predecessors and, above all, Koltsov, he turned directly to the life of the common people, drawing themes and images from it. In Nikitin's poems ("Noisy, cleared up ...", "The song of the bean", "Inheritance", "The merchant was driving from the fair ...", "Get off, melancholy ...", etc.) clearly focuses -song beginning, which is so fully represented by Koltsov.

In line with the traditions of Koltsov, the work of the democratic poet I. Z. Surikov is also developing. The influence of the author of "Mower" is felt in such well-known works of his as "Oh, you, share ...", "Are you the head, little head ...", "In the steppe", etc. Surikov's poem "In the green garden is a nightingale. ..” is a development of the poetic motif of the female share, developed by Koltsov in his song “Oh, why me ...”.

Traces of Koltsov's influence are also noticeable in the works of songwriters S. F. Ryskin (1860-1895), E. A. Razorenova (1819-1891), N. A. Panov (1861-1906) and others. found further development in the creative practice of S. D. Drozhzhin: the theme of peasant labor reflected in his poems genetically goes back to the "Song of the Plowman" and "Harvest".

Koltsov had a particularly great and fruitful influence on the artistic development of Sergei Yesenin. In the poem "Oh, Russia, flap your wings ..." the poet directly writes about himself as a follower of Koltsov. The lyrical motifs and images of the Russian songbook have a direct echo in the verses of M. Isakovsky, A. Tvardovsky, N. Rylenkov and other Soviet poets, whose work is deeply and organically connected with the folk song.

An artist of an innovative warehouse, A. V. Koltsov managed to create such original, deeply national examples of democratic poetry that his name deservedly took one of the first places among the remarkable Russian poets.

History of Russian literature: in 4 volumes / Edited by N.I. Prutskov and others - L., 1980-1983

Alexei Vasilievich Koltsov was born on October 3, 1809 in Voronezh, into a wealthy petty-bourgeois family of Vasily Petrovich Koltsov. From the age of nine, Koltsov learned to read and write at home and showed such outstanding abilities that in 1820 he was able to enter the county school, bypassing the parish. He studied there for one year and four months: from the second grade, his father took him as an assistant. But the passion for reading, love for the book has already awakened in the boy.

In 1825, Koltsov bought a collection of poems by I. I. Dmitriev at the market and experienced a deep shock when he got acquainted with his Russian songs “The blue dove is moaning”, “Ah, if only I had known before”. He ran into the garden and began to sing these verses alone. By the end of the 1830s, Koltsov became known in the cultural circle of the provincial Voronezh as a "prasol poet", "self-taught", "petty-bourgeois poet". He became close to A.P. Serebryansky, the son of a village priest, a student at the Voronezh Seminary, a poet, a talented performer of his own and other people's poems.

In 1827, "at the dawn of a misty youth," Koltsov was going through a heavy heartfelt drama. In the father's house lived a serf servant, the maid Dunyasha, a girl of rare beauty and spiritual meekness. The young man fell in love with her passionately, but his father considered it humiliating to be related to a maid and, during his son’s departure for the steppe, sold Dunyasha to a remote Cossack village. Koltsov fell ill with a fever and almost died. Having recovered from his illness, he embarks on the steppe in search of a bride, which turned out to be fruitless. The poet cried out his inconsolable grief in the verses “First Love”, “Treason of the Betrothed”.

In 1831, Koltsov entered the great literature with the help of N.V. Stankevich, who met the poet in Voronezh and drew attention to his outstanding talent.

In the summer of 1837 Zhukovsky visited Koltsov in Voronezh. This visit elevates the poet in the eyes of his father, who had a cool attitude towards his son's literary works, but appreciated connections with high-ranking people, using them to promote trade enterprises and successfully resolve court cases.

In 1838, he willingly let his son go to St. Petersburg, where the poet visited theaters, was fond of music and philosophy, and became close friends with Belinsky. Under the influence of a critic, he turns to philosophical poetry, creating his "thoughts" one after another. During this period, Koltsov's rapid intellectual growth takes place, and his poetic talent reaches its peak.

Having unprofitably completed his trading business, having lived the proceeds, Koltsov returns to Voronezh to his furious father. The cooling of the son to household chores causes reproaches in the father for "literacy" and "scribbler". Quarrels begin. Anisya, who was once close to the poet and beloved by him, is drawn into a family conflict. The drama is completed by sudden consumption, which brings Koltsov to the grave on October 29, 1842, thirty-three years old.

In 1846, the first posthumous edition of Koltsov's poems, prepared by Belinsky, was published. The poet grew up among the steppes and peasants. He loved Russian nature and everything good and beautiful that, like a germ, like an opportunity, lives in the nature of a Russian peasant, not for a phrase, not for a red word, not with imagination, not with a dream, but with his soul, heart, blood. Not in words, but in deeds, he sympathized with the common people in their sorrows, joys and pleasures.

Koltsov's songs cannot find any "prototype" among the well-known folklore texts. He himself created songs in the folk spirit, having mastered it so much that in his poetry the world of folk song is created, retaining all the signs of folklore art, but already rising into the realm of literary creativity itself. In the "Russian songs" of the poet, a national basis is felt.

Koltsov poeticizes the festive aspects of the peasant's working life, which not only brighten up and give meaning to his hard work, but also give special strength, stamina and endurance, protect his soul from the destructive effects of the surrounding reality.

Koltsov's poetic perception of nature and man is so integral and so merged with the people's worldview that the conventionality of epithets, comparisons, and similitudes, typical in literary poetry, is removed. The poet does not stylize his "Russian songs" as folklore, but creates poetry in the spirit of a folk song, revives and resurrects, creatively deploys traditional images frozen in folklore.

In Longing for Will, the image of the falcon loses its usual allegorical conventionality in folklore, and turns into a holistic image of the “bird-man”:

And now how fast wings
Evil fate cut me
And my friends are my comrades
Everyone threw me alone ...
Goy you, the power of the underworld!
I demand service from you -
Give me free will, free will!
And I bow to you with my soul ...

The hero of Koltsov knows grief and failure, but treats them without despondency. Although this grief is one of those that “has been pumping for years”, it does not plunge the young Koltsov into humility, but pushes him to search for a reasonable and courageous way out:

So that sometimes before trouble
Stand up for yourself
Under the fatal storm
Don't take a step back.

Contemporaries saw something prophetic in the poet's lyrics. Koltsov's poetry had a great influence on Russian literature. In the 1850s A. A. Fet was under the spell of his “fresh”, “unbroken” song; its democratic folk-peasant and religious motives were developed in their work by Nekrasov and the poets of his school; G. I. Uspensky was inspired by Koltsov’s poetry, working on the essays “The Peasant and Peasant Labor” and “The Power of the Land”.

Belinsky believed that "the Russian sounds of Koltsov's poetry should give rise to many new motifs of national Russian music." And so it happened: A. S. Dargomyzhsky and N. A. Rimsky-Korsakov, M. P. Mussorgsky and M. A. Balakirev were inspired by Russian songs and romances of the poet.

18. Mirgorod by N.V. Gogol. Problems, the ideological content of the cycle of stories. Taras Bulba. Problematics, ideological content of the story. Basic images. The artistic skill of the writer.

Nikolai Vasilyevich Gogol is an outstanding master of words, a brilliant prose writer and an unsurpassed satirist. At the time when Gogol began his literary activity, the main issue of social development in Russia was the question of the abolition of serfdom. I continue the humanistic, anti-serfdom traditions of Radishchev, Fonvizin, Pushkin and Griboyedov. Gogol, with his annihilating laughter, breaks this system and promotes the development of democratic progressive ideas in Russia.

“Tales that serve as a continuation of “evenings on a farm near Dikanka” - such is the subtitle of “Mirgorod”. Both the content and the characteristic features of its style, this book opened a new stage in the creative development of Gogol. There is no place for romance and beauty in the depiction of the life and customs of the Mirgorod landlords. Human life here is entangled in a web of petty interests. There is no lofty romantic dream, no song, no inspiration in this life. Here is the kingdom of self-interest and vulgarity.

In Mirgorod, Gogol parted ways with the image of a simple-minded storyteller and spoke to readers as an artist who boldly reveals the social contradictions of our time.

From cheerful and romantic boys and girls, inspirational and poetic descriptions of Ukrainian nature, Gogol moved on to depicting the prose of life. In this book, the critical attitude of the writer to the musty life of the old-world landowners and the vulgarity of the Mirgorod "existents" is sharply expressed.

The realistic and satirical motifs of Gogol's work are deepened in The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich. The story of the stupid litigation of two inhabitants of Mirgorod is comprehended by Gogol in a sharply accusatory way. The life of these inhabitants is devoid of the atmosphere of patriarchal simplicity and naivety. The behavior of both heroes arouses in the writer not a soft smile, but a feeling of bitterness and anger: "It's boring in this world, gentlemen!" This sharp replacement of a humorous tone with a naked satirical one reveals the meaning of the story with the utmost clarity. A seemingly funny, funny anecdote turns in the mind of the reader into a deeply dramatic picture of reality.

Gogol, with his characteristic thoroughness, peers into the characters of his heroes: two bosom friends. They are “the only two friends” in Mirgorod – Pererepenko and Dovgochkhun. But each of them is on their own. There seemed to be no such force capable of upsetting their friendship. However, a stupid accident caused an explosion, arousing the hatred of one for the other. And one unfortunate day friends became enemies.

Ivan Ivanovich really misses the gun, which he saw at Ivan Nikiforovich. The gun is not just a “good thing”, it should strengthen Ivan Ivanovich in the minds of his noble birthright. His nobility, however, was not ancestral, but acquired: his father was in the clergy. All the more important for him to have his own gun! But Ivan Nikiforovich is also a nobleman, and even a real, hereditary one! He also needs a gun, although since he bought it from a Turchin and had in mind to enroll in the police, he has not yet fired a single shot from it. He considers it sacrilege to exchange such a “noble thing” for a brown pig and two sacks of oats. That is why Ivan Nikiforovich became so inflamed and this ill-fated “gander” flew off his tongue.

