What is Nekrasov's innovation as a poet. What is the innovation

Lyrical poems by Nekrasov marked a new approach to reality, affirmed the principle of citizenship in poetry. In terms of the truthfulness and depth of disclosure of the inner world of a person, in terms of the completeness and diversity of coverage of life, Nekrasov's lyrics not only summed up the achievements of Russian poetry of the 19th century, but also largely determined its further development.

The key work that reveals Nekrasov's understanding of the role of the poet and poetry in life is his poem "The Poet and the Citizen". In it, Nekrasov speaks of the poet's civic duty - to serve his people, enslaved and tormented, to draw the attention of the "jubilant crowd" to his tragic fate:

…Time to get up! You know yourself

What time has come;

In whom the sense of duty has not cooled down,

Who has an incorruptible heart,

In whom is talent, strength, accuracy,

Tom shouldn't sleep now...

Nekrasov in his poems described ruthless, but truthful pictures of human grief and the suffering of destitute people. The poet loved his people, sympathized with them and considered the struggle for their happiness and freedom a great goal, for which it is worth sacrificing life:

Go into the fire for the honor of the Fatherland,

For faith, for love...

Go and die flawlessly

You will not die in vain: the matter is solid,

When blood flows under him, Nekrasov says not only that poetry is always connected with life, he demands a civic feat from the poet and condemns passivity, evasion from solving social problems, covered up by arguments about a different, “high” purpose of poetry:

... With your talent, it's a shame to sleep;

Even more ashamed in the hour of grief

The beauty of valleys, skies and seas

And sing sweet affection ...

The poet's love for the people gave rise to an inexorable hatred for their oppressors. Love and hate were the force that determined the inner pathos of his work. The passive contemplation of life is alien to the poet, he does not leave it, but, on the contrary, vigorously and passionately fights for its reorganization, exposes those who interfere with the happiness of the people.

Satirical pathos permeated one of the most famous poems - "Reflection at the front door." The poet contrasts the poor, tormented peasants with impoverished Russia to the owner of luxurious chambers, who considered “an enviable life to be red tape, gluttony, and play.” The peasants in the poem are downtrodden and submissive:

And they went, burning with the sun,

Repeating: "God judge him!",

Spreading hopelessly hands,

And as long as I could see them,

They walked with their heads uncovered ...

It is precisely this humility, the inability to fight, that Nekrasov seeks to emphasize, thereby wishing to awaken in the people the consciousness of the need for struggle. The poem ends with the author's reflection on the fate of Russia. In the mournful words of the poet, one can hear not only ardent sympathy for the robbed peasant, but also an accusation of those in power. The poet calls on the people to rise up to fight against the enslavers:

Will you wake up full of strength?

Nekrasov's civil position, his ardent love and compassion for the common people and indignation towards the authorities predetermined the image of his Muse. She is depicted not in the traditional symbolism of ancient mythology, but in the image of a suffering peasant woman:

Not a sound from her chest

Only the whip whistled as it played.

And I said to the muse: “Look!

Your own sister!"

The Muse of Nekrasov is the weeping, mourning Muse of the poor, the Muse of the people, proud and beautiful in her suffering, calling for revenge.

The lyrical hero of Nekrasov's poetry is a person who loves his people, worries about their unfair treatment, sympathizes with their misfortune, sharply criticizes the autocratic serf regime and calls on the people to fight for freedom.

There is no doubt that Nekrasov's poetry made a significant contribution to the formation of public opinion in the fifties of the XIX century, which influenced the abolition of serfdom in Russia in 1861.

Nekrasov did not change his Muse, his calling as a defender of the people until the end of his life.

In the poem "Elegy", written in 1874 for three years after his death, Nekrasov writes:

Let the changing fashion tell us

That the theme is old - "the suffering of the people"

And that poetry should forget it, -

Don't believe me guys! she doesn't age.

Nekrasov saw that after the abolition of serfdom, the economic situation of the peasants did not actually change, which means that his “fight” for the happiness of the people could not be stopped. The poet remained faithful to his mission to the end.

