Sagit Faizov

“Lukomorye has a green oak,
Golden chain, Tom on the oak.
A. S. Pushkin.

Pushkin began writing his first poem when he was only eighteen years old, but even then he knew the techniques of verbal-numerical enigmatics, and thanks to them he created the second and third texts in the poem - about the relationship of literary styles and genres, about the artist's laboratory, in which he has the right and must create a parallel universe, the boundaries and eidos of which are born in his imagination (second text), about the Declaration of Independence of the United States and freedom as the main condition for the self-realization of man. All characters in the open text, with the exception of Grand Duke Vladimir, in the hidden text are either allegories or symbolic figures associated with literary stylistic typology and, in one case, with the person of Pushkin himself (in typological discourse, with pastoral literature), or the embodiments of political figures (in the image of Lyudmila, the allegorical function and the function of the artistic representation of a political figure are combined).

Obviously, all four knights who went in search of Lyudmila are endowed with names of non-Russian origin. It is less obvious that all the names have Anglo-German roots (Ruslan has in addition to the Turkic genesis). Ratmir is a pseudo-Khazarian name, derived from the German phrase "rate (n) mir" ("advise (those) me" and "guess me"). Farlaf - comes from a combination of two German verbs: "fahren" ("to go") and "fallen" "to fall" (the key formant "fal(l)" is given as a retroscript). There is a possibility that the formant "Far" should be read in the same way as the Persian word "farr" ("divine grace overshadowing the padishahs"). Rogday - Russian spelling, with the preservation of graphic correspondences, but without the second "g", the English lexeme "roggday" ("rags", "tatters"). The presence of English semantics in the name is confirmed in the episode of the fight between Ruslan and Rogdai, when “the swords are already crushed, the chain mail is covered with blood, the shields are cracking, broken into pieces.” The name Ruslan, when read in German discourse, requires the letter “d” at the end of the name, and Pushkin points out this circumstance: in the title of the poem, the words “and Lyudmila” after the name Ruslan are endowed with a final numerical value equal to 4 (“and” is equal to 8, “ Lyudmila "- 5). So the name "Ruslan" is transformed into "Rusland" (modern spelling "Russland") - "Rus" or "Russia". In Turkic discourse, the name Ruslan comes from "arslan" ("lion"). Pushkin did not compose the names of Ratmir, Farlaf and Rogdai, these characters are briefly mentioned in historical texts at different times, he chose them and “assigned” them to role functions related to the meanings laid down in them by early authors. The name Ruslan originally, within Russian literature, in a distorted form belonged to Yeruslan Lazarevich, the hero of the fairy tale of the same name; Ruslan's distant predecessor is the hero Rustam from the poem "Shah-name" by Firdowsi.

The meanings of the names of the knights.

Having “endowed” the Khazar Khan with the names “advise (those) me” and “solve me”, Pushkin in it denotes himself, consulting with himself and inviting readers to solve his riddles. Ratmir is his double, his second and ideal "I". After Ruslan's meeting with this character, who lives peacefully with a shepherdess in the countryside, the poet exclaims: “Why is fate not destined | To my fickle lyre | Heroism to sing one | And with him (unknown in the world) | Love and friendship of the old years? | The sad truth of the poet, | Why should I for posterity | Vice and malice to expose | And the secrets of the machinations of treachery | In truthful songs to denounce? The shepherdess and the second "I" of the poet reside within the pastoral-bucolic space, which has not lost its appeal either as a description or as a reality.
Riding, running and falling into the moat, the bouncer and killer Farlaf is fat and strong - and similar to the heroes of the heroic epic. Pushkin considers it necessary to introduce a share of healthy skepticism in assessing the degree of glorification of the characters of epics and legends about heroes (the poet apparently doubts the actual existence of prototypes of the same name of his knights). Farlaf is a relative of Lyudmila (see below). If the meaning “marked by divine grace” is included in the name of Farlaf, then the image of Farlaf has a satirical functionality directed against the monarchy (Grand Duke Vladimir promised half the kingdom to the knight who would save his daughter).
The gloomy Rogdai killed by Ruslan with his “rags” symbolizes the romantic heroes fading into the past and the romantic style in literature (“rags” and “horrible look” are robbers).
Russland-Ruslan is intended to symbolize the development of professional Russian literature, the formation of its styles under the influence of European and, in particular, German. Ruslan's victory over Rogdai symbolizes Pushkin's belief in the self-sufficiency of Russian literature of the new, XIX century, the engine of which he sees, among others, himself.

The names of Lyudmila, Naina, Chernomor and Finn.

Lyudmila is the muse of new Russian literature. She is beautiful, but otherwise the same as all women - with their excusable weaknesses. In the hidden text, the poet's ironic attitude towards her is more pronounced than in the open text: the German verb "fallen", which is present in the name of Farlaf, who abducted her, in addition to the meaning of "fall" has the meaning of "like"; accordingly, a "nice" girl in German can "fall down". This feature of Pushkin's Lyudmila was noticed by Sergei Dovlatov, one of whose characters in the "Branch" exclaims: "Urki, God is not a frayer, go ahead! Personally, I subscribe to this marzi fall! (about Tasha). Lyudmila's going to sleep is explained by the fact that the second hypostasis of Chernomor is the Greek god Morpheus (see more on this below). Lyudmila, on the other hand, has an obvious projection from real history. This is the English Queen Elizabeth I, who ruled from 1558-1603. Pushkin about this: “Already a pale critic, in her favor, | The question made me fatal: | Why Ruslanov girlfriend, | As if to laugh at her husband, | I call both the maiden and the princess? Pushkin calls Lyudmila the virgin not only because of the ambiguity of an intimate property, which he writes about in an open text. "The Virgin Queen", or "The Virgin Queen" - the unofficial title of Elizabeth I, who never married, but who had four candidates on the first list of suitors. This projection, apparently, is subordinate to another, more important projection of the poem - the US Declaration of Independence and its author Thomas Jefferson (see below), who came from Virginia.

Naina's name means "innocent" in Hebrew. The meaning and the very sound of the name are in a correlative relationship with the meaning of "naive". Finn's "innocent" and "naive" lover, distinguished by the greatest vindictiveness and stupidity among all Ruslan's enemies, symbolizes literary criticism, and wisdom is hostile to her - in the representation of young Pushkin.

Chernomor, with which Naina is trying to establish allied relations, in fact, treats her aloofly. Which is logical, since in the hidden text, in one of its two referential substitutions, it personifies and symbolizes a fairy tale, which does not need any criticism due to its antiquity and ethical and normative nature. The allegorical nature of Chernomor is combined with the function of a “real” fairy-tale villain, whose role he does not succeed well: he is shy in front of Lyudmila, clumsily fights with Ruslan and ultimately turns into a court jester or, rather, into a bakhar (teller of fairy tales at a princely or royal court). To the east, he has no more relation than Ruslan, whom the illustrators of the poem portray by all means as a Slav, and Chernomor as an old man of a Muslim or Turko-Persian type*. The closeness of Chernomor to the author of the fairy tale is obvious: it is to him that Pushkin trusts to arrange a spacious tropical garden in the Arctic, which illustrates the unlimited possibilities of the artist's creative imagination. (The silver door from Lyudmila's tower to this garden is the forerunner of the doors of G. Hesse's "Theater only for lunatics", Woland's ballroom, invented by M. Bulgakov.) Chernomor does not oppose the Knights in the hidden text: the final numerical value of his name is 3, the same the indicator for all four "groom" names (at the same time, Farlaf, Ruslan and Rogdai each have 7, Ratmir - 9, the same meaning for the surname "Pushkin").
The second substitute function and projection of Chernomor is the Greek god of dreams Morpheus, with whom Chernomor can be completely identified, since Morpheus had the ability to take on the appearance of any person (in the poem, Chernomor took on the appearance of Ruslan and so deceived Lyudmila, but this act, it is quite likely, is nothing more than as the transition of Morpheus from one image to another); the formant "mor" in the name of the "evil" wizard is a marker of the relationship between Chernomor and Morpheus. The fact that Farlaf, Ruslan and Rogdai are equal to Chernomor by the cumulative numerical value of their names suggests their origin from the consciousness of Chernomor-Morpheus (in the famous episode, Chernomor fights with his phantom and loses to him). The clashes between Rogdai and Farlaf, Rogdai and Ruslan, not motivated in the open text (the knights could arrange duels before they parted) and Farlaf and Rogdai not recognizing each other - from the "genre" of dreams, where illogicality dominates logic, the actions of the characters are inconsistent, the characters themselves undergo unlimited transformations. But the “genre” of dreams is a derivative of the creative laboratory of Chernomor-Morpheus, into which the student of two masters, Pushkin, looked. The inability of Chernomor to deprive Lyudmila of her virginity is a quality that passed to him from Morpheus. The door mentioned above is a reminder of the double door of the palace of the Greek god, one leaf of which, made of ivory, leads to the world of false dreams, the other, made of horn bone, to the world of true dreams; the underlined motif of the horn in the poem is a sign of the veracity of dreams, which the apprentice author tells about. The mother of Morpheus is Nyukta, the goddess of the night, therefore the kingdom of Chernomor is located on the Midnight side. The situation when Ruslan wakes up the head sleeping in the steppe suggests that the head was and continues to be within the spell of Chernomor-Morpheus.
Finn, the patron of Ruslan and the seeker of Naina's favor in the past, is an allegory of literature as such. When he, being a shepherd, falls in love with the enchanting Naina, literature experiences its pastoral-bucolic period; when he leaves to fight and rob, she enters her heroic-romantic stage; when he goes to the elders and studies secret knowledge and witchcraft, literature masters the forms of religious and philosophical drama (Goethe). His name comes either from "fine arts" ("fine arts"), or from "fine literature" ("fiction"). When he says about himself that he is a "natural Finn", then it is a Pushkin pun. The history of his relationship with Naina is a contour history of the relationship between literature and criticism. The old Finn's rejection of the old but sexualized Naina is a symbol of Goethe's exemplary indifference to criticism. The last meeting between Finn and Naina has a specific historical basis and projection - Goethe's meeting with Charlotte Kestner, the prototype of the young Werther's beloved, whom the future great poet loved; the meeting took place in 1816, 45 years passed between the events described in the novel and the meeting (Finn and Naina had not seen each other for forty years).