In this story, even much stronger than in the previous one, the ironic manner of Gogol's writing makes itself felt. Gogol's satire is never revealed naked. His attitude to the world seems good-natured, gentle, friendly. Well, really, what bad can be said about such a wonderful person as Ivan Ivanovich Pererepenko! Natural kindness wells up from Ivan Ivanovich. Every Sunday he puts on his famous bekesha and goes to church. And after the service, he, prompted by natural kindness, will surely bypass the poor. He sees a beggar woman and starts a cordial conversation with her. She expects alms, he will talk, talk and go away.

This is how the “natural kindness” and compassion of Ivan Ivanovich looks like, turning into hypocrisy and perfect cruelty. “Ivan Nikiforovich is also a very good person.” "Also" - obviously, he is a man of the same kind soul. Gogol does not have direct denunciations in this story, but the accusatory orientation of his letter reaches extraordinary strength. His irony seems good-natured and gentle, but how much true indignation and satirical fire is in it! For the first time in this story, bureaucracy also becomes the target of Gogol's satire. Here are the judge Demyan Demyanovich, and the magistrate Dorofey Trofimovich, and the secretary of the court Taras Tikhonovich, and the nameless clerk, with "eyes that looked askance and drunk", with his assistant, from whose breath "the presence room turned into a drinking house for a while" , and mayor Pyotr Fedorovich. All these characters seem to us to be prototypes of the heroes of The Government Inspector and officials of the provincial town from Dead Souls.

The composition of "Mirgorod" reflects the breadth of Gogol's perception of modern reality and at the same time testifies to the scope and breadth of his artistic searches.

All four stories of the "Mirgorod" cycle are connected by the internal unity of the ideological and artistic design.

However, each of them has its own distinctive style features. The originality of “The Tale of how Ivan Ivanovich quarreled with Ivan Nikiforovich” lies in the fact that here the technique of satirical irony characteristic of Gogol is most clearly and vividly expressed. The narration in this work, as in the "Old World Landowners", is conducted in the first person - not from the author, but from some fictional narrator, naive and ingenuous. It is he who admires the valor and nobility of Ivan Ivanovich and Ivan Nikiforovich. It is the “beautiful puddle” of Mirgorod, the “glorious bekesh” of one of the heroes of the story and the wide trousers of the other that bring him to tenderness. And the stronger his enthusiasm is expressed, the more obvious the emptiness and insignificance of these characters is revealed to the reader.

It is easy to see that the narrator acts as a spokesman for the self-consciousness of the people. In the way Rudy Panko perceives and evaluates the phenomena of reality, one can see the humor and grin of Gogol himself. The beekeeper is the spokesman for the moral position of the author. In "Mirgorod" the artistic task of the narrator is different. Already in "Old World Landowners" he cannot be identified with the author. And in the story of the quarrel, he is even more distant from him. The irony of Gogol is completely naked here. And we guess that the subject of Gogol's satire is, in essence, the image of the narrator. It helps a more complete solution of the satirical task set by the writer.

Only once in the story about a quarrel does the image of the narrator, who was not touched by the author's irony, appears before us in the final phrase of the story: "It's boring in this world, gentlemen!" It was Gogol himself who, as it were, pushed the framework of the story apart and entered it in order to openly and angrily, without a shadow of irony, pronounce his sentence. This phrase crowns not only the story of the quarrel, but the entire “Mirgorod” cycle. Here is the core of the whole book. Belinsky remarked subtly and accurately: "Gogol's stories are funny when you read them, and sad when you read them." Throughout the book, the writer creates a judgment on human vulgarity, which becomes, as it were, a symbol of modern life. But it is precisely here, at the end of the story of the quarrel, that Gogol openly, in his own name, pronounces the final verdict on this life.

In The Old World Landowners and The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich, Gogol first spoke to readers as a “poet of real life,” as an artist boldly exposing the ugliness of social relations in feudal Russia. Gogol's laughter did a great job. He had tremendous destructive power. He destroyed the legend about the inviolability of the feudal-landowner foundations, debunked the halo of imaginary power created around them, exposed to the "people's eyes" all the abomination and inconsistency of the contemporary political regime of the writer, held judgment on him, awakened faith in the possibility of a different, more perfect reality.

Nikolai Vasilyevich Gogol is one of the most mysterious and enigmatic Russian writers.
Recreating the era of the heroic past of his Motherland on the pages of the story, Gogol conveys all the shades of feelings, excitement and suffering of the Ukrainian people - proud and warlike Cossacks, with all their virtues and shortcomings, courage and cowardice, kindness and cruelty, a sense of brotherhood and betrayal.

The story "Taras Bulba" is a heroic illumination of the era, characters, customs, extraordinary expression of style, violent brightness of verbal colors. "... Isn't all the Cossacks here, with their daring, wild life, carelessness and laziness, their violent orgies and bloody raids." The acquisition of the past is achieved in Gogol not by a scrupulous display of historical chronicles, not by archaeological thoroughness of details, but by a generalization of events, by the romantic fullness of images, when the dramatic fates of the heroes acquire epic proportions.

Petersburg stories N.V. Gogol. Problems, ideological content. Artistic originality of stories. The role of the fantastic beginning.

Today's art of writing recognizes N.V. Gogol as its mentor. He was one of the outstanding figures of Russian prose. Laughter in his work is connected with tragic upheavals. Although his works are notable for their colorful language and simplicity of plot, Gogol himself was a man of constant surprise and a bit of a mystery. His "Petersburg Tales" had a huge impact on the development of culture in Russia. In Russian literature, the northern capital was seen as a "fantastic" city: in its single image, very opposite images combined and passed into each other - greatness and insignificance, the beauty and brilliance of the imperial environment and the dark life of the poor. Reading Gogol's stories, we see how this contradiction grows, getting new shades in beautiful epithets and figurative hyperbole.

"Notes of a Madman" is the only work in Gogol's work written as a confession, as a hero's story about himself. He conducts his inner monologue, "speaks to himself", while in his outer life he is different. In front of the general and his daughter, he wanted to say and ask a lot, but he could not. This difference between his inner and outer world drives him crazy. The hero is tormented by the question of his own self-esteem. Since no one recognizes him as such, he must find out for himself. Looking at his strengths and weaknesses, Poprishchin talks to himself. Here, for example, is his playful remark: "What kind of a beast is our official brother! By God, he will not yield to any officer, pass some in a hat, he will certainly hook you." This tone of light vulgarity, our character thinks, should show that "everything is in order with me, and I'm a big fan of jokes." But this is not a real Poprishchin. He just wished he was. In fact, his remarks are too harsh, they feel the uncertainty that betrays him. Many of the thoughts of the author of the notes seem rude, but this is the tone of an independent person that he tries to consider himself to be.

Unlike Gogol's other works, in Notes of a Madman one can directly hear vulgarity and tragedy in every word - two colors of the St. Petersburg world. In an attempt to evaluate himself, Popryshchin is guided only by concepts that are valuable to him: rank and rank. Therefore, he seeks to "take a closer look at the life of these gentlemen" and fantasizes in a sweet dream that "we will become a colonel and make a reputation for ourselves." But his "poor wealth" goes to the chamber junker, and Popryshchin tries to think deeper: "Why do all these differences occur? Why am I a titular councillor, and why am I a titular councillor?". All dreams of being a colonel are jumped in an instant. For Popryshchin now they are small and invisible. The hero puts himself above those who are above him in life. His reasoning about "gigantic deeds" is madness. But that is why the notes end on the Spanish king.

The final monologue is no longer the speech of the former Poprishchin, but the lyrics of Gogol. A person's consciousness of his misfortune gives rise to Gogol's favorite image of the road, the troika and the bell. "The road rushes through the whole world in some cosmic distances; where does it take a person? .... Soar the horses and carry me from this world!". This is how the poor man's search for his place in the world is allowed: not a titular adviser, and not a colonel, and not a Spanish king, but "he has no place in the world!".

All the stories of the St. Petersburg cycle constitute a true artistic encyclopedia of bureaucratic life and psychology. A monumental image of Gogol's Petersburg grows in them, where the individual is inextricably linked with the world of things, the external order, the system of artificial, feigned behavior. The power of the rank, the leveling personality, rules here. The rank for Poprishchin is a kind of great value, a criterion of justice and happiness. Freed from this illusion, poor Poprishchin discovers a new truth: "Everything that is best in the world, everything goes either to the chamber junkers or the generals." Indignant at such injustice, the sick soul of the hero gives birth to an imaginary revenge with the help of an imaginary achievement of power (he becomes the king of Spain). Revenge on the perpetrators of all the misfortunes and injustices in the world - "official fathers" "patriots" who "will sell their mother, father, God for money, ambitious, Christ-sellers! ....".

The general impersonality of the rank for Gogol is a kind of global social law. It is destructive for everyone, for people standing at any rung of the social ladder. Gogol wants to warn humanity about this. All the terrible consequences of this phenomenon are shown to us by the great classic realist, depicting with critical ruthlessness the heroes of St. Petersburg stories. He "was the first to introduce us to us in our present form, the first to teach us to know our shortcomings and to abhor them." By this, Chernyshevsky believed, Gogol carried out the great artistic function of literature: to move "forward his nation."