The poetic innovation of N. A. Nekrasov As the remarkable literary critic B. Eikhenbaum rightly noted, “among the various contradictions accumulated by Russian life and culture of the last century, there is one, the most painful, that survived until the revolution: the contradiction between “civilian” and “pure” poetry, between the poet-citizen and the poet-priest. The lyrics of N. A. Nekrasov are an unusual phenomenon in Russian poetry. All of it is imbued with the deepest civic pathos. A contemporary of V. G. Belinsky, N. G. Chernyshevsky and N. A. Dobrolyubov, N. A. Nekrasov became a poet of revolutionary democracy, the voice of the defenders of the people. That is why N. A. Nekrasov, in comparison even with such “citizens” as A. S. Pushkin and M. Yu. Lermontov, completely rethinks the role of the poet and the purpose of poetry in life. His main poetic formula is the words: You may not be a poet, But you must be a citizen. The main thing for N. A. Nekrasov is the social orientation of his poems, which, by the way, explains the words of I. S. Turgenev, who claimed that “poetry did not spend the night” in N. A. Nekrasov’s poems. Nekrasov's desire to destroy the circulation of the collection of his youthful poems "Dreams and Sounds" is a symbolic fact. The poet breaks not with his unsuccessful poetic past, but with tradition, with learned poetic clichés. Nekrasov - a poet of a non-poetic era - understands well that a poet can no longer be a priest, "a friend of laziness." His rethinking of the entire poetic system begins with a fundamentally new understanding of the role and place of the poet. A true poet for N. A. Nekrasov cannot exist without a close connection with the events of public life. The lines Even more ashamed in the time of grief The beauty of the valleys, the skies and the sea And the sweet caress to sing ... - become the poetic credo of N. A. Nekrasov. The first sign of a departure from tradition in the work of N. A. Nekrasov is the appearance of a large number of parodies. The essence of these parodies lies not in simple ridicule of what is being parodied, but in the very sensation of a shift in the old poetic form by introducing a prosaic theme and reducing vocabulary: Sleep, shooter, while harmless! Bayushki-bayu, The copper moon looks dimly Into your cradle. Or both boring and sad, and there is no one to cheat at cards ... As long as such parodies have a palpable connection with the original work, a comic effect will arise. When this connection is lost, the problem of introducing new stylistic elements into old forms is solved by itself. We find an example of such use and change of old forms, for example, in the poem “The Carrier”, which is sustained in the old ballad form: The guy was Vanyukha razhy, A tall man, - Do not succumb to the power of enemies, Would live a long century! N. A. Nekrasov widely uses the technique of reshaping old genres, giving them new content. The poet's "Elegy" is a poem about love, but about love for the people: in the poem "Reflections at the front door" there is a bizarre combination of ode and feuilleton. The result is that N. A. Nekrasov reduces the high genres and raises the genres of the tabloid press. According to Andreevsky, "Nekrasov elevated the poetic feuilleton to the value of a major literary work." The change in the poetic system had to be made in such a way that it (the feuilleton) was unequivocally understood as the liquidation of "sacred" poetry. Therefore, a new pathos, a new rhetoric, new themes, a new language appear. But N. A. Nekrasov needed not only to declare his departure from the Pushkin tradition in Russian poetry, but also to motivate him, to determine his attitude towards him. In the 1856 poem “The Poet and the Citizen,” N. A. Nekrasov gives a kind of Pushkinian subtext of the poet’s theme, but affirms the need to give civic content to creativity. N. A. Nekrasov, perhaps, was the first to write poetry “on the topic of the day”, on social topics. Gradually, even a person in his lyrics becomes unthinkable without a social environment. The poet moves from psychological analysis to social analysis. The state of a person's soul is associated with living conditions. The main theme of the poet's work is "people's sadness", while he manages to arouse in the reader a sense of belonging to the described, to create the impression of not uniqueness, but the generality of the situation. In the poetry of N. A. Nekrasov, in general, there is a great desire for typification. From the particular, he moves on to the whole: having shown the fate of Ivan from the poem “Orina, the soldier's mother”, he talks about the fate of all the soldiers, speaking of Daria, he talks about the fate of the peasant woman in general. In the Russian literary tradition, there was an established view of poetry as a way of expressing feelings, and prose as a way of expressing thoughts. N. A. Nekrasov was the first to look at this problem differently, saying that it was “from the harmonious combination of this thought-prose with poetry that real poetry comes out.” Such an idea came to Nekrasov not by chance. In a non-poetic era, poetry, if it wanted to find a wide audience, especially in the person of raznochintsy, had to be simplified. It is this process that we observe in the lyrics of N. A. Nekrasov. He finds plots for his poems in prose, essays, magazine and newspaper notes. For example, the plot of the poem "The Carrier" is taken from Pogodin's essay "Psychological Phenomenon". But this is not the main thing in the poetic system of N. A. Nekrasov. He constantly strives to simplify the language of his works. Such lines as Hey, there was a hundred crashing teacher, Byte the coachman, Ivanych Toropka ... - for a long time strengthened the idea of N. A. Nekrasov's poetry as non-aesthetic poetry. Indeed, the poet-citizen is completely freed from the traditions of the "high language" of poetry. The word in the poetry of N. A. Nekrasov, as in prose, acquires a specific meaning. Hence - the completeness or even aphorism of the endings of his poems: That heart will not learn to love, Which is tired of hating. The developed clear position in relation to reality becomes the reason that the poetry of N. A. Nekrasov is devoid of any indecision or ambiguity. Even his lyrics, even painful experiences in the poem “Knight for an Hour” are the result not of doubts, but of a clear consciousness, where is the truth and where is the deviation from it. In his poems, the poet emphasizes what does not correspond to the ideal: the factory for him is “quiet crying and complaints of children”; instead of the magnificence of St. Petersburg, he sees his “sick day”. This absence of doubt suggests that in the poetry of N. A. Nekrasov there is no struggle, there is no gap between the author-poet and the author-man, for there is a poet-citizen. The style of many poems by N. A. Nekrasov deliberately focuses on the folklore style. A huge number of prosaisms and dialectisms fall into his works: “sivka”, “a young woman roars”, etc. Folklore material is widely used. Proverbs are altered, they often contain a symbolic meaning. For example, the proverb “Like Christ in the bosom” takes on a completely different meaning in the words of Obolt-Obolduev about the life of landowners before the reform. Nekrasov can even argue with folk wisdom. For example, to the proverb “Whose strength is the truth”, Nekrasov contrasts his own: Strength does not get along with untruth ... N. A. Nekrasov skillfully uses folk style: negative parallelisms (“I didn’t walk with a flail in a dense forest, // I didn’t lie I’m in a ditch in an impenetrable night ...”), repetitions of the basics of the word (untwisted-braided, kissed-pardoned), pickups of the previous line with its transfer to the beginning of the next one (“I ruined my life for the girl-beauty, // For the girl-beauty, for a noble daughter ...”), characteristic epithets (“white hand”, “violent head”), repetition of prepositions (“in trading villages, in big cities”), etc. A large number of free dactyls appear in the verses, very characteristic of folk poetry. Riddles are introduced into the text of the poem “Who Lives Well in Russia” (“Flies - is silent, lies - is silent, when he dies - then he roars”), which can even take the form of a poetic comparison: And the women pull the beets, Such beets are kind! Exactly the same red boots Lies on the strip. However, despite the fact that folklore elements are found in the lyrics of N. A. Nekrasov quite often, their use was not the goal, but only a means to help the poet achieve the necessary effect in the lyrics. By the way, in addition to elements of folk art, N. A. Nekrasov, where he considers it necessary, also uses genres of urban folklore, such as street romance and chansonette. N. A. Nekrasov is one of the poets who have found their own, unique Muse. According to B. Eikhenbaum, N. A. Nekrasov was a historically inevitable and necessary phenomenon, he managed to hear and realize the voice of history, because he created the type of poetry that was necessary for a new perception of poetic creativity.