Declaration of Independence.

The implied reading of the first two lines of the poem: “Lukomorye has a green oak, | Golden chain, Tom on the oak. Tom sitting on an oak, he is also a "scientist cat" - Thomas Jefferson, the leading author of the Declaration of Independence of the United States of America, President of the United States in 1801-1809. (the third) . The main projection of the “green oak” is the Declaration of Independence: the letters “d” and “y” (“b” is a minor letter, since it has no numerical value) reflected the words “Unanimous Declaration” (“Unanimous Declaration”) from the original title of the document, the first letter of the next word probably means the first letter of the lexeme "States" of the name of the declaration (the grapheme "S" was present in the old Russian alphabet and was called "zelo"). The second projection of the oak is a green two-dollar bill with a portrait of T. Jefferson: the final numerical value of the line with the oak is 2; in fact, the title of the work has the same finite numerical value. "Cat scientist": T. Jefferson was a widely educated person. "The Song Turns On": Jefferson had, in addition to law, a musical education and played the violin. "Speaks a Tale": about the numerous speeches of Jefferson, who spoke, in particular, for the abolition of slavery.

Footnotes and notes.

*Perhaps, the choice of artists is subordinated to the image of a diva in one of the episodes of "Shah-name":
“Here the sorcerer was seized by Rustam the mighty
By the beard and pulled out of the clouds.

1. I mean eidos similar to those of Plato, a two-dimensional subject composition or a two-dimensional aggregate subjective structure of the world observed by a person.
2. For the numerical values ​​of the letters, see Wikipedia, articles "Cyrillic", "Greek alphabet". In texts of mystifying origin, letters function as carriers of numbers, but a number of letters of the Old Russian and modern Russian alphabets do not have a numerical value. The sum of the numeric values ​​of the letters of the word involved in the encoding field is the primary numeric value of that word (for example, 5, 2 and 1 together make 8, in the name Eve in particular). Sequential summation of numbers is carried out, in most cases, until an indicator is obtained from one number. The sum of the numbers of the primary value, if it is greater than ten, is the intermediate numerical value of the word, if it is two-digit (for example, 11 or 99), the sum of the two numbers of the intermediate value is the final numerical value of the word, if it is not greater than ten (for example, 11-2, but 99-18, the next conversion results in a final numerical value of 9). The numerical values ​​of phrases, sentences and dates are taken into account in exactly the same way. Zeros in verbal-numerical enigmatics have an optional meaning and are taken into account only as dictated by the context. In some cases, the numerical series of the letters of the word does not require summation, as a rule, when encoding numerical data of an independent meaning. For example, the word "arch" with the number series 1121 may imply the date 1121. The spelling of the same word in old texts or “antique” texts may vary depending on what numerical value should be obtained, due to the use of one or another grapheme (graphemes) of the same phoneme (“and” or “i” , "o" or "omega", "e" or "yat", "f" or "fert", "ks" or "xi", "ps" or "psi") or deliberate errors.
3. Farlaf and Rogdai (with the name Ragdai) are mentioned in the "chronicles", Ratmir - in the life of Alexander Nevsky.
4. Nine of Ratmir, in essence, does not participate in the formation of the total three - due to the peculiarity of the number 9 that adding it to any number does not change the final value of the number; for example, 3 and 9 together make 12, but the final value of 12 is 3.
5. Morpheus (dr. Greek "Morpheus" - "shaper", "one who forms [dreams]"). See about him in the article "Morpheus" Wikipedia.
6. I think that two motifs are devoted to the recollection of the ancient component of the pastoral-bucolic style in the poem. Running away from Rogdai, Farlaf throws a spear aside; before the battle with his head, Ruslan chooses a spear from the whole set of weapons lying on the site of a long-standing battle, although he also does not have a sword. In these episodes, the author emphasizes the special significance of the spear among the weapon attributes of his heroes. It probably actualizes the meaning of "long", which distinguishes the spear from other types of weapons. The long beard of Chernomor serves the same purpose. The ultimate goal of these actualizations is a reminder of the Greek writer Longus at the beginning of the 1st millennium AD. e., the author of the immortal bucolic novel "Daphnis and Chloe" ("long" in a number of languages ​​"long").
7. In the XX century. M. Bulgakov also used the phrase “Finnish knife” in the same way (probable use: G. Hesse and S. Dovlatov). See about this: Sagit Faizov "The Steppe Wolf" by G. Hesse and the main novel by M. Bulgakov: the probability of non-random relationship // http://sagitfaizov.livejournal.com/85724.html; He is from Dovlatov. Branch: Lemkus and others // http://sagitfaizov.livejournal.com/114443.html; see also website
8. See. about him: https://ru.wikipedia.org/wiki/Jefferson,_Thomas

Screensaver illustration: Sagit Faizov's collage "On the Tom Oak" using a photograph of an oak tree in Pushkinogorye and a souvenir portrait of Thomas Jefferson.
Source for copying the oak image:

Source of copying the portrait of T.J.:

User: Dader
The picture is in the public domain.

Course work

“Studying the poem by A.S. Pushkin "Ruslan and Lyudmila" in high school

1. Introduction

The history of the creation of the poem by A.S. Pushkin "Ruslan and Lyudmila"

The idea of ​​the work and genre originality

Fairy tale characters in a poem

1 The image of Ruslan

2 Image of Finn

3 Image of Chernomor

4 The image of Naina

5 Images of Farlaf, Rogdai and Ratmir

Language features of the narrative

Place of the work in the history of Russian and world culture

Conclusions on the course work

Bibliography

1. Introduction

A.S. Pushkin (1799-1837) the greatest Russian poet and writer, the founder of new Russian literature, the creator of the Russian literary language. Pushkin is the author of numerous works that have become classics of Russian and world literature. One of the most famous Russian writers and poets in Russia and abroad. The variety of developed genres and styles, the lightness, elegance and accuracy of the verse, the relief and strength of characters (in large forms), "enlightened humanism", the universality of poetic thinking and Pushkin's personality predetermined his paramount importance in Russian literature; Pushkin raised it to the level of the world.

The freedom-loving mood of the young poet does not go unnoticed by the authorities, and under the guise of official necessity, Pushkin is sent to the south. During his stay in the Caucasus and Crimea, Pushkin wrote The Fountain of Bakhchisaray, The Robber Brothers. In 1820, his poem "Ruslan and Lyudmila" was published.

The poem "Ruslan and Lyudmila" was and still is a huge success with readers. How did the poem come about? Why was she so loved? This I would like to reveal in my work, as well as how the poem is studied at school.

2. The history of the creation of the poem by A.S. Pushkin "Ruslan and Lyudmila"

A poem is a large piece of poetry with a narrative or lyrical plot. Many genre varieties of poems are known: heroic, didactic, satirical, historical, lyric-dramatic, etc. The well-known poem by A.S. Pushkin “Ruslan and Lyudmila” belongs to one type of such poems.

Thanks to his nanny, Arina Rodionovna, the great Russian poet Alexander Sergeevich Pushkin forever fell in love with folk tales. They became material for his own fairy tales-poems.

One of the most famous is "Ruslan and Lyudmila", in which Prince Ruslan sets off on a long journey to find his wife Lyudmila, who was kidnapped by the evil sorcerer Chernomor. Having overcome many obstacles, Ruslan frees his beloved. The poem ends with the triumph of Good over Evil.