The role of the fantastic beginning

St. Petersburg stories are based on an extraordinary story, an extraordinary event. A man's nose has disappeared, another has been stripped of a new overcoat, which he had boldly dreamed of acquiring all his life, a third is resurrected in the figure of a department director dreaming of an order. Each story expresses one of the characteristic features of the poetics of the absurdity of Gogol - a combination of a fantastic incident and real-life details in the description of the life of bureaucratic Petersburg.

"Nose". Kovalev had a strange dream, as if his nose ran away from him. The nose began to live its own independent life. He received a high position and freely walked around the city. From such bewilderment, Kovalev took everything he dreamed of for reality, for life. But he did not even understand that thanks to this position in which he fell during the dream, all the emptiness of his life was revealed, all the humiliation of being with his own nose. This small part of the body is actually of the utmost importance in his life.

The event - the discovery of a nose in baked bread is incredible, but the hero cannot exclude the possibility of his mistake: “The devil knows how it happened ... Whether I returned drunk yesterday or not, I can’t say for sure” which is tantamount to admitting his guilt. Is the corruption and stupidity of Ivan Yakovlevich not a reality?

In the miserable soul of Kovalev, in his petty, useless work, in his cynical position in life, the author saw the possibility of a crisis. Trying to reveal the problem of Kovalev, the writer poses the problem and gives us the opportunity to see our own dreams in the hero's dreams, calls for consciousness and a critical assessment of the life and work of "major" Kovalev.

“Stupid speech, and especially the speech of a madman, are illogical, meaningless, but they characterize the subject of speech, and therefore this is a real speech act, the metaphorical nature of the nose, the conditional “as if: ...” are “removed” by the essence of the characters, their deep vitality.

The events of the story are absurd, but its characters are absurd in their own way, being, however, not only quite real, but also a mass type. .

“Rumors, rumors are a collective “creativity”, in which it is difficult to distinguish truth from fiction, and this fruit of idle imagination constantly attracted the attention of the writer; he saw in him an intricate synthesis of truth and fiction, very relevant for his work, in the center of which is the phenomenon of a "fantastic" person. After all, rumors, even the most incredible ones, are the brainchild of a person, a person that is real. That is why the fantastic adventures of the nose and his "possessor" Major Kovalev reflect the realities of human existence.

Everything in this story seems absolutely believable. Everything happens "as in life." A. Grigoriev called The Nose "the most original and bizarre work, where everything is fantastic and at the same time everything is extremely poetic truth."

The fantastic plot is told by Gogol, as the story is absolutely real. In this combination of fantasy and reality, the famous episode in the Kazan Cathedral is especially interesting. Kovalev meets his own nose there, which stood aside and, with an expression of the greatest piety, indulged in his religious feelings. The nose, judging by his uniform and plumed hat, turned out to be a state councilor, i.e. rank older than Kovalev. Kovalev's nose began to live on its own. It is not difficult to imagine how great was the indignation of the collegiate assessor. But the trouble is that Kovalev cannot give vent to his indignation, because his own nose was in a rank much higher than himself. The collegiate assessor's dialogue with his own nose accurately imitates the conversation of two officials of unequal rank: the humbly pleading intonation of Kovalev's speech and the self-satisfied - bossy phraseology of the nose. And there is not the slightest parody here, the dialogue is sustained in a completely realistic spirit, it is absolutely believable.

Interestingly, in the original version of the story, everything that happened to Kovalev happens in a dream. This dream motif slips through at the very beginning. Getting up in the morning and finding a “perfectly smooth place” instead of a nose, Kovalev was frightened, pinching himself to find out if he was sleeping. This place is preserved in almost the same form in the final version. But at the end of the story there is a significant discrepancy between both editions. In the draft text we read: "However, all this, which is not described here, was seen by the major in a dream." In the final version, the dream motif was eliminated. Thus, the writer consciously emphasizes the effect of "compatibility" of a fantastic incident and the abnormality of human relations prevailing in the world.

The absurdity of The Nose does not in the least prevent us from experiencing a realistic picture of the life of bureaucratic Petersburg.

2.2 "The Overcoat" is the most mysterious story of the St. Petersburg cycle.

“The overcoat is the most mysterious, in our opinion, story of the St. Petersburg cycle by N.V. Gogol. In it, just as in the story "The Nose", according to V.M. Markovich, "reality and fantasy are intertwined, their boundaries are indistinguishable."

Absurdity grows in the writer's story from everyday reality, seemingly understandable, prosaic and natural. But that's just how she looks. The city itself, where the heroes of N.V. Gogol live, is abnormal to a certain extent. Its climate is destructive, and time does not flow like everywhere else. From the first frosts, which made Akaky Akakievich think about a new overcoat, half a year passes before receiving it. It is April-May, and meanwhile “quite severe frosts have already begun, and it seemed that they threatened to intensify even more.” Apparently, the cold is perceived as an enduring state of the depicted world. Cold is associated with the north, and the north in the mythological consciousness is the realm of the dead. Relations between people are also permeated with icy cold, because it is not love, not friendly feelings that determine, but a place in the Table of Ranks, rank. In this abnormal world, people strive to get rid of the soul that prevents them from "integrating" into the bureaucratic system, and things "humanize". The overcoat becomes Akaky Akakievich "a pleasant friend of life", who agreed to "walk the road of life together." It is the overcoat that becomes the title character of the story, defining the twists and turns of the plot, carrying its “eternal idea”.

In the world of Gogol's absurdity, everything can change to its opposite. So, a meek titular adviser becomes a formidable robber, and a strict general, causing his subordinates to tremble, himself trembles with fear. The area where Bashmachkin was robbed is called "endless" by the author. It is both “desert and sea” at the same time. But the world, where everything is constantly changing, is essentially immovable and eternal in this immobility.

The sad tale of the stolen overcoat, according to N.V. Gogol, "unexpectedly takes a fantastic ending." The ghost, in which the deceased Akaky Akakievich was recognized, ripped off everyone's overcoat, "without disassembling the rank and title."

To convey events, the form of rumors is widely used, a special type of message from the narrator is introduced - a message about a fact that allegedly happened in reality, but did not have a complete definite result. Particularly finely processed is the place where it is told about the attack of the "dead man" on a significant person.

A remarkable feature of this text is that it omits "withheld" the verb expressing "the act of listening." A significant person did not hear the replica of the "dead man". It saw her. The remark was mute, it was voiced by the inner shocked feeling of another person. Before that, almost imperceptibly, the psychological motivation of the “meeting ...” was carried out. It is reported about the good inclinations of a significant person, it is said about the impression that the death of Akaky Akakievich made on him. Due to this, according to Yu.V. Mann "fantasy is artificially pushed to the very edge of the real".

In the story "The Overcoat" N.V. Gogol uses a special form of fantasy - alogism in the narrator's speech.

With this phenomenon, some traits and qualities of characters are ascertained, which require confirmation, but assert something completely different. We can consider this phenomenon as an element of non-fantastic fiction. So, one official served in one department, the official cannot be said to be very remarkable: short, somewhat pockmarked, somewhat reddish, even somewhat blind-sighted, with a slight bald spot on his forehead, with wrinkles on both sides of his cheeks and a complexion that is called hemorrhoidal ... The phenomenon of alogism lies in a completely logical narrative. Alogism in "The Overcoat" is also associated with the character's surname. Talking about the fact that Bashmachkin's surname "came from a shoe" and that "how it came from a shoe, none of this is known," the narrator adds: "Both father, and grandfather, and even brother-in-law and all the Bashmachkins walked in boots."

“Today an extraordinary adventure has happened,” is the first sentence of Diary of a Madman. A phrase that immediately warns us, the readers, that we are talking about events out of the ordinary, unusual, exceptional.

And in fact: the hero of the story is walking along Nevsky Prospekt, heading to the department, and suddenly hears ... a conversation between two dogs. The situation is completely implausible, absurd. But this fantasy invades ordinary, everyday life and ... becomes its integral part.

Of course, at first, the conversation of dogs in human language is perceived as something not only unusual, but also incredible. This is the perception not only of the reader, but also of the narrator: “Hey! - I said to myself, - yes, that's enough, am I drunk? It just doesn't seem to happen to me very often."

Gogol introduces into the text of the work one of the common motivations with which contemporary writers explained the intrusion of science fiction into their narrative. It is introduced not in order to "plausibly" motivate one's appeal to science fiction, but, on the contrary, in order to reject such an explanation.

Of course, this conversation surprises him, but soon the surprise passes: “Oh, you little dog! I confess that I was very surprised to hear her speaking in a human way. But later, when I understood all this well, then at the same time I ceased to be surprised. Indeed, there have already been many such examples in the world. They say that in England a fish swam up that said two words in such a strange language that scientists have been trying to understand for three years and still have not discovered anything. I also read in the newspapers about two cows who came into the shop and asked for a pound of tea.

Both of these examples are sheer absurdity.

The idea of the comedy N.V. Gogol's "Inspector" and its implementation. Traditional and Gogol's ("Decoupling" The Government Inspector) interpretation of the main conflict. The image of Khlestakov in the comedy N.V. Gogol's "Inspector".

According to V.Ya. Bryusov, in his work N.V. Gogol strove for “eternal and infinite”. The artistic thought of N.V. Gogol always strove for a broad generalization, his goal in many works was to draw the most complete picture of Russian life. Speaking about the idea of The Inspector General, Gogol noted that in this work he decided to “... gather together everything bad in Russia, which he then knew ... and at one time laugh at everything ...”. Thus, the city of the “Inspector General” arose, which the author called “the prefabricated city of the entire dark side.”

The comedy presents all aspects of Russian reality. N.V. Gogol depicts the most diverse strata of the urban population. The main representative of the bureaucracy is the mayor, Skvoznik-Dmukhanovsky. City landowners are represented by Bobchinsky and Dobchinsky, the merchant class - by Abdulin, the bourgeoisie - by Poshlepkina. The choice of characters is due to the desire to cover as widely as possible all aspects of social life and management of society. Each sphere of life is represented by one person, and the author is primarily interested not in the social function of the character, but in the scale of his spiritual or moral values.