And it begins with the famous introduction “A green oak near the seashore ...” This is a picture of various fairy-tale motifs and images, giving the key to understanding the genre of the work.

When you read these poetic lines, Russian folk tales come to mind - “The Frog Princess”, “Mary the Princess”, “Baba Yaga”, “The Tale of Ivan Tsarevich, the Firebird and the Gray Wolf”, “Koschey the Immortal” ...

"Ruslan and Lyudmila" is an original work in which the features of a fairy tale are combined with the features of a romantic poem. 2

The plot of the poem is fabulous, everything in it breathes youth and health, the sad is not sad, but the terrible is not scary, because sadness easily turns into joy, and the terrible becomes funny. The triumph of truth over deceit, malice and violence is the essence of the poem. A.S. Pushkin worked on his poem for 3 years. He began to write it before graduating from the Tsarskoye Selo Lyceum in 1817 and finished in March 1820.

The poem "Ruslan and Lyudmila" was written in 1818-1820, after the poet left the Lyceum; Pushkin sometimes pointed out that he began writing the poem while still at the Lyceum, but, apparently, only the most general ideas belong to this time. After all, after leaving the Lyceum, leading a “most scattered” life in St. Petersburg, Pushkin worked on the poem mainly during his illnesses. The poem began to be published in the "Son of the Fatherland" in the spring of 1820 in excerpts, the first separate edition was published in May of the same year (just in the days of Pushkin's exile to the south) and evoked indignant responses from many critics who saw in it "immorality" and "indecency" ”(A.F. Voeikov, who had begun the journal publication of a neutral-friendly analysis of the poem, criticized it in the last part of the review under the influence of I.I. Dmitriev). P. A. Katenin took a special position, reproaching Pushkin, on the contrary, for insufficient nationality and excessive “smoothing” of Russian fairy tales in the spirit of French salon stories. A significant part of the reading public accepted the poem enthusiastically, with its appearance the all-Russian glory of Pushkin began.

The epilogue (“So, an indifferent inhabitant of the world ...”) was written by Pushkin later, during his exile to the Caucasus. In 1828, Pushkin prepared a second edition of the poem, added an epilogue and a newly written famous so-called "prologue" - formally part of the First Song ("At the seashore there is a green oak ..."), which strengthened the conventional folklore coloring of the text, and also reduced many erotic episodes and lyrical digressions . As a preface, Pushkin reprinted some critical reviews of the 1820 edition, which, in the new literary environment, have already become frankly ridiculous. In 1830, again rejecting the old accusations of immorality in the "Refutation of Critics", the poet emphasized that now he was not satisfied with the poem, on the contrary, the lack of a genuine feeling: "No one even noticed that she was cold."

Pushkin set the task of creating a "heroic" fairy tale poem in the spirit of Ariosto, known to him from French translations of "Furious Roland" (critics called this genre "romantic", which should not be confused with romanticism in the modern sense). He was also inspired by Voltaire (“The Virgin of Orleans”, “What the Ladies Like”) and Russian literary tales (such as the popular tale about Yeruslan Lazarevich, “Bakhariyana” by Kheraskov, “Ilya Muromets” by Karamzin, or especially “Alyosha Popovich” by Nikolai Radishchev). The immediate impetus for starting work on the poem was the release in February 1818 of the first volumes of Karamzin's "History of the Russian State", from which many details and the names of all three of Ruslan's rivals (Rogdai, Ratmir and Farlaf) were borrowed.

The poem is written in astrophic iambic tetrameter, which became, starting with Ruslan and Lyudmila, the decisively dominant form of the romantic poem.

The poem contains elements of parody in relation to Zhukovsky's ballad "The Twelve Sleeping Maidens". Pushkin consistently ironically reduces the sublime images of Zhukovsky, saturates the plot with humorous erotic elements, grotesque fantasy (the episode with the Head), uses “common” vocabulary (“strangle”, “sneeze”). Pushkin's "parody" of Zhukovsky initially does not have a negative connotation and is rather friendly; it is known that Zhukovsky "heartily rejoiced" at Pushkin's joke, and after the release of the poem, he presented Pushkin with his portrait with the inscription "To the winner-student from the defeated teacher." Subsequently, in the early 1830s, the mature Pushkin, inclined to critically overestimate his youthful experiences, lamented that he parodied The Twelve Sleeping Virgins "for the sake of the mob."

3. General idea of ​​the work and genre originality

There are many genre varieties of poems: heroic, didactic, satirical, historical, lyric-dramatic, etc.

There are many different opinions of critics about the genre of Ruslan and Lyudmila. Critic E. A. Maimin wrote that "in its genre," Ruslan and Lyudmila "is a comic and ironic fairy tale poem." “In the literature about Pushkin,” believes B. Bursov, “the question is sufficiently clarified that in Ruslan and Lyudmila, which is close in its genre to both a fairy tale and a historical poem, historical interest clearly prevails over fairy tale…”.

In my opinion, "Ruslan and Lyudmila" is a multi-genre work.

The plot of the poem is fabulous, everything in it breathes youth and health, the sad is not sad, but the terrible is not scary, because sadness easily turns into joy, and the terrible becomes funny.

The kidnapping of the bride, her search, the motive of rivalry, the heroine's stay in the enchanted kingdom, the accomplishment of feats to save her, a happy ending - all this looks like a fairy tale. But in the course of the story, within the plot, there is a constant clash between the fabulous and the most ordinary, the fantastic and the mundane. The sorceress turns out to be not only evil, but also a miserable old woman, the ferocious sorcerer Chernomor - a weak old man.

The triumph of truth over deceit, malice and violence - this is the content of the poem. "Ruslan and Lyudmila" is just a fairy tale, with the usual sharp opposition in fairy tales between good and evil characters and with a happy ending.

Pictures of fighting alternate with peaceful ones, cheerful and funny with gloomy and scary. Their combination sometimes acquires a sharply contrasting character. In Pushkin's poems, the same law of contrasts operates as in his lyrics. Here is a tender, quivering wedding night scene. The verse flows smoothly and melodiously:

Can you hear the loving whisper

And kisses sweet sound

And a broken murmur

The last timidity?..

(Canto one)

And suddenly a sharp transition to the terrible and mysterious. The suddenness of the event is emphasized by the hyphenation and tempo of the verse; fast, abrupt phrases go:

Spouse

Enthusiasm feels in advance;

here they come...

Thunder struck, light flashed in the fog,

The lamp goes out, the smoke runs,

All around was dark, everything was trembling,

And the soul froze in Ruslan ...

Everything was silent. In terrible silence

And someone in the smoky depth

Soared blacker than misty haze...

The features of the historical poem include names that go back to Karamzin's "History of the Russian State" (Rogdai, Farlaf), and a description of real historical events.

In the sixth song, the poem comes closest to the historical narrative: the siege of Kyiv by the Pechenegs is already an artistic transformation of a scientific source.

The tone of the poem in the sixth canto changes markedly. Fantasy is replaced by history. The gardens of Chernomor are obscured by a true picture of the capital city before the attack of the enemy:

…the people of Kiev

Crowd on the city wall

And they see: in the morning mist

Tents whiten across the river,

Shields shine like a glow;

In the fields riders flicker,

In the distance, lifting up black dust;

The marching carts are coming,

Bonfires are burning on the hills.

Trouble: the Pechenegs rebelled!

This is a reliable and accurate description of the war of the X century with its weapons, tactics and even means of communication. This is the beginning of historical realism.

Irony is closely connected with fairy tale and history. The author does not hesitate to make fun of his heroine even in the most tragic moments for her. She cries, but "does not take her eyes off" the mirror; decided to drown herself - and did not drown herself; says that she will not eat, - and then "thought - and began to eat." Jokes do not in the least disturb the lyrical image of the heroine - on the contrary, they give it a "cute" character.

“The poem is not only ironic in its essence,” wrote Slonimsky, “but there is a strong element of parody in it. One, however, is related to the other. Lyudmila, for example, is both a fairy-tale heroine and a modern, living, flesh and blood, woman-girl. She is both a heroine and a charming, witty parody of a heroine. The same to a greater or lesser extent - and with other heroes. Pushkin laughs merrily at his characters, at the reader, at himself…” The author's irony extends even to the idea of ​​the poem, ironically and jokingly he plays with the very plot of the poem:

Every day I wake up from sleep

I heartily thank God

Because in our time

There aren't many wizards.

Besides - honor and glory to them!

Our marriages are safe...

Their plans are not so terrible

Husbands, young girls.

(Canto Four)

Also in "Ruslan and Lyudmila" there are features of a romantic poem: an unusual hero - a knight who has no past, an unusual place - the action takes place either in a historical event or in a fairy tale.

In the poem, A. S. Pushkin makes extensive use of the possibility of off-plot author's digressions. Such a digression, for example, opens the third song of the poem "Ruslan and Lyudmila":

In vain you lurked in the shadows

For peaceful, happy friends,

My poems! You didn't hide

From angry envy eyes.