The charitable establishments in the city are run by Strawberry. His people are dying “like flies”, but this does not bother him at all, because “a simple man: if he dies, then he will die anyway; If he recovers, then he will recover.” The court is headed by Lyapkin-Tyapkin, a man who "has read five or six books." Drunkenness and rudeness flourish in the police. People are starved in prisons. The policeman of Derzhimorda, without any embarrassment, enters the shops of merchants as if in his pantry. The postmaster Shpekin, out of curiosity, opens other people's letters... All officials in the city have one thing in common: each of them considers his state position as an excellent means of living without worries, without spending any effort. The concept of public good does not exist in the city, outrages are happening everywhere and injustice flourishes. Surprisingly, no one even seeks to hide their criminal attitude to their duties, their own idleness and idleness. Bribery is generally considered a normal thing, even, rather, all officials would consider it abnormal if a person suddenly appeared who considers taking bribes a very shameful occupation. It is no coincidence that all officials are deep in their hearts sure that they will not offend the auditor when they go to him with offerings. “Yes, and it’s strange to say. There is no person who would not have some sins behind him, ”the Governor says with knowledge of the matter.

The city in the play is depicted through an abundance of everyday details in remarks, but, above all, of course, through the eyes of the owners of the city themselves. That is why we also know about the real streets, where “tavern, uncleanness”, and about the geese, which were bred in the waiting room of the court. Officials do not try to change anything even before the arrival of the auditor: it is enough just to embellish the city and its government places, put a straw milestone near the garbage dump to make it look like a “layout”, and put clean caps on the unfortunate patients.

In his play, N.V. Gogol creates a truly innovative situation: torn apart by internal contradictions, the city becomes a single organism due to the general crisis. The only sad thing is that the common misfortune is the arrival of the auditor. The city is united by a feeling of fear, it is fear that makes city officials almost brothers.

Some researchers of N.V. Gogol's work believe that the city in The Inspector General is an allegorical image of St. Petersburg and that Gogol, only for censorship reasons, could not say that the action takes place in the northern capital. In my opinion, this is not entirely true. Rather, we can say that the city in the play is any Russian city, so to speak, a collective image of Russian cities. Gogol writes that from this city to the capital “at least three years of galloping” - you won’t get there. But this does not make us begin to perceive the city in the play as a separate island of vice. No, N.V. Gogol does everything to make the reader understand that nowhere is there a place where life would proceed according to other laws. And the proof of this is the “auditor”, who came from St. Petersburg. Of course, it could also happen that the auditor would not take bribes. But there is no doubt that if this happened to any of the characters in the play, he would regard this case as his own personal bad luck, and not at all as a victory for the law. All the officials in the play know, they are simply sure that their norms and customs will be close and understandable to others, like the language they speak. In “Theatrical Road Trip”, N.V. Gogol himself wrote that if he had depicted the city differently, readers would have thought that there is another, bright world, and this one is just an exception. No, it is not, unfortunately. The city in the "Inspector General" is striking in Its enormity. Before us is a picture of the disunity of people, their remoteness from the true meaning of life, their blindness, ignorance of the true path. People have lost the natural ability to think, see, hear. Their behavior is predetermined by one single passion to acquire: position in society, rank in the service, wealth. Man gradually loses his human appearance. And such a fate awaits all who. far from morality, spiritual values. It becomes sad when you think that all the officials in the play are the same, that there is not a single bright image. And yet there is a positive hero in comedy. This hero is laughter, “that laughter that all emanates from the bright nature of man ... without the penetrating power of which the trifle and emptiness of life would not frighten a person like that.”

About the "Decoupling" of the "Auditor" ...

- Why did it become necessary to write the “Decoupling of the Inspector General”, which explains the idea of the play? Why could people not understand the hidden spiritual meaning of comedy without her?

Gogol's works have a multifaceted and complex artistic structure. At the same time, they are so bright, original, that they are not fully revealed from the first reading, even for thinking people. At the same time, it cannot be said that the innermost, spiritual meaning of The Inspector General was not understood by his contemporaries. For example, Emperor Nikolai Pavlovich understood him very accurately. It is known that he not only attended the premiere himself, but also ordered the ministers to watch The Inspector General. During the performance, he clapped and laughed a lot, and leaving the box, he said: “Well, a play! Everyone got it, but I - more than anyone! Isn't it a very correct, Gogol's reaction. Unlike other spectators who were sitting in the hall.

“Maybe the emperor had something else in mind?” Maybe he felt responsible for the officials?

Probably it was too. But the main thing is to apply to yourself what is happening on the stage. As Gogol said, “application to oneself is an indispensable thing that every spectator must do from everything, not even the Inspector General, but which is more fitting for him to do about the Inspector General.

And then, the Sovereign Nikolai Pavlovich, no doubt, recognized himself in the fantasies of Khlestakov. Let us recall the episode when Khlestakov finally lies and says that he visits the Winter Palace every day and that the State Council itself is afraid of him. Who can be afraid of the State Council - the highest legislative body of the Russian Empire, whose members were personally appointed by the tsar? “I go to balls every day,” Khlestakov boasts. “There we had our own whist: the Minister of Foreign Affairs, the French envoy, the English, German envoy and myself.” I wonder with whom the Minister of Foreign Affairs and envoys of European states can play whist? To the timid Luka Lukich Khlopov, superintendent of schools, the unforgettable Ivan Alexandrovich declares: “But in my eyes there is definitely something that inspires timidity. At least I know that no woman can stand them, right? It is known that Sovereign Nikolai Pavlovich had such a piercing and penetrating look that no one could lie to him. That is, Khlestakov is already trying on Monomakh's cap, and the Emperor could not help but feel it. That's for sure, everyone got it, and he - more than anyone.

However, in general, the audience regarded the comedy as a farce, as they were not ready for this kind of performance. Audiences were brought up on vaudeville and foreign plays, the repertoire of the time.

The image of Khlestakov

The most striking image of comedy is Khlestakov, the one who was the culprit of extraordinary events. Gogol immediately makes it clear to the viewer that Khlestakov is not an auditor (anticipating Khlestakov's appearance with Osip's story about him). However, the whole meaning of this character and his attitude to his audit "duties" do not immediately become clear.
Khlestakov does not experience any process of orientation upon arrival in the city - for this he lacks elementary powers of observation. He does not build any plans to deceive officials - for this he does not have sufficient cunning. He does not consciously use the benefits of his position, because he does not even think about what it consists of. Only just before leaving, Khlestakov vaguely realizes that he was taken "for a statesman", for someone else; but for whom exactly, he did not understand. Everything that happens to him in the play happens as if against his will.
Gogol wrote: "Khlestakov, by himself, is an insignificant person. Even empty people call him the most empty. Never in his life would he have happened to do a thing that could attract someone's attention. But the power of universal fear created a wonderful comic face out of him. Fear, clouded the eyes of all, gave him a field for a comic role.
Khlestakov was made a nobleman by those fantastic, perverted relations in which people are placed with each other. But, of course, for this, some qualities of Khlestakov himself were also needed. When a person is frightened (and in this case, not one person is frightened, but the whole city), then the most effective thing is to give people the opportunity to continue to intimidate themselves, not to interfere with the catastrophic increase in "universal fear." The insignificant and narrow-minded Khlestakov successfully does this. He unconsciously and therefore most faithfully leads the role that the situation requires of him.
Subjectively, Khlestakov was perfectly prepared for this "role". In the St. Petersburg offices, he accumulated the necessary stock of ideas about how an authoritative person should behave. "Cut off and cut off hitherto in everything, even in the manner of walking a trump card along Nevsky Prospekt," Khlestakov could not help but try on the experience he had gained, not dream of personally producing everything that was produced daily over him. He did this disinterestedly and unconsciously, childishly interfering with the reality and the dream, the real and the desired.
The situation in which Khlestakov found himself in the city suddenly gave scope for his "role". No, he did not intend to deceive anyone, he only graciously accepted those honors and offerings, which - he is convinced of this - were due to him by right. “Khlestakov does not cheat at all; he is not a liar by trade; he himself will forget that he is lying, and he himself almost believes what he says,” wrote Gogol.
The mayor did not foresee such a case. His tactics were designed for a real auditor. He would have figured out, no doubt, even the alleged auditor, the swindler: the situation where cunning collides with cunning was familiar to him. But Khlestakov's sincerity deceived him. The auditor, who was not an auditor, did not intend to impersonate him, and nevertheless successfully played his role - officials did not expect this ...
And why, in fact, should Khlestakov not be an "auditor", an authoritative person? After all, an even more incredible event could have happened in the Nose - the flight of the nose of Major Kovalev and his transformation into a state adviser. This is “inconsistency”, but, as the writer assures with a laugh, “there is something in all this, really.
In a world where it is so strange and incomprehensible that "our fate plays with us," it is possible that something happens and not according to the rules. Aimlessness and randomness itself becomes "correct". "There are no definite views, no definite goals - and the eternal type of Khlestakov, repeating from the volost clerk to the king," said Herzen.

The purpose of the lesson:

to teach the analysis of a lyrical work;
develop the aesthetic sense of students, expand the horizons of students;
to instill in students a patriotic feeling and pride in their compatriot;

Equipment:

portraits: A.V. Koltsova, P.A. Vyazemsky, A.S. Pushkin, V.G. Belinsky, N.V. Stankevich;
exhibition of books by A.V. Koltsov;
newspapers devoted to the biography and work of A.V. Koltsov;
video presentation ( Appendix );
multimedia equipment for demonstrating the presentation for the lesson.

Vocabulary work: prasol - in the 19th century. - a merchant who bought wholesale fish or meat for retail in the villages and salted them, in the 60s of the 19th century. - cattle dealer.

I am not writing for momentary glory:
For fun, for fun
For dear, devoted friends,
For the memory of bygone days.

A.V.Koltsov.

Lesson plan:

I. Correspondence excursion "Koltsovskiy places of Voronezh".

II. Outstanding figures of the 19th century who influenced the development of Koltsov's creative abilities.

III. Autobiographical moments of Koltsov's lyrics:

1. "... I'll tell you a story about myself in a friendly way..."

2. “... My father was the richest of all,
Everyone knew our house,

There was bread, there was horned cattle ... "

3. "... heart for the first time
And fell in love not for an hour ... "

4. “... In vain, dear virgins,
Bloom with beauty
In vain good young men
Captivate yourself -
When customs are strict
You are not told to love ... "

5. Koltsov - songbook.

6. Folk-poetic basis of A.V.Koltsov's lyrics.

7. “Oh, you are my steppe,
The steppe is wide ... "

8. "Singer of suffering and fields -
Whose songs are like a river
Into people's hearts
Love, forever.
Grigory Ivanovich Lyushnin.

IV. Lesson results. Homework.

DURING THE CLASSES

I. Correspondence excursion "Koltsovskiy places of Voronezh"

Teacher's word: The theme of our lesson is "The life of A.V. Koltsov in poetry, songs and folk memory." Today we will get acquainted with the personality and poetic heritage of Alexei Koltsov; let's talk about the themes of the poet's lyrics and the autobiographical nature of his work; let's answer the question: is Koltsov modern today and what attracts the reader of the 21st century in the verses of Alexei Vasilyevich?
2009 is the year of A.V. Koltsov in the Voronezh region. October 15, 2009 marks the 200th anniversary of the birth of the poet. Therefore, we dedicate our lesson to the memory of Koltsov (slide 3).
The streets, squares, buildings of Voronezh keep the memory of the great countryman. Today we will go on a literary tour of the places of our city, inextricably linked with the name of the poet.

Pupil: I invite you on a tour of the Koltsovo places of our city (slides 4-21) .

The house where A.V. Koltsov was born. Unfortunately, the building itself has not been preserved. Only a memorial plaque reminds of this.
The picturesque Elias Church, where the future poet was baptized.
The building of the Voronezh district school, where Koltsov studied. It was destroyed during the Great Patriotic War.
Tulinov's house, where Koltsov met with V.A. Zhukovsky, who came to Voronezh especially for this purpose. Local residents watched with surprise as the Voronezh tradesman walks around the city with the educator of the heir to the throne himself.
In 1868, a monument to Alexei Koltsov was opened in the park, named Koltsovsky. The bust was made of white Carrara marble by the St. Petersburg sculptor Antonio Trisconi. The monument was created with donations from the townspeople. At first, the monument was located in the center of the square, and during the reconstruction of the square in the 30s. the monument was moved a few meters from the border of the square and turned 180 degrees.
In 1942, the Nazis who occupied Voronezh set up a cemetery for German soldiers and officers in the park. This is what Koltsovsky Square looks like today.
Drama Theatre. A.V. Koltsova is one of the oldest in Russia. Now it is under restoration. Schepkin, Mochalov, Komissarzhevskaya, Ostuzhev performed here, Mayakovsky's voice sounded.
In 1996 the building of the old theater fell into disrepair, and the theater troupe celebrated a housewarming party. The modern theater building Koltsov is familiar to all residents of the city.
In 1976 Another monument to Koltsov appeared in Voronezh. This is a 10-meter figure carved from gray granite. A monument was erected on Sovietskaya Square. The author is People's Artist of the RSFSR, Corresponding Member of the Academy of Arts of the USSR P.I. Bondarenko.
The central street of the city is named after Koltsov. Koltsovskaya - ancient and modern - keeps the memory of the poet.
The Voronezh confectionery factory is also associated with the name of Koltsov. Here we are greeted by the smell of sweets with the symbolic name "Koltsov's Songs".
Next to the circus building is a literary necropolis, where the ashes of A. Koltsov are buried. Koltsovo-Nikitinsky readings are held here annually.
On Volodarsky Street, 41, the Gymnasium named after V.I. Koltsov.
The city has a library named after Koltsov. Library staff will introduce you to books about the life and work of the poet.
In Voronezh, there is a musical drawing room "Koltsovsky Corner", where students and graduates of the Musical College. Rostropovich perform their works

This concludes our tour. Thank you for your attention!

II. Outstanding figures of the 19th century who influenced the development of Koltsov's creative abilities.

Teacher's word: The fate of any person is determined by the people around him. This is true for creative people as well. It is not known how the fate of Koltsov would have developed if there had not been V. G. Belinsky, N. V. Stankevich, V. A. Zhukovsky, P. A. Vyazemsky, A. S. Pushkin on his life path (slide 22).

Student message: V.G. Belinsky is the best judge of Koltsov's works, the poet gratefully accepted the critic's advice. Belinsky wrote a lot about the work of Koltsov, they were connected by a great cordial friendship. Having received news of the death of his beloved poet, Belinsky wrote: "... a friend and brother fell." Belinsky writes about Koltsov's poems as a remarkable phenomenon in our literature. Koltsov lived in Belinsky's apartment in October-November 1840. Belinsky's appeal "my dear Alexei Vasilievich" testifies to tender friendship.
A.S. Pushkin wrote: “Koltsov attracted general and favorable attention ...” Pushkin saw in Koltsov a truly gifted artist of the word. He called him a man, although "poorly educated, but with great talent, with a broad outlook." Having received permission to publish Sovremennik, Pushkin immediately attracted Koltsov to participate in it. In 1835 Koltsov's poem "Harvest" was published in Sovremennik.
N.V. Stankevich - a writer, the son of a wealthy Voronezh landowner, received a university education, headed the Moscow literary and philosophical circle in the 30s. 19th century He highly appreciated the work of the beginning poet, introduced him to Moscow writers. He published Koltsov's poems at his own expense. In 1835 he published 18 Koltsov's plays. This brought Koltsov great fame in the world of literature.
P.A. Vyazemsky, the prince, supplied Koltsov with letters of recommendation to important persons, access to which would otherwise be impossible for Koltsov.
V.A. Zhukovsky - highly appreciated the poet's poems. In 1837, he specially came to Voronezh to meet with Koltsov and express his admiration for him personally. They had the most tender relationship.

III. Autobiographical moments of Koltsov's lyrics:

Teacher's word: Koltsov's lyrics are a heartfelt and very sincere story about himself: about his youth, about relationships with his parents, about his first love, thinking about his place in the world ... These are the life impressions that he received at home, at work, these are meetings and separation, joys and sorrows experienced by him. The story of his life in his poems (slide 23).

“... I’ll tell you in a friendly way
A story about myself…”

Reader:

Boring and unhappy
I spent my youth
In busy activities
I have not seen red days.
Lived in the steppes with cows,
Sadness walked in the meadows,
Through the fields with a horse
One grief mumbled.
From the rain in a hut
Found shelter
Savage, steppe
I went to Voronezh
For grub, money
More often - for paternal
Wise advice.

Teacher: A. Koltsov was born in Voronezh on October 3 (15), 1809. From his youth he saw petty trade, heard rude and obscene speeches. Fortunately, the dirt in which he was born did not stick to Koltsov's noble nature. He lived in his own special world - a clear sky, forests, fields, steppe, flowers. This contrasted with the suffocating atmosphere of his home life.
In literary criticism, Koltsov is characterized as a peasant poet, a self-taught poet, a prasol poet. Writing in a notebook the meaning of the word "prasol".
The poet had a difficult relationship with his father.

“... My father was the richest of all,
Everyone knew our house,
Our circle of fields was extensive, -
There was bread, there was horned cattle ... "

Student message: The poet's father is a Voronezh tradesman, not a rich man, but a prosperous cattle breeder. (slide 24). The father considered his son's studies a waste of time and money. Since Koltsov could read and write, his father decided that he did not need to know anything more and that his education was over, and took him away from the Voronezh district school.
A difficult relationship was associated with Koltsov's father. Koltsov wrote: “He is a simple merchant, a speculator, he came out of nothing, he threshed rye for a century, his chest is callous, he is only interested in the affairs of his trade. Constantly grumbling, angry, stingy, gives 1000 rubles a year.
The already ill Koltsov was settled by his father in a mezzanine, which was not heated in winter. Koltsov had to get firewood at night like a thief. Upon learning of this, his father promised to drive him out of the house. He did not give tea, sugar, candles. Mother furtively from father brought him lunch and dinner

Teacher's word: At the age of 17 (1828), an event occurred that had a powerful influence on the poet's entire life. The young girl Dunyasha entered the Koltsov family as a servant. Despite her low birth, she was generously endowed by nature with beauty, intelligence, and a kind heart. Koltsov fell in love, he had a deep and strong feeling for her, she was for him the ideal woman. They made plans for the future.

"... Heart for the first time
So ardently, so tenderly loved -
And fell in love not for an hour ... "

An excerpt from the film "At the Dawn of Misty Youth" is shown (slide 25)

Teacher: Koltsov's father did not like this connection, and he sells Dunyasha to the Don landowner. Soon she withered away and died in anguish of separation and from cruel treatment. Alexei was struck by this misfortune, he fell ill with a severe fever, tried to find his beloved, but to no avail. Dunyasha died, but she settled forever in his work. Koltsov dedicated a large number of beautiful poems to her: "Nothing, nothing in the world ...", "To my dear", "Don't make noise, rye ...". Today we will hear another poem "Losing what was nice ..." (slide 26).