Already a pale critic, to her service,

The question made me fatal:

Why Ruslanov's girlfriend

As if to laugh at her husband,

I call both the maiden and the princess?

You see, my good reader,

There is a black seal of malice!

Say Zoil, say traitor

All this is explained by the fact that the heroes have not yet received a completely independent existence, have not separated themselves from the author's lyrics. They are the subject of lyrical play, and the springs of their action are still in the hands of the author. From this point of view, it is quite understandable that passionate romantic feelings are attributed to the ancient knight:

But, tired with passionate passion,

Ruslan in love does not eat, does not drink,

Looks at a dear friend

Sighs, gets angry, burns

And, pinching his mustache with impatience,

Counting every moment...

(Canto one)

The author's digressions - sometimes lyrical, sometimes ironic, contrasting with her - give the story a personal tone. The author constantly emphasizes his role as a narrator. He plays with the reader and teases his curiosity, interrupting the narration at the most interesting place - as, for example, in the second song, at the moment when Rogdai overtakes Ruslan:

Ruslan flared up, shuddered with anger;

He recognizes this exuberant voice...

My friends! and our girl?

Let's leave the knights for an hour ...

And at the end of the song, after the story about Lyudmila:

But something our good knight?

Do you remember the unexpected meeting?

The poem was written for three years, and it is natural that each song was a step forward, had its own character. The poet grew along with his work. He began the poem in the spirit of "happy dreams" and "heartfelt inspirations" of his youthful lyrics, but by the end it sounded different, more serious notes. In the era of the creation of the poem, the range of Pushkin's historical ideas expanded enormously.

“The epic finally triumphs over irony and subjective lyrics,” A. Slonimsky believed, “history over a fairy tale.”

In this regard, the style and manner of narration changes. The verse grows stronger, becomes more strict and courageous. Persons and events are depicted more specifically. In the first songs there was a lot of conditional, traditional.

“In the creative evolution of Pushkin, the significance of the last song “Ruslan and Lyudmila” is enormous. Here, for the first time, the people appear as the active force of history. He is shown in his anxieties, hopes, struggle and victory. The great theme of national struggle and glory enters the poem, Grossman wrote. - At the last stage of his fabulous wanderings, the hero becomes the liberator of the Motherland. All wounded in battle, he holds in his right hand a victorious sword, which saved the great principality from enslavement. The fairy tale takes on a historical perspective. “Traditions of the ancient times” resonate with the present: through the vivid picture of the expulsion of the Pechenegs, the theme of deliverance of Russia from foreign invasion in 1812 sounds. (link) The final fragment is somewhat at odds in style with the spirit of the poem it is intended to complete.

Preserving the tradition of a magical chivalrous novel, A. S. Pushkin by the end of the poem combines in a new way the fantastic elements of the Old Slavonic fairy tale with the dramatic facts of ancient Russian history, freely mixing genres. He created a work that still arouses genuine interest among many generations of readers.

4. Plot-compositional organization of the narrative

The great success of "Ruslan and Lyudmila" was partly scandalous - along with positive ones, there were judgments about unacceptable vernacular in the language, "inconsistencies" in the plot, unusual technique, the unusual position of the author-narrator, etc.

The later opinions of literary critics were also contradictory. Y. Tynyanov wrote that the language of the poem "emphasized vulgar and rude . Pushkin uses the practice of Katenin for a large verse form. Tomashevsky objected to him: at that time, Pushkin did not “find any points of contact with Katenin. Not from the camp of young Karamzinists, but from the camp of Katenin, voices of condemnation were heard. Vinogradov also believed that in his poem Pushkin did not go “far from the borders of the Karamzin tradition. Rare words and colloquial expressions do not break the structure of Karamzin's style.

It is impossible to unambiguously ungroup criticism: the archaists accepted the poem, but the Karamzinists did not, or vice versa. Both the Young Archaists, Karamzinists, and supporters of the emerging Russian romanticism converged in claims - even in the first poem, Pushkin, if he encroached on the rules and canons, then not of the then currents, but on the literary theory and practice of the whole new time. That is why the controversy around this thing turned out to be so fierce, incomparable in intensity with the sluggish controversy about his southern poems. Those were more perfect, in this one there was an inimitable strangeness.

5. Fairy tale characters in the poem

In the poem "Ruslan and Lyudmila" A.S. Pushkin collected almost all the heroes of Russian fairy tales and settled them in the fabulous seaside:

There are miracles: the goblin roams there,

The mermaid sits on the branches;

There on unknown paths

Traces of unseen beasts;

Hut there on chicken legs

Stands without windows, without doors...

Here are Baba Yaga, and Kashchei the immortal, and "thirty beautiful knights in succession emerge clear from the waters." Somewhere out there, beyond the forests, beyond the seas, a princess languishes in captivity of an evil sorcerer. But the brave prince is already in a hurry to help her. Their story was told to the author by a scientist cat, and Pushkin is now in a hurry to “tell the world” about Ruslan and Lyudmila, until “the deeds of bygone days, the legends of ancient times” are forgotten.

Pushkin tells about real people: Prince Vladimir, his daughter Lyudmila and the devoted hero Ruslan. At the wedding feast, the epic singer Bayan sings his songs. The author also mentions the mythical Lel - the Slavic god of love and marriage. But the poem would not have been so interesting if fairy-tale characters had not intervened in people's lives. "The scary wizard Chernomor" kidnapped the bride. Ruslan goes in search of Lyudmila. And fairy-tale characters help him too. The most unusual of them is the bewitched knight, turned by his younger brother Chernomor into a living huge head. The unfortunate knight had to guard the magic sword. He gives it to Ruslan to take revenge on the offender. With this sword, Ruslan cut off Chernomor's beard, and the sorcerer lost his strength. And Ruslan with sleeping Lyudmila goes home to Kyiv. And Pushkin ends the poem as it is customary in fairy tales:

And, celebrating the end of disasters,

Vladimir in a tall gard

He drank in his family.

1 The image of Ruslan in the poem

Ruslan is one of the main characters of the poem by A.S. Pushkin "Ruslan and Lyudmila". His name is borrowed from the popular tale "About Yeruslan Lazarevich". Pushkin’s Ruslan is “an unparalleled hero, a hero in his soul”, in which Lyudmila is expressed, his life will be lived in vain, because only a feat grants a person immortality. Ruslan's victories are also the peak in the development of the young poet. All the themes of the poem are solved with the help of contrasts between the ancient (“tradition of deep antiquity”) and modern, fabulous and real, intimate and ironic. The poem, imbued with the "Russian spirit", captured the spiritual world of the people with their understanding of beauty as good and moral. Critics of Pushkin's time unanimously saw the nationality of the poem in "rough, square" democracy. It is no coincidence that the comparison of the poem with a bearded guest in an Armenian coat and bast shoes, who forced his way into the Moscow Noble Assembly, arose. The image of Ruslan served as a prototype of Ruslan, the hero of M.I. Glinka's opera "Ruslan and Lyudmila" (1843); ballet F.E. Scholz (1821); film by A. Ptushko (1972). The ideal qualities of a man are physical strength, nobility of soul, military prowess (“I’m going, I’m going, I don’t whistle, // But when I get there, I won’t let go”). Ruslan boldly enters the fight against the forces of evil. Spiritually enriched by the meeting with Finn, Ruslan understands that if he does not defeat Chernomor and free

poem Pushkin Ruslan lyudmila school

5.2 The image of Finn in the poem

Finn is an old man, a benevolent wizard. He has

"........................... clear view,

Calm look, gray-haired beard;

The lamp in front of him burns;

He sits behind an ancient book,

Reading it carefully."

He is everywhere Ruslan's guardian angel, encourages him, comforts, warns, helps him, convinces him that good will triumph over evil.

3 The image of Chernomor in the poem

Evil in fairy tales is represented by fantastic, hideous monsters. For example, Kashchei the Immortal, who kidnaps women - as a rule, the mother, wife or bride of the hero of a fairy tale. In Pushkin's poem, such a creature is Chernomor - a disgusting dwarf, whose whole strength is in his magical beard. Without a beard, he loses his power. But when reading the poem, one gets the impression that Karla is not at all scary, and even ridiculous. Here is how he is described in the scene with Lyudmila:

I wanted to run, but in a beard

Confused, fell and beats;

Rise, fall; in such trouble

Arapov black swarm rushes.

It is no coincidence that he was even accepted into the palace by Prince Vladimir. In the depiction of Chernomor, Pushkin uses rather irony, thereby innovatively refracting the fairy-tale tradition.

4 The image of Naina in the poem

Quite another matter - Naina. This is the embodiment of deceit, cunning, dishonor. She can transform into animals, like the heroes of fairy tales. The sorceress with her disgust is very reminiscent of Baba Yaga:

The old woman is decrepit, gray-haired,

With sunken eyes sparkling,

With a hump, with a shaking head.