Teacher:

- What experiences did Koltsov put into these lines?
What feelings does this poem evoke in you?

Conclusion: Here is the bitterness of loss, loss; he mourns the loss of his beloved; his heart is full of pain and longing, he realizes the irreparable loss, he is ready to give his life for the sake of his beloved. Pity the young man in love. What lies ahead for him? Joyless existence and bitter tears.

Teacher's word: Koltsov dedicated many heartfelt poetic lines to Russian girls and women. His poems paint bleak pictures of the life of village women with an unloved husband, in a strange family, where there is no warmth and understanding. The fates of Russian women illustrate the common folk expression: “To endure, fall in love!” (slide 27)

Reader:

Without a mind, without a mind
I got married
golden age girlish
Shortened by force.
Is it for youth
Observed, did not live,
Behind the glass, from the sun,
Beauty was cherished
So that I am married for my life
Crying, crying
Without love, without joy
Broken, tormented? ....

Teacher: What is the fate of the lyrical heroine portrayed by the poet?

Conclusion: Before us is a true, unadorned story. Koltsov writes what he knows and what he himself witnessed: an unequal marriage, the dislike of her husband and his relatives, the empty and joyless life of a married woman.

Teacher's word: Koltsov is not alone in depicting the female lot. Similar motifs sound in the plays of Ostrovsky, in the poems of Nekrasov. Nekrasov, as it were, echoes Koltsov: “It’s not a matter of looking for a happy woman between women!” Such is the fate of Marfa Timofeevna from the poem “Who in Russia should live well.”
Preliminary question to the class: Compare two poems: “Without mind, without mind ...” Koltsov and Marfa Timofeevna’s monologue:

(The poem is read by the teacher)

The family was big
Grumpy... I got it
From girlish holi to hell!
Husband went to work
Silence, endure advised:
Don't spit on hot
Iron - hiss!
I stayed with the sisters-in-law
With the mother-in-law, with the mother-in-law,
There is no one to love, to dove,
And there is someone to scold!

Teacher: What is common between the poems of Nekrasov and Koltsov?

Conclusion: The poems are close to the motives of bitterness, dissatisfaction with their fate, the common destinies of the heroines.

Teacher's word: Koltsov is a songwriter. Koltsov's songs began to penetrate the people even during the life of the poet, "they were sung by peasants in provincial villages and villages," reports the Voronezh Telegraph in 1872. More than 700 romances and songs written by 300 composers (Alyabyev, Rimsky-Korsakov, Mussorgsky, Varlamov, Balakirev, Pozharsky, etc.)
We present to your attention the song "Duma Sokol" - the words of Koltsov, the music of Pozharsky.
The song is performed by students in costumes. Excerpts from the film "At the Dawn of Misty Youth" are shown on the screen. (slide 28).

How long will I be
Sidney at home to live,
my youth
Kill for nothing?
How long will I be
Sit under the window
On the road into the distance
Day and night to look?
Or at the falcon
Wings are tied
Or the way to him
All ordered...

Teacher:

What does the falcon symbolize in folk poetry? (This image is a symbol of freedom, will)
- How do you understand the words: “Is the falcon’s wings tied?” (There is no freedom of choice, people, circumstances are a burden on the shoulders of a person, he himself no longer decides anything and suffers from this)
- Why does he call fate a stepmother? (She is cruel to him, like a stepmother to an unloved child)
- What does the lyrical hero of the poem dream of, what does he strive for? (Live a full life, breathe deeply, throw off the burden of unfreedom, “fly” where the soul aspires, answer only to God)
What artistic and visual means does the author use? (Koltsov uses constant epithets, comparisons, rhetorical questions. We can talk about the folk poetic basis of his work, so many of Koltsov's poems have become folk songs.)

Teacher: The folk-poetic image is the image of the steppe, constantly appears in the poet's poems. What do you think, what is it connected with? (The poet's father is a cattle dealer, Koltsov often had to drive herds from place to place. In addition to the fact that this is hard, tedious work, this is a great opportunity to be in nature, to admire its beauty.)
The anthem of the steppe is Koltsov's poem "Steppe" (slide 29).
And, of course, the famous "Mower" (slide 30).

Teacher: How does the steppe appear in Koltsov's works?

Conclusion: Koltsov loved the steppe passionately and enthusiastically. She is a joy for him, an affectionate friend, to whom one can turn for consolation “in a difficult moment of life”, and an object of admiration. In all Koltsov's poems there is something steppe, wide, spacious. Reading them, you understand that the steppe brought up and nurtured him. The student prepared illustrations for Koltsov's poems.

Teacher: What did you want to express in your paintings?

Final questions for the class:

- What mood do Koltsov's poems evoke in you?
- Have you read and listened to Koltsov's poems with interest today? What attracts you to them?
What new did you learn at the lesson today? What did you find particularly interesting?

Lesson summary: Koltsov's poetic heritage is small, but undoubtedly valuable. His poems give a charge of truth and beauty, without which it is difficult to imagine Russian literature. We are grateful to the poet for his songs full of love for a woman, a working man, nature, and the Motherland.
Koltsov's songs - with their sadness and melancholy, thirst for happiness, hope for the best - touch minds and hearts even today. They excite us, so different. Why? Probably because these are songs about the land that feeds us, about the soul of the Russian people.

IV. Lesson results. Homework

Teacher's word: I would like to end the lesson with the words of Grigory Ivanovich Lyushnin, which reflect what I feel, and I really wanted you to feel too:

Singer of suffering and fields,
Whose songs are like a river
Into people's hearts
Love, forever.

11th grade student Anna Nosenko

The gift of creativity is given to a few chosen favorites of nature, and is given to them not equally. There are artists whose works the circumstances of their lives can give one character or another, on whose creative talent they have no influence: these are genius artists.

They rule over circumstances and always sit deeper and further than the line outlined by their fate, and, under the general external forms characteristic of their age and their people, they manifest ideas common to all ages and all peoples. The creations of geniuses are eternal, like nature, because they are based on the laws of creativity, which are eternal and unshakable, like the laws of nature, and whose code is hidden in the depths of the creative soul, because they manifest the great idea of man and humanity, always understandable, always accessible to our human feeling.

We honor A.V. Koltsov as such a poet-genius

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The originality of Koltsov's poetry.

Plan:

A.V.Koltsov - the son of the Russian people, the genius of his work.
The nationality of Koltsov's poetry:

a) the fortitude and power of the Russian character in Koltsov's poetry;

b) Koltsov's originality;

c) the poetry of agricultural labor;

d) the heroes of Koltsov are people of the soil;

e) “Khutorok” is a Russian ballad, “Khutorok” is a drama.

3) Writers about Koltsov. Koltsov and modernity.

We revere A.V. Koltsov as such a poet-genius. From this point of view, we look at his talent; he possesses a small but true talent, a gift of creativity that is shallow and not strong, but genuine and not strained, and this is not quite usual, it does not happen very often. Koltsov A.V. belongs to the number of self-taught poets, with the only difference being that he possesses a true talent.

Koltsov is a Voronezh tradesman, a master craftsman. Having completed his education at a parish school, that is, having learned the primer and the four rules of arithmetic, he began to help his elderly father in small business transactions. Reading Pushkin and Delvig for the first time opened to him the world that his soul yearned for. Meanwhile, his household chores went on as usual; the prose of life replaced poetic dreams; he could not completely indulge in either reading or fantasy. One satisfied sense of duty rewarded him and gave him the strength to endure labors that were alien to his vocation.

How was talent to mature here? How could a free, energetic verse be developed? And nomadic life, and rural pictures, and love, and doubts alternately occupied, disturbed him; but not all the varied sensations that keep alive a talent already matured, already nurtured in its strength, lay a burden on this inexperienced soul; she could not bury them in herself and did not find a form to give them an external being. These few data explain both the advantages and disadvantages, and the nature of Koltsov's poems. A few of them are printed from a large notebook, not all of them are of equal value; but they are all as curious as the facts of his life.

With the greatest force, in all its fullness, Koltsov's talent was expressed in Russian song. Early on, he felt an unconscious desire to express his feelings in the form of a Russian song, which so fascinated him in the mouths of the common people. In addition to songs created by the people themselves and therefore called “folk”, before Koltsov we did not have artistic folk songs, although many Russian poets tried their hand at this kind. Russian songs could only be created by a Russian person, the son of the people... In the songs, both the content and the form are purely Russian. Koltsov was born for the poetry he created. He was the son of the people in the full sense of the word. The life among which he was brought up and grew up was the same peasant life, although somewhat higher than it. Koltsov grew up among the steppes and peasants. Not in words, but in deeds, he sympathized with the common people in their sorrows, joys and pleasures. He knew his life, his needs, grief and joy, the prose and poetry of his life - he knew them firsthand, not from books, not through study, but because he himself, both by nature and by his position, was completely Russian Human.

It was impossible to merge one's life more closely with the life of the people, as Koltsov naturally did. He was pleased and touched by the rye, rustling with a ripe ear, and he looked at an alien field with the love of a peasant who looks at his field, irrigated by his own sweat. And therefore, bast shoes, and torn caftans, and disheveled beards and old onuchs boldly entered his songs - and all this dirt turned into pure gold of poetry with him. The motive of many of his songs is either need and poverty, or struggle from a penny, or lived happiness, or complaints about fate-stepmother. In one song, a peasant sits down at the table to think about how he can live alone; in the other it expressed the peasant's thoughts on what he should decide - whether to live in strangers, or at home to quarrel with the old father, tell fairy tales to the children, get sick, grow old. So, he says, although it is not that, but it would be so, but who will marry the beggar? “Where is my excess buried?” And this reflection is resolved into sarcastic irony.

Wherever you look - everywhere is our steppe,

On the mountains - forests, gardens, houses;

At the bottom of the sea - piles of gold,

The clouds are coming - they are carrying the outfit!