It is she who helps Farlaf to kill Ruslan and appropriate the victory for himself. This turn of the plot is unexpected in the poem, it reveals the "willfulness" of the idea of ​​Pushkin the innovator, which complicates the fairy-tale intrigue. With this episode, the poet seems to prove the idea that the worst evil comes from people - from their envy and malice.

5 Images of Farlaf, Rogdai and Ratmir in the poem

The immediate stimulus for Pushkin to start working on the poem was the release in February 1818 of the first volumes of Karamzin's "History of the Russian State", from which the names of all three of Ruslan's rivals - Rogday, Ratmir and Farlaf - were borrowed.

Prince Vladimir the sun is feasting in the grid with his sons and a crowd of friends, celebrating the wedding of his youngest daughter Lyudmila with Prince Ruslan. In honor of the newlyweds, the harpist Bayan sings. Only three guests are not happy with the happiness of Ruslan and Lyudmila, three knights do not listen to the prophetic singer. These are Ruslan's three rivals: the knight Rogdai, the braggart Farlaf and the Khazar Khan Ratmir.

“... In the soul of the unfortunate conceal

Love and hate poison.

One - Rogdai, brave warrior,

Pushing the limits with a sword

rich Kyiv fields;

The other is Farlaf, the haughty screamer,

In feasts not defeated by anyone,

But a modest warrior among swords;

The last, full of passionate thought,

Young Khazar Khan Ratmir:

All three are pale and gloomy,

And a merry feast is not a feast for them ... "

Ruslan goes for Lyudmila, because love and honor pushes him to this “Be faithful to love and honor.” And Ruslan's rivals Rogdai, Ratmir and Farlaf are blinded by the beauty, position, wealth of the princess and do not worry about her at all.

6. Language features of the narrative

Pushkin's main historical merit lies in the fact that he completed the consolidation of the Russian language in literature. Pushkin, of course, did not immediately become what he was. He studied with his predecessors and implemented in his own language skills all the achievements of the art of the word, which were obtained by poets and writers of the 17th and 18th centuries. In the language of Pushkin's works, we have the opportunity to observe the traditional elements of the Russian literary language, inherited from past periods of development.

At the beginning of his poetic work, Pushkin did not yet limit the use of traditional speech elements to any stylistic tasks, using them only as a direct tribute to the legacy of the past.

Later, traditional speech elements continue to be preserved in the language of Pushkin's works, but their use is strictly stylistically justified.

Pushkin called for the rejection of frozen and pretentious expressions, for their replacement with simple designations of objects and ideas. He ironically builds the following stylistic parallels, contrasting long and sluggish paraphrases with simple and short designations.

With the publication of Ruslan and Lyudmila, Pushkin became an all-Russian famous writer, the first poet in Russia. The enormous success of the poem was largely due to the author's popular position in matters of language and style. The poem shows a bias towards vernacular greater than allowed by the norms of the secular Karamzin style for works of this genre.
The verses of the poem are undoubtedly stylized as a fabulous common people, as folklore antiquity. This is manifested both in the speeches of the characters and in the author's narration. For example, Ruslan's words:

Shut up, empty head!

I'm going, I'm going, I'm not whistling

And when I get there, I won't let go!

or Now you are ours: aha, trembling!

In Chernomor's speech:

Not that, you are joking with me - I will strangle you all with a beard!

In the Head's speech: Step back, I'm not kidding.

I’ll just swallow it impudently;

Listen, get out...;

I also foolishly stretched out;

I lie without hearing anything

Smiling: I will deceive him!

These are the words Pushkin talks about Lyudmila (princess, daughter of the Kyiv Grand Duke Vladimir!): The princess jumped out of bed -

Trembling raised her fist,

And screamed in fear,

That all arapov stunned.

In an excerpt from the III song of "Ruslan", printed in "Son of the Fatherland", Chernomor is called "carlo". In RL 1820, the spelling of this word is vague: either “carlo”, or “carla”. In RL 1828, clarity is introduced: the non-Russian-sounding “carlo” is completely replaced by the word “carla”, which corresponds to the folk tradition.

The desire to comprehend the morphological structure more definitely dictated some other amendments.

In RL 1820, verse 72 of Canto I was printed: "And the brushes are unpleasant to us." In RL 1828 we read: “And brashna ...” The poet eliminated the inaccuracy in the end of the Old Russian word.

Verse 31 of Canto III in "Son of the Fatherland" and RL 1820: "On the theme of the midnight mountains", and in RL 1828: "On the crown of the midnight mountains", which, of course, is grammatically correct.

Pushkin also eliminates some other minor inaccuracies, showing concern for word usage, euphony, etc. The use of interjections and conjunctions within a verse phrase, as well as the use of prepositions and prefixes, is clarified semantically.

7. Place of the work in the history of Russian and world culture

In Pushkin's work, poems occupy the largest place along with lyrics. Pushkin wrote twelve poems (one of them - "Tazit" - remained unfinished), and more than twelve survived in sketches, plans, opening lines. In 1817, Pushkin began his largest poem - "Ruslan and Lyudmila" - and wrote it for three whole years. These were the years of the upsurge of revolutionary sentiment among the youth of the nobility, when secret circles and societies were created that prepared the December uprising of 1825.

Pushkin, not being a member of the Secret Society, was one of the leading figures in this movement. He was the only one in these years (before exile to the south) who wrote revolutionary poems, which immediately dispersed in handwritten copies throughout the country.

But even in legal, printed literature, Pushkin had to fight against reactionary ideas.

In 1817, Zhukovsky published the fantastic poem "Vadim" - the second part of the long poem "The Twelve Sleeping Virgins" (the first part of it - "Thunderbolt" - was published back in 1811). Standing on conservative positions, Zhukovsky wanted with this work to lead young people away from political action into the realm of romantic, religiously colored dreams. His hero (whom the poet did not accidentally give the name of Vadim - the legendary hero of the Novgorod uprising against Prince Rurik) - is an ideal young man striving for exploits and at the same time feeling in his soul a mysterious call to something unknown, otherworldly. He eventually overcomes all earthly temptations and, steadily following this call, finds happiness in mystical union with one of the twelve virgins whom he awakens from their wonderful sleep. The action of the poem takes place now in Kyiv, now in Novgorod. Vadim defeats the giant and saves the Kievan princess, whom her father destines for his wife. This reactionary poem was written with great poetic force, with excellent verse, and Pushkin had every reason to fear its strong influence on the development of young Russian literature. In addition, Vadim was at that time the only major work created by a representative of a new literary school that had just finally won the fight against classicism.

Pushkin answered “Vadim” with “Ruslan and Lyudmila”, also a fabulous poem from the same era, with a number of similar episodes. But all its ideological content is sharply polemical in relation to the ideas of Zhukovsky. Instead of mysterious-mystical feelings and almost ethereal images, Pushkin has everything earthly, material; the whole poem is filled with playful, mischievous erotica (description of Ruslan's wedding night, Ratmir's adventures with twelve maidens, Chernomor's attempts to take possession of the sleeping Lyudmila, etc., as well as in a number of author's digressions).

The polemical meaning of the poem is fully revealed at the beginning of the fourth song, where the poet directly points to the object of this controversy - Zhukovsky's poem "The Twelve Sleeping Virgins" - and mockingly parodies it, turning its heroines, mystically minded pure virgins, "nuns of the saints", into frivolous inhabitants of the roadside "hotels" that lure travelers to them.

Witty, brilliant, sparkling with fun, Pushkin's poem immediately dispelled the mystical fog that surrounded folk fairy-tale motifs and images in Zhukovsky's poem. After "Ruslan and Lyudmila" it became impossible to use them to embody reactionary religious ideas. The good-natured Zhukovsky himself admitted his defeat in this literary struggle, presenting Pushkin with his portrait with the inscription: “To the victorious student from the defeated teacher, on that highly solemn day when he finished his poem Ruslan and Lyudmila.”

This poem was a huge success, it put Pushkin in first place among Russian poets. They began to write about him in Western European magazines.

Practical part. The study of the poem "Ruslan and Lyudmila" in a secondary school according to the Buneev program

The work of A.S. Pushkin "Ruslan and Lyudmila" is studied in the 5th grade according to the Buneevs' program. But the children do not go through the whole poem, but the prologue. Studying the material at school takes 1 hour.

I would like to analyze the study of the poem according to the textbook by V.G. Marantsman Grade 5 and according to the methodological manual by V.Ya.

1 Study of the poem according to the textbook by V.G. Marantsman

In the literature program for grades 5-9 according to the textbook prepared under the editorship of. V. G. Marantsman, in the 5th grade course in the cycle “Freedom of a Fairy Tale”, the introduction to “Ruslan and Lyudmila” is being studied, i.e. prologue as a collective image of the magical world of Russian fairy tales.

"Ruslan and Lyudmila" is considered as a kind of overture to the poet's work, in which an attentive reader can recognize ideas, plots, artistic techniques already familiar to them from previously studied works. According to the program, 1 hour is allotted for studying the prologue to the poem. The program does not involve a complete reading of the poem, but only the reading of the prologue and knowing it by heart.

Questions and tasks that are given in the textbook, ed. V.G. Marantsman:

1.Read the prologue. How do you understand the word "Lukomorye"?

2.How do you imagine this fabulous place? Describe in your own words.

.What is the role of the prologue in this work of fiction?

.Determine the genre of the poem.

.Reading Pushkin's lines, one gets the impression of the "reality" of the fairy tale. Why is that?

2 The study of the poem according to the methodological manual of V.Ya.Korovina

Tasks and questions:

1.What did you find funny and wonderful in Pushkin's prologue, and what was ordinary and familiar to a fairy tale?

2.Why is the prologue to "Ruslan and Lyudmila" called a concise encyclopedia of Russian fairy-tale folklore?

.What impression did the prologue to the poem make on you?

.What folk tales remind you of the lines from the prologue?

There the king of koschey languishes over gold ...

Hut there on chicken legs

It stands without windows, without doors.

In the dungeon there the princess is grieving,

And the brown wolf serves her faithfully ...

.Find traditional fairy tale formulas, constant epithets in the prologue.

After analyzing the questions and tasks of the textbook and methodological manual, you can set goals:

· Know poetic means of artistic expression

· Be able to identify the role of Prologue in a poem

· Be able to work with literary text

Conclusions on the course work

From early childhood, A.S. Pushkin was imbued with deep respect and love for the works of oral folk art: fairy tales, songs, proverbs, sayings. With enthusiasm and joy, he listened to the tales told by his grandmother and Arina Rodionovna, the poet's nanny.

"Ruslan and Lyudmila" is an original work in which the features of a fairy tale intersect with real historical events.

Critics have defined the genre of Pushkin's poem in different ways. Some called it a comic and ironic fairy tale poem. Others - a work in which the historical content prevails over the fabulous.

More than 200 years have passed since the birth of A.S. Pushkin, and his works continue to live, becoming more readable and loved over the years in our country and abroad.

I hope that children will still be interested in reading this work, and my work will come in handy in literature lessons in grade 5.

Bibliography

1. Bursov B.A. The fate of Pushkin - Soviet writer. Leningrad. department, 1986, p. 60

Maymin E.A. Pushkin. Life and art. - Moscow: "Nauka", 1982, p. 35 - 39

Slonimsky A.I. Pushkin's skill. - Moscow: State. ed. thin literature, 1963, p. 187 - 216

Stepnik Yu.V. On the role of national poetic traditions of the 18th century in the poem

Reader on literary criticism for schoolchildren and entrants. M.: "RIPOL CLASSIC", 2000.

Pushkin: judgments and disputes. - Moscow worker, 1997, p. 17

Problems of modern Pushkin studies. Leningrad Order of the Red Banner of Labor State Pedagogical Institute named after A.I. Herzen, 1986

Makogonenko G.P. Creativity A.S. Pushkin in the 1930s. L., Fiction.

Tomashevsky B.V. Pushkin. Works of different years. M., Book , 1990

Feinberg I. Pushkin's unfinished works. Moscow, Fiction, 1979

Petrov S.M. Pushkin's historical novel. M., Publishing House of the USSR Academy of Sciences, 1953

Lotman Yu.M. In the school of poetry. M., Enlightenment, 1988

Antokolsky P. About Pushkin. - M.: Soviet writer, 1960.

Zinedullina M.V. Pushkin's myth at the end of the 20th century. - Chelyabinsk, 2001. 243s.

Karpushkina L.A. The image of Pushkin in Russian literature XIX - early. XX centuries. Abstract of the thesis for the competition scientist. degree cand. philologist. Sciences. - M., 2000.

Poetics of Russian literature: / Pushkin. era. Silver Age./: Sat. scientific Art./Kuban. state un - t; resp. ed. Stepanov L.A. - Krasnodar, 1999.- 183s.

Rozanov I. Alexander Blok and Pushkin // Book and proletarian revolution. - 1936. - No. 7.

Tomashevsky B.V. Pushkin, book. 2. - M.-L.: Ed. Academy of Sciences of the USSR, 1961.

Kirpotin V. Mir A.S. Pushkin. Articles. Research. M.: Sov. writer, 1993.

Nazirov R. The problem of artistry A.S. Pushkin Pod gen. ed. G. Shchennikova. Yekaterinburg: Publishing House Ural. un-ta, 1991.

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Poetic fairy-tale work of the outstanding Russian classic of Russian literature Alexander Sergeevich Pushkin, the poem "Ruslan and Lyudmila", was written in the period from 1818 to 1820. The author, impressed by the beauty, diversity and originality of Russian folklore (epics, legends, fairy tales and popular tales), creates a unique poetic work that has become a classic of world and Russian literature, distinguished by a grotesque, fantastic plot, the use of colloquial vocabulary and the presence of a certain amount of authorial irony.

According to some literary critics, the poem was created as a parody of chivalric romances and poetic ballads in the romantic style of Zhukovsky, who was fashionable at that time (the basis was his popular ballad "The Twelve Maidens"), who, after the publication of the poem, presented Pushkin with his portrait with words of gratitude from a defeated teacher for a winning student.

History of creation

According to some reports, Pushkin conceived the idea of ​​writing this fairy tale poetry with a "heroic spirit" during his lyceum education. But he began to work on it much later, already in 1818-1820. The poetic poem was created under the influence of not only exclusively Russian folklore, here the motives of the works of Voltaire and Ariosto are still clearly felt. The names for some of the characters (Ratmir, Farlaf, Ragdai) appeared after Pushkin read the History of the Russian State.

In this poetic work, the author skillfully combined antiquity, moments of Russian history and the time in which the poet lived. For example, his image of Ruslan is akin to the image of the legendary Russian heroes, he is just as brave and courageous, but Lyudmila, thanks to her some carelessness, coquettishness and frivolity, on the contrary, is closer to the young ladies of the Pushkin era. The most important thing for the poet was to show in the work the triumph of good over evil, the victory of a bright beginning over dark, gloomy forces. After the poem appeared in print in 1820, it almost immediately brought the poet well-deserved fame. Distinguished by lightness, irony, sublimity, grace and freshness, it was a deeply original work in which various genres, traditions and styles were talentedly mixed, immediately captivating the minds and hearts of readers of that time. Some critics condemned the use of deliberately folk phrases in the poem; not everyone understood the author's unusual technique and his unusual position as a narrator.

Analysis of the work

Story line

The poem "Ruslan and Lyudmila" is divided into six parts (songs), it begins with lines where the author talks about who this work is dedicated to, and it is intended for beautiful girls, for the sake of which this fairy tale was written. Then comes the well-known description of the magical country Lukomorye, the green oak growing there and the mythical creatures living there.

First song begins with a story about a feast in the palace of the Kyiv prince Vladimir the Red Sun, dedicated to the wedding of his daughter, the beautiful Lyudmila, and the brave young hero Ruslan. There is also the legendary epic singer and storyteller Bayan, as well as Ruslan's three rivals Ratmir, Ragdai and Farlaf, who are also in love with Lyudmila, they are evil of the newly-born groom, full of envy and hatred for him. Here misfortune happens: the evil sorcerer and dwarf Chernomor kidnaps the bride and takes her to his enchanted castle. Ruslan and three rivals move out of Kyiv in search of her, in the hope that whoever finds the prince's daughter will receive her hand and heart. On the way, Ruslan meets the elder Finn, who tells him the story of his unhappy love for the girl Naina and shows him the way to the terrible sorcerer Chernomor.

Second part (song) tells about the adventures of Ruslan's rivals, about his clash and victory over Ragday who attacked him, and also describes the details of Lyudmila's stay in Chernomor's castle, her acquaintance with him (Chernomor comes to her room, Lyudmila gets scared, squeals, grabs him by the cap and he flees in terror).

In the third song a meeting of old friends is described: the wizard Chernomor and his friend the sorceress Naina, who comes to him and warns him that the heroes are coming to him for Lyudmila. Lyudmila finds a magic hat that makes her invisible and hides all over the palace from an old and nasty sorcerer. Ruslan meets the giant head of the hero, defeats it and takes possession of the sword that can kill Chernomor.

In the fourth song Radmir refuses to search for Lyudmila and remains in the castle with young charmers, and only one faithful warrior Ruslan stubbornly continues his journey, which becomes more and more dangerous, on the way he meets a witch, a giant and other enemies, they try to stop him, but he firmly goes to its purpose. Chernomor fraudulently catches Lyudmila, dressed in an invisibility cap, in magic nets and she falls asleep in them.