But if there is a matter of grief and despair of a Russian person, there Koltsov's poetry reaches a lofty level, there it reveals the terrible power of expression, the amazing power of images.

Sadness fell - heavy longing

On a twisted head;

Death tortures the soul,

Out of the body the soul asks ...

And what, at the same time, is the strength of the spirit and will in the very despair:

At night under a storm I saddled a horse,

Went on the road without a road -

Woe to mumble, amuse life,

With an evil share to transfer ...

("Treason narrowed").

In the song "Oh, why me" - a storm of despair of a strong male soul, powerfully relying on itself. Here is the sad cooing of a turtle dove, the deep, soul-rending lament of a tender female soul condemned to hopeless suffering...

The poet must be original without knowing how, and if he has to worry about something, then not about originality, but about the truth of expression: originality will come by itself if there is genius in the poet's talent. Koltsov possesses such originality to the highest degree.

The best songs of Koltsov represent an amazing wealth of the most luxurious, most original images in the highest degree of poetry. From this side, his language is as surprising as it is inimitable. Where, from whom, besides Koltsov, can we find such turns, expressions, images, with which, for example, are strewn, so to speak, two songs of Likhach Kudryavich?

The white chest is worried

That the river is deep -

The sand will not be thrown from the bottom.

In the face of fire, in the eyes of fog ...

The steppe is fading, the dawn is burning ...

If Koltsov had written only such plays as "Council of an Elder", "Peasant Feast", "Two Farewells", "Tiff", "Ring", "Not a shimmy, you are a rye", "Dare", etc., - and then in it would be impossible not to recognize something ordinary in his talent. But what can be said about such plays as Harvest, Mower, Bitter Share, Time for Love, The Last Kiss, The Wind Blows in the Field, Separation, Sadness of a Girl, Thought falcon"? - Such plays speak loudly for themselves, and whoever sees in them a loud talent, there is nothing to waste words - they don’t talk about flowers with the blind. As for the plays: “Forest”, “Oh, why me”, “Treason of the betrothed”, “Escape”, “The sun is shining”, “Khutorok”, “Night” - these plays belong not only to the best plays of Koltsov, but also among the remarkable works of Russian poetry.

In general, we say, in terms of the energy of lyricism with Koltsov, of our poets, only Lermontov is equal; in perfect originality, Koltsov can only be compared with Gogol.

At one time, Gleb Uspensky wrote about the main all-encompassing and all-penetrating beginning of life - about the power of the earth. Ouspensky also reveals the concept of "the power of the earth" as a special nature of relations with nature, so that the word "land" in fact turns out to be a synonym for the word "nature". Such relations are based on the special nature of labor - agricultural. As one of the main arguments, Uspensky cited Koltsov's poetry as a poet of agricultural labor: “The poetry of agricultural labor is an empty word. In Russian literature there is a writer who cannot be called otherwise than a poet of agricultural labor - exclusively. This is Koltsov.

It was the idea of such a work that became the main idea of Koltsov's poetry. Koltsov has a poem that perhaps most fully expresses this "idea" of agricultural labor. This is the “Song of the Ploughman”, memorized by many generations, glorified. “In the whole of Russian literature, there is hardly anything, even from a distance, resembling this song, making such a powerful impression on the soul,” wrote Saltykov-Shchedrin.

Well, trudge, sivka,

Arable land, tithe,

Let's whiten the iron

About the damp earth.

beauty dawn

Lit up in the sky

From the big forest

The sun comes out.

Koltsov's hero represents the entire labor process as a whole. What is this very picture of labor in The Plowman's Song? It seems to be plow? Like sowing? And threshing? All at once.

Because the plowman is both a sower and a harvester.

I'm having fun

Harrow and plow

I'm cooking the TV

I pour grains.

I look fun

On the floor, on the stacks,

I pray and wind...

Well! Move on, sivka!

The plowman plows, but he knows how he will sow. And he knows not with an abstract mind how he will gather what he has sown, reap, thresh. He walks across the arable land, but sees the threshing floor and stacks. He works on plowing, and thinks about rest. And not at the end of the passed furrow, but at the end of all work:

Our sickle will shine here,

The scythes will ring here;

Rest will be sweet

On heavy sheaves!

In "The Plowman's Song" - not just the poetry of labor in general, it is the poetry of spiritualized, organic labor, bearing a universal, but not abstract character, included in nature, almost in space.

Carrying the spiritual beginning, the work itself is joyful and cheerful: “Fun in the arable land ... I am having fun ... I am looking cheerfully ...” This work is organically connected with nature, because spiritualized nature is also felt as an organism. The images here are striking in their almost childish immediacy - already in the twentieth century, Bunin told how Chekhov admired the definition: "The sea was big." The epithet delighted refined writers with its absolute artlessness and spontaneity. Koltsov has such a “childish” epithet quite natural:

beauty dawn

Lit up in the sky

From the big forest

The sun comes out.

This quiet song has a beneficial and life-giving effect on the soul; it makes love both its creator and all this crowd of workers about whom it speaks. One feels how much strength and goodness is sown in this crowd, how many good opportunities it contains!

All Koltsov's poems, for which the hard work of the peasant served as the subject, breathe the same sad sympathy for the worker, the same love for nature. Take, for example, the song "Harvest".

And from the mountain of heaven

The sun is looking

got drunk on water

The earth is full.

To fields, orchards

On the green, Rural people

Won't look at:

Rural people

God's grace

Waiting with trepidation

And prayer.

Koltsov has no landscapes. He has the whole earth at once, the whole world. Here, one glance captures everything at once: fields and mountains, sun and clouds, thunder and rainbows, “all directions of the white world” - a cosmic spectacle.

Everything lives in this integral, not separately, not separately sensed world. This picture is spiritualized, humanized. But there are no biased comparisons with the human world. This world lives on its own, not only animatedly, but also sincerely:

Cloud black

frowned

What did you think

As if I remembered

Your homeland...

And we believe in such a perception, because it is not only the author's, but is fixed in the forms developed by the age-old folk consciousness of people who felt kinship with this world, who felt themselves part of the cosmos. Their “cherished thoughts” awaken “at the same time as spring”, together with nature. Therefore, although the poem is called "Harvest", it is not only about the harvest, but about the entire agricultural cycle included in the natural cycle, because the work of people directly coincides with the "work" of nature and is part of it.

Everywhere man is in the foreground; everywhere nature serves him, everywhere she pleases and calms him, but does not absorb, does not enslave him. This is exactly what Koltsov is great for, this is why his talent is powerful, that he never becomes attached to nature for the sake of nature, but everywhere he sees a person hovering above her. Such a broad, reasonable understanding of man's relationship to nature is found in almost one Koltsovo.

The heroes of Koltsov are people of the soil. They are strengthened in labor, in nature, in history. This is where their strength and power are determined. In the poem "Mower" the hero knows his lineage:

Do I have a shoulder

Wider grandfather;

Chest high -

My mother.

On my face

paternal blood

I lit it in milk

Dawn red.

Mother, father, grandfather ... But in fact, the pedigree of the same mower is much wider than his immediate family, his own family. Therefore, the hero of Koltsov is deprived of names. In this poem, simply Mower. The usual folk turnover "blood with milk" has become an image. The very heroism of the heroes of Koltsov is natural. But this is because they no longer work even in nature, but, as it were, in nature itself. Such is the heroism of the Mower, manifested in labor. The steppe itself, into which the Mower goes and which he mows, is without end and without edge.

Koltsov has his own geography - his steppe is almost the whole earth:

Oh you, my steppe,

The steppe is free,

You are wide, steppe,

Spread out

To the Black Sea

Moved up!

But this scale is also the definition of a person who came to visit her, walking along it, almost like a fairy-tale hero:

Cheer up, shoulder!

Wave your hand!

You smell in the face

Wind from noon!

Refresh, excite

The steppe is spacious!

Buzz, scythe,

Like a swarm of bees!

Moloney, braid,

Shine all around!

To match the Mower, his beloved. That - that "to match", it is good and significant. And it seems to be defined traditionally: “white face”, “scarlet dawn”.

The face is white

scarlet dawn,

Cheeks are full

Eyes are dark

They brought the young man

From mind-mind.

In "Kosar" not only Kosar works - the poetic language itself works powerfully and with inspiration. At the end of labor, everything is moderated, the real everyday framework is returned to everything:

I'll dig a pile,

I will outline haystacks;

The Cossack gives me

Handful of money.

Household, but not ordinary. And therefore, the payment is nevertheless presented as "a handful of money", as a "treasury" and even as a "golden treasury". Koltsov's money is always poeticized: wealth, treasury. In Kosar:

I turn back to the village -

Directly to the elder:

Didn't pity

His poverty

So pity

Golden treasury!...

Koltsov's songs express the elements of national folk life and folk national character, they are very synthetic songs, where the epic is combined with lyrics and often turns into drama. I really like the famous poem "Khutorok". Koltsov himself called "Khutorok" a Russian ballad. Much here comes from the song and unites "Khutorok" with it:

Over the river, on the mountain

The green forest is noisy;

Under the mountain, across the river,

The farm is worth it.

Koltsov's landscape itself is extremely simple, not detailed, not spelled out. They don’t peer into it, they don’t get used to it - they live in it.

And the characters in "Khutorka" are unambiguous in song: just a "young widow" and a "fish", a "merchant", "a daring fellow" - contenders for her - rivals. "Khutorok" is essentially a "little opera", because it is based on a truly dramatic situation with the death of heroes, although there is no story about this death itself, about the murder. It's not about the murder itself. It arises on the basis of a wider, very Russian, very national. That is why Koltsov separates "Khutorok" from dramas and calls it a Russian ballad. There is in this "Russian ballad" one beginning, one element. This is a riot. Walk no matter what. This word is here with each of them.