Fifth song tells about the arrival of Ruslan in the halls of the wizard, and about the heavy battle between the hero and the villain-dwarf, who wears Ruslan on his beard for three days and three nights, and, in the end, surrenders. Ruslan captivates him, cuts off his magic beard, throws the sorcerer into a sack and goes to look for his bride, whom the vile dwarf hid well, putting on an invisibility cap. Finally, he finds her, but cannot wake her up, and in such a sleepy state he decides to take her to Kyiv. On the night road, Farlaf surreptitiously attacks him, seriously injures him and takes Lyudmila away.

In the sixth song Farlaf brings the girl to his father and tells everyone that he found her, but he still cannot wake her up. Elder Finn saves and revives Ruslan with living water, he hurries to Kyiv, which was just attacked by the Pechenegs, bravely fights with them, removes witchcraft from Lyudmila and she wakes up. The main characters are happy, a feast is arranged for the whole world, the dwarf Chernomor, who has lost his magical power, is left in the palace, in general, good will dine evil and justice will triumph.

The poem ends with a lengthy epilogue, in which Pushkin tells readers that with his work he glorified the traditions of ancient times, says that in the process of work he forgot about all insults and forgave his enemies, in which friendship helped him a lot, which is of great importance for the author .

Character characteristics

The hero Ruslan, the groom of the prince's daughter Lyudmila, is the central character of Pushkin's poem. The description of the trials that fell to his lot, withstood with honor and great courage in the name of saving his beloved, forms the basis of the entire storyline. The author, inspired by the exploits of Russian epic heroes, depicts Ruslan not only as the savior of his beloved, but also as a defender of his native land from nomadic raids.

Ruslan's appearance, described with special care, should fully, according to the author's intention, convey his conformity to the heroic image: he has blond hair, symbolizing the purity of his plans and the nobility of the soul, his armor is always clean and shiny, as befits a knight in brilliant armor, always ready for battle. At the feast, Ruslan is completely absorbed in thoughts about his future marriage and ardent love for his bride, which does not allow him to notice the envious and evil looks of his rivals. Against their background, he compares favorably with purity and directness of thoughts, sincerity and sensuality. Also, the main character traits emerge during his journey to the Chornomor castle, he manifests himself as an honest, decent and generous person, a brave and courageous warrior, purposefully and stubbornly moving towards his goal, a faithful and devoted lover, ready to even die for the sake of his love.

In the image of Lyudmila Pushkin, he showed a portrait of the ideal bride and lover, who faithfully and faithfully waits for her fiance and misses him immensely. The prince's daughter is depicted as a thin, vulnerable nature, possessing special tenderness, sensitivity, elegance and modesty. At the same time, this does not prevent her from having a firm and rebellious character, which helps her resist the evil sorcerer Chernomor, gives her strength and courage and does not obey the vile kidnapper and faithfully wait for her deliverer Ruslan.

Features of compositional construction

The genre of the poem "Ruslan and Lyudmila" refers to novels and poems of the late eighteenth and early nineteenth centuries, gravitating towards creativity in the "national" spirit. It also reflects the influence on the author of such trends in literature as classicism, sementalism, and chivalric romance.

Following the example of all magical knightly poems, this work has a plot built according to a certain pattern: hero knights are looking for their beloved, kidnapped by some mythical villain, overcome a series of trials for this, armed with certain talismans and magical weapons, and in the end they receive a hand and beauty heart. The poem "Ruslan and Lyudmila" is built in the same vein, but it is distinguished by amazing grace, freshness, subtle wit, brightness of colors and a slight trail of epicureanism, characteristic of many works written by Pushkin during his studies at the Tsarskoye Selo Lyceum. It is the author's ironic attitude to the content of the poem that cannot give this work a real "national" color. The main advantages of the poem can be called its light and beautiful form, playfulness and witty style, provocativeness and cheerfulness of the general mood, a bright thread running through all the content.

Pushkin's fairy tale poem "Ruslan and Lyudmila", cheerful, light and witty, became a new word in the established literary traditions of writing heroic ballads and poems, it was very popular among readers and caused great resonance among literary critics. No wonder Zhukovsky himself admitted his complete failure, and gave the branch of championship to the young talent of Alexander Sergeevich Pushkin, who, thanks to this work, took a leading position in the ranks of Russian poets and became famous not only in Russia, but also far beyond its borders.

1. Fairy tale or poem?
2. Signs of a fairy tale in a poem.
3. The meaning of the final.

What a delight these stories are! Each is a poem!
A. S. Pushkin

"Ruslan and Lyudmila" is the first poem by A. S. Pushkin, her idea was born in the Lyceum. He wanted to create a heroic fairy tale poem inspired by Russian folk tales and translations of Voltaire and L. Ariosto. Literary critics define the genre of the poem as a fairy tale.

Ruslan and Lyudmila contains many recognizable features of the Russian fairy tale. As in any fairy tale, the story is preceded by a saying. A saying is a special genre, a very short story, a joke, a preface to a fairy tale. It often has nothing to do with the tale itself in terms of content, but simply prepares listeners for it and enhances the folklore coloring of the text.

Near the seaside, the oak is green;
Golden chain on an oak tree:
And day and night the cat is a scientist
Everything goes round and round in a chain;
Goes to the right - the song starts,
Left - tells a fairy tale.
There are miracles: the goblin roams there,
A mermaid sits on the branches...

In this proverb, recognizable stories of fairy tales told to the poet by the nanny Arina Rodionovna pass before us. The author, confirming his involvement in the fairy-tale world, talks about his acquaintance with the learned cat and is ready to tell one of his fairy tales. This fairy tale is Ruslan and Lyudmila.

At the same time, the poem contains historical realities and is a parody of V. A. Zhukovsky's ballad "The Twelve Sleeping Maidens", for which Pushkin received a portrait from him with a dedication "To the winner-student from the defeated teacher." Precisely as a parody poem contains reduced vocabulary, grotesque, jokes - much gave critics a reason to accuse the author of immorality, although the average reader liked the poem. The beginning - the traditional beginning of a fairy tale - determines the scene, introduces us to the characters and brings us up to date - what is it about, how does the action of the poem begin.

With friends, in a high grid
Vladimir the sun feasted;
He gave away his younger daughter
For the brave prince Ruslan...

Reading the poem, we note that it contains both historical characters (Prince Vladimir, singer Bayan) and fictional ones. So, the names of Rogdai, Farlaf and the Khazar Khan Ratmir were taken by Pushkin from N. M. Karamzin's History of the Russian State.

Following the unexpected event, characteristic of fairy tales, with the participation of unknown forces - the disappearance of Lyudmila - we also see the traditional fairy tale motif of rivalry: Lyudmila's father promises to give her as a wife to the savior. Four heroes set off on a journey to find Lyudmila and get her as a wife. At a certain point, they separate, and each follows his own path. This is reminiscent of the folklore motif of choosing a path.

On the road, miracles, trials, and unusual encounters await everyone: Ruslan, through the elder Finn, finds out who stole his wife, receives parting words and a prediction.

There are magical objects in the poem - a cap of invisibility, a sword, living and dead water, a magic ring. The appearance of the characters also speaks of fabulousness. Evil heroes look fantastic. The sorceress Naina, resembling a Baba Yaga, turns into a winged black snake, but this is what Chernomor looks like:

Arapov a long line goes
In pairs, decorously, as far as possible,
And on the pillows carefully
Bears a gray beard;
And enters with importance after her,
Lifting his neck majestically
Humpbacked dwarf from the doors:
His shaved head
covered with a high cap,
Belonged to a beard.

Such a characteristic fairy-tale technique as a threefold repetition is also present in the poem "Ruslan and Lyudmila":

Then she hissed three times,
Stamped my foot three times
And flew away like a black kite.

Here there are constant epithets characteristic of folklore: clear eyes, a faithful sword, a zealous horse. The richness of the language of the poem in figurative and expressive means: hyperbole, comparisons.

It is reliably known that Pushkin took the image of a huge head with which Ruslan had to fight from an old fairy tale about Yeruslan Lazarevich, the plot of which came to Russian folklore from the East. In fact, Eruslan is a modified name Ruslan. Everyone knew the adventures of the hero of the popular tale Eruslan and his military exploits - it was so widely spread among the people. And the hero receives the sword-treasurer in the same way as Ruslan, having won over his head after a three-fold attempt. In the poem, the head is the elder brother of Chernomor, deceived by him and guarding the cherished sword. He asks Ruslan to avenge him on his brother, whose strength lies in his magical beard. Ruslan cuts off Chernomor's beard with the same sword. The duel of the hero with evil is the culmination of the poem. As in a fairy tale, everything ends happily.