And the fisherman

Walk, spend the night

Came to the farm.

And the young widow

Tomorrow, my friend, with you

Happy to play all day.

And the merchant:

And under the case fell -

Walk in health!

The word is not random. This is not fun at all, but it is a walk "by chance" of Russian people who have fallen - revelry in spite of everything: an agreement, the weather, the enemy. This is revelry, marching under the banner of formidable fatal signs, taking place under the sign of death, disastrous revelry.

The ballad "Khutorok", "Khutorok" - "drama", this is a song - a dashing song - an explosion. The music here is danceable, almost without a chant. That's why I like her. The song is spilled in the "Khutorka".

Over the river, on the mountain...

Under the mountain, across the river...

This night - midnight ...

Wanted to visit...

Hug, kiss...

It is also in the minted proverbial, song formulas:

There is grief - do not grieve,

There is a thing - work,

And under the case fell -

Walk in health!

And after the drama has been completed and departed, the general musical song element continues to sound, lives even with dots, not only concluding, but continuing, leading to infinity:

And since then in the farm

Nobody lives;

Only one nightingale

Loud singing songs...

Koltsov is great precisely for that deep comprehension of all the smallest details of the Russian common life, that sympathy for his instincts and aspirations, with which all his best poems are saturated.

In this respect, Russian literature does not present a personality equal to him.

Koltsov comes to our time in its urgent and acute problems: national consciousness in its connection with the historical, primarily folk-historical tradition, the village as a world that is currently undergoing a colossal restructuring, nature and man on a new basis, reaching its global sensation ... - all this, and much more, appeals to Koltsov. And all this one way or another is already understood or guessed now by poets, many and different:

“... I am convinced of only one thing: as long as the Russian language is alive, Koltsov lives on a par with The Tale of Igor's Campaign and The Bronze Horseman ...”

(Pavel Antokolsky).

"Koltsov will always live like Russia, like Yesenin, a poet, unthinkable without Koltsov."

(Evgeny Vinokurov).

“... By 2068, the genealogical poetic tree will grow wider, the ancestor of which was Koltsov ... Through Yesenin, they will also turn to Koltsov, for whom time is working in this sense.”

(Vyacheslav Shoshin).

“All this - and tears of anguish and loneliness, and the feeling of Russian prowess, and prayerful delight before the beauty of nature, before the secrets of the worldview - everything was necessary for the soul, everything is necessary. And I found all this in the poems of Alexei Koltsov.

(Alexander Yashin).

E.B. Artemenko, S.G. Lazutin

The name of Alexei Vasilyevich Koltsov, an original Russian poet, one of the classics of Russian literature, is rightfully called next to the names of Pushkin and Lermontov. Describing the Russian poetry of the first years of the post-Pushkin period, Chernyshevsky wrote: “Koltsov and Lermontov appeared. All the old celebrities faded before these new ones.

Alexey Vasilyevich was born, lived all his life and died in Voronezh. His father was a prasol (cattle merchant). Koltsov, traveling on his father's business and communicating directly with the people, imbued him with deep respect and sympathy.

The main genre of his poetry was songs, where, according to Belinsky, Koltsov's talent was expressed in all its fullness and strength.

Koltsov's songs are distinguished by nationality, originality, and realism.

According to Dobrolyubov, "Koltsov was the first to represent in his songs a real Russian person, the real life of our common people, as it is, without inventing anything."

The theme of labor occupies a central place in Koltsov's poetry; it is not for nothing that he was called the "poet of agricultural labor" (G. Uspensky). The best works of Koltsov "Song of the Plowman", "Mower", "Harvest" and others are devoted to this topic.

Drawing bright pictures of rural nature, Koltsov did not at all idealize peasant life, as sentimentalist poets did, but truthfully spoke about the difficult peasant lot, inescapable poverty and need. This is evidenced by the names of many of his songs: "Bitter share", "Meditation of the peasant", "Woe", "Crossroads", "The share of the poor" and others.

Koltsov loved his people, he knew well their spiritual warehouse and character. Therefore, poor Koltsov is not only sad, but is ready to “stand up for himself in front of trouble”:

And so that with grief in a feast
Be with a cheerful face;
Go to death -
Songs to sing a nightingale!
"Way"

In this regard, Belinsky wrote: “The sadness of the Russian soul has a special character ... His sadness does not interfere with either irony, or sarcasm, or violent fun, or revelry of youth: this is the sadness of a strong, powerful, indestructible soul.”

A singer of folk life, Koltsov painted it with the means of the folk language. “Koltsov's songs are written in a special meter, close to the meter of our folk songs, but much more correct. For the most part there is no rhyme in them, and if there is, then most often through verse. Koltsov's language is completely simple, folk, ”wrote N.A. Dobrolyubov. Having chosen the work and life of a peasant plowman as the main objects of his work, Koltsov uses the appropriate vocabulary: steppe, fields, arable land, mowing, harvest, grain, rye, oats, ear, sheaf, stacks, sickle, scythe, plow, plow, harrow , farm, village, hut, hut, porch, barn, bins, threshing floor, mowers, miller, godfather, peasant, caftan, bast shoes, onuchi, porridge, bacon, braga, horse, horse, cows, oxen.

The nationality of the poet's language was especially clearly manifested in the fact that he perfectly mastered the arsenal of artistic and linguistic means of Russian folklore. They organically entered the language system of his poetry.

Koltsov's work is characterized by the use of an extensive, specifically folklore, lexical layer: the heroes of a number of his works are a young man and a girl, their parents are father and mother; the characters of his works live in a tower, the betrothed sits in a room, etc. Folklore combinations with constant epithets are very widely represented in the poet’s works: a good fellow is kind or daring, a girl is red, a friend is sweet, people are kind, her eyes are clear , eyebrows are black, head is violent, tears are combustible. A high tower, stone chambers, a wide courtyard, boarded gates, an open field, damp land, a fast river, a blue sea, violent winds, dark clouds, etc.

Adjectives in these combinations in Koltsov, as well as in folk poetry, often appear in a short form: good fellow, young wife, clear eyes, oak tables, wide steppe.

With the same lexical content as in a folk song or new, but following the example of folk songs, Koltsov also builds combinations with an application: mother earth, mother earth, mother Volga, mother oak forest, fate stepmother, soul - girl, darling girlfriends, love-soul, nurse-rye, etc.

Following folk poetry, Koltsov widely uses various synonymous combinations, borrowing them directly from folklore or creating them in the image and likeness of folklore combinations: sadness-longing, grief-need, sadness-grief, lamentation-torment, dry-wither, sickeningly sad joy- fun, path-path, tell fortunes, go for a walk, gossip, etc. For example:

The sadness-longing is heavy
On a twisted head...
Betrayal
Since that time, with grief-need
Wandering in strange corners...
"Village Trouble"

Often in the poet's work there are also tautological combinations: bitter grief, free will, winter winter, mind-reason, think a little thought, full and full.

A striking sign of the folklore-linguistic system, dating back to colloquial speech formations, are constructions in which the relationship between the whole and its part is expressed by the use of two names in one case form: a cockerel - a golden comb, a deer - golden horns, a slipper - a bound heel, etc. So, in folklore, an emphasis on an artistic feature is achieved.

Similar or close to them structures we find in Koltsov's songs: steppe-grass, dawn-evening, bad weather-wind, wind-cold, cloud-storm, arc-rainbow, twist-thought, love-longing, courtyard - porch, etc. d.

The use of addresses by the poet also goes back to the folklore-linguistic tradition. The appeal to inanimate objects, natural phenomena, coming from the folk song, plays a significant role in Koltsov's poeticization of the work of the Russian peasant and the nature surrounding him. Often a chain of such appeals turns out to be the structural basis of a whole poetic picture, for example:

Cheer up, shoulder!
Wave your hand!
You smell in the face
Wind from noon!
Buzz, scythe,
Like a swarm of bees!
Moloney, braid,
Shine all around!
Shut up grass
Podkoshonaya;
Bow flowers,
Head to the ground!
"Mower"

In Koltsov's songs we encounter stylistic means typical of folklore. This and syntactic parallelism:

Make way, dark woods;
Disperse, rivers are fast;
You puffed up, path-path;
Give me a message, my little bird
"Part aside, dark woods..."

and positional repeat:

Forgive me now, father and mother,
Forgive me now, my dear friend,
Forgive me now, and the steppe and the forest,
Dear life, the whole wide world. "War Song"

suffixes of subjective assessment, mostly diminutive:

The sun comes out of the big forest,
We will plow the pashenko early with the sivka,
Let's prepare a grain, the holy cradle...
"Song of the plowman"

Meditation of a villager and two-prefixed verbs, and verb forms with multiple suffixes:

Cloud black
frowned,
frowned,
What did you think...
"Harvest"

A fine fellow lived in his village,
Didn't know, didn't know...
On a Sunday, from morning to night,
He played songs in a round dance ...
"Village Trouble"

The creative use of the language and style of Russian folklore gave Koltsov's poetry a vivid originality. Belinsky wrote about Koltsov that “his best songs represent an amazing wealth of the most luxurious, most original images of the highest degree of Russian poetry. From this side, the language is as amazing as it is inimitable. We unmistakably recognize Koltsov by one or two lines from the songs. Koltsov's songs, deeply folk and at the same time uniquely original in their content, intonation, language and style, forever left the name of the Voronezh poet in Russian literature.

L-ra: Russian speech. - 1979. - No. 5. - S. 22-26.

Keywords: Alexei Koltsov, criticism of Koltsov's work, Koltsov's work, download criticism, free download, Russian literature of the 19th century, download essay, Koltsov's poetry

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