How will I end my long story?
You guessed it, my dear friend!
Wrong old man's anger went out;
Farlaf before him and before Lyudmila
At the feet of Ruslan announced
Your shame and gloomy villainy;
The happy prince forgave him;
Deprived of the power of sorcery,
Charles was accepted into the palace;
And, celebrating the end of disasters,
Vladimir in a tall gard
He drank in his family.

The last, sixth song ends, just as the first begins: The deeds of bygone days, Traditions of antiquity deep.

So, we see the author following all the main canons of the Russian fairy tale. The moral of the poem echoes the moral of folklore works - only the one who deals with evil, is brave, kind and courageous, wins. Truth is always on the side of good. Creatively synthesizing a fairy tale and history, an epic and a European novel, Pushkin created a magical poem with elements of fantasy, thus winning the competition with V. A. Zhukovsky and K. N. Batyushkov, who dreamed of creating a fairy tale poem on a national historical basis.

Ruslan is a brave warrior who always strives for justice. He has four rivals: Chernomor, Rogdai, Farlaf and Ratmir. After Chernomor stole Lyudmila, Ruslan, Rogdai, Farlaf and Ratmir went in search. Everyone wanted to own Lyudmila, ...

1. Mischief and playful description. 2. Details of the life of the Russian people. 3. The principle of author's self-expression. 4. Historical realities in a fabulous setting. To the winner-student from the defeated teacher. V. A. Zhukovsky According to the critics of that ...

RUSLAN - the hero of the poem by A.S. Pushkin "Ruslan and Lyudmila" (1817-1820, prologue 1824-1825, ed. "Lyudmila and Ruslan"). R.'s name is borrowed from the popular tale "About Yeruslan Lazarevich". R. in Pushkin is “an unparalleled knight, a hero in his soul”, in which ideal ...

1. New!

   Indeed, one of Pushkin's favorite compositional devices is the return of the action at the end of the work to the same or a similar place, to the same or a similar setting in which it began. Thus, the poet, as it were, circles his work ...

The given transcript makes Pushkin's work in these symbols harmonious and logical from beginning to end. This does not mean that when writing the poem, Pushkin had exactly the same ideas at the level of his own consciousness. We are talking about the fact that through his unconscious levels of the psyche, through the images and drawings underlying the text, he was given global information from Above, which he reflected in his works. The given transcript captivates with its logic and degree of correspondence with the text, but does not at all claim to be exclusive. Such transcripts come to their authors through information channels linked to channels that once worked for Pushkin, with Pushkin's egregor.

The work of A.S. Pushkin "Gavriliada". It helps to understand the nature of the official proclamation of the Prophets, as well as why there were no Prophets in the history of Russian civilization. The meaning of the "Gabriliad" boils down to the fact that diabolical forces (the Serpent-tempter), egregorial-church (Archangel Gabriel) and God the Creator and Almighty had relations to the conception of Christ. Thus, A.S. Pushkin shows that I. Christ was formed and involved simultaneously in three scenarios. He was a Righteous One who received revelations from Above, secondly, he is used by egregorial levels, church hierarchies to solve their earthly problems and, finally, satanic forces that rape humanity and shed rivers of blood with crosses on their chests and the name of Christ on their lips. The righteous, who over the past three thousand years have not been able to be built into the scenario needed by healers, are not declared prophets. In Gavriliad, the understanding of these processes by A.S. Pushkin demonstrates openly.

With the story of Moses
I disagree with my story.
He wanted to captivate the Jew with fiction,
He lied importantly, and they listened to him.
God rewarded in him a syllable and a submissive mind,
Moses became a famous master,
But, believe me, I am not a court historian,
I do not need an important rank of the Prophet!

A.V.: And what do you see as the origins of such a special mission of A.S. Pushkin?

V.A.: A.S. Pushkin undoubtedly belonged to the systems of priestly initiation. In him, on the father's side, the knowledge of Holy Russian, Slavic was combined, and on the mother's side, the ancient Egyptian priesthood. The depth of his penetration into the secrets of being can be judged even by individual rare plots, where he gives information in a direct, uncoded form. Think about whether a person who wrote, for example, this could compose fairy tales for children:

Desert sower of freedom,
I left early, before the star;
By a pure and innocent hand
In enslaved reins
Threw a life-giving seed -
But I only lost time
Good thoughts and works...

Graze, peaceful peoples!
The cry of honor will not wake you up.
Why do the herds need the gifts of freedom?
They must be cut or sheared.
Their inheritance from generation to generation
A yoke with rattles and a scourge.

Or listen to how he understood the worthlessness of the official branches of government, in particular the legislative one, in global governance schemes:

I do not value high-profile rights,
From which not one is dizzy.
I do not grumble about the fact that the gods refused
I'm in the sweet lot of challenging taxes,
Or prevent the kings from fighting with each other;

And little sorrow for me
Does the press fool fools freely,
Ile sensitive censorship
In magazine plans, the joker is embarrassing.

And what about his most accurate algorithm for detuning from enslavement on economic priority through gold and world money. In fact, it gives an algorithm for crisis-free management, which we just have to comprehend and put into practice:

How does the state grow rich?
And what lives, and why
He doesn't need gold
When a simple product has.

Having comprehended these lines, you understand that, contrary to the imposed stereotypes, our money supply should remain unchanged, even if not a single dollar, not a single gram of gold remains in the country. And listen, what a cruel sentence A.S. Pushkin to the future of usury, which in our time has destroyed the manufacturing sector of Russia with exorbitant usurious loan interest reaching up to 210% per annum:

Imp, tucking his hoof under him,
Twisted the moneylender at the hellfire.
Hot fat dripped into the smoked trough.
And the baked usurer burst on the fire.

This execution has a great meaning:
Having one acquisition always in the subject,
The fat of his debtors was sucked by this evil old man
And ruthlessly twisted them in your world.

A.V.: In our programs you have convincingly shown the essence of the six managerial priorities of conceptual power. The idea of ​​them is also in the works of A.S. Pushkin?

VA: Yes, it is. I consider it possible to give answers to your questions directly in A.S. Pushkin. We made sure that the priority of military weapons is the weakest, they are used by those who have not mastered the methodology of using information weapons. And now let's listen to A.S. Pushkin:

Rivals in the art of war
Do not know peace among yourselves;
Bring tribute to the gloomy glory,
And revel in hostility!
Let the world freeze before you
Marveling at the terrible celebrations:
Nobody will regret you
Nobody will disturb you.

And here is his remark about the interaction of this military priority with genetic weapons:

Has God given us one
In the sublunar world pleasure?
We are left in comfort
War and muses and wine.

Pushkin's thought on the fourth priority in essence of world money has already been voiced. Here is his advice to screenwriters of the third ideological priority.

You knights of the Parnassus mountains,
Try not to make people laugh
Indiscreet noise of your quarrels;
Scold - just be careful.

A.V.: Could you give other, more or less obvious interpretations of the second semantic row of A.S. Pushkin?

V.A.: Apparently, you remember our special program dedicated to the method of growing in the 42-year campaign of Moses the zombified administrative periphery of social healer structures, biorobots according to the function they perform on Earth. And here is a reflection of the results of this savage experiment on human genetics in the work of A.S. Pushkin:

He was deafened by the noise of inner anxiety.
And so he is his unhappy age
Dragged, neither beast nor man,
Neither this nor that, nor the inhabitant of the world
Not a dead ghost...

Pushkin clearly and unequivocally speaks about his understanding of the Law of Time previously revealed by us and the impotence of the Global Predictor before it, the former control algorithms:

He brings the stars down from the sky
He whistles - the moon trembles;
But against the TIME LAW
His science is not strong.

Seven works of A.S. Pushkin, written in a single chronological and semantic matrix, culminating in the work "The Snowstorm", which became the musical epigraph of our program. The "Secluded house on Vasilevsky" (1828) stands apart from them, followed by a rigid chronological grid:

On October 9, 14 and 20, 1830, The Undertaker, The Stationmaster, The Young Lady and the Peasant Woman are published in succession. Strictly on the same dates

All these seven works are written in the same matrix of images - each of them has seven main characters. Let us provide an opportunity for inquisitive radio listeners to identify these characters with social phenomena. Let's give some hints:

the form of government is a widow or a widower in all seven works of A.S. Pushkin;

the ruling elite - the image of the deceased in each of the works;

liberal intelligentsia - Vladimir Nikolaevich, Masha's fiancé ("Snowstorm");

people - Masha ("Snowstorm", "Shot"), Parasha ("House in Kolomna);

ideology until 1917 - Masha's servant ("Snowstorm"), Fyokla ("House in Kolomna");

ideology after 1917 - Mavra ("House in Kolomna"); Schmit ("Snowstorm");

contenders for leadership of the people - Colonel Burmin ("Snowstorm"), black-moustified guardsmen ("House in Kolomna").

Today, the information left to humanity by A.S. Pushkin, began to work. I would like to complete today's program with the poems of one of the supporters of the "Dead Water" concept.