As the remarkable literary critic B. Eikhenbaum rightly noted, “among the various contradictions accumulated by Russian life and culture of the last century, there is one, the most painful, that survived until the revolution: the contradiction between “civil” and “pure” poetry, between the poet-citizen and poet-priest." The lyrics of N. A. Nekrasov are an unusual phenomenon in Russian poetry. All of it is imbued with the deepest civic pathos. A contemporary of V. G. Belinsky, N. G. Chernyshevsky and N. A. Dobrolyubov, N. A. Nekrasov became a poet of revolutionary democracy, the voice of the defenders of the people. That is why N. A. Nekrasov, in comparison even with such “citizens” as A. S. Pushkin and M. Yu. Lermontov, completely rethinks the role of the poet and the purpose of poetry in life. His main poetic formula is the words:

You may not be a poet

But you have to be a citizen.

The main thing for N. A. Nekrasov is the social orientation of his poems, which, by the way, explains the words of I. S. Turgenev, who claimed that “poetry did not spend the night” in N. A. Nekrasov’s poems.

Nekrasov's desire to destroy the circulation of the collection of his youthful poems "Dreams and Sounds" is a symbolic fact. The poet breaks not with his unsuccessful poetic past, but with tradition, with learned poetic clichés. Nekrasov - a poet of a non-poetic era - understands well that a poet can no longer be a priest, "a friend of laziness." His rethinking of the entire poetic system begins with a fundamentally new understanding of the role and place of the poet. A true poet for N. A. Nekrasov cannot exist without a close connection with the events of public life. Strings

Even more ashamed in the hour of grief

The beauty of valleys, skies and seas

And sing sweet affection ... -

become the poetic creed of N. A. Nekrasov.

The first sign of a departure from tradition in the work of N. A. Nekrasov is the appearance of a large number of parodies. The essence of these parodies lies not in simple ridicule of what is being parodied, but in the very sensation of a shift in the old poetic form by introducing a prose theme and reducing vocabulary:

Sleep, shooter, while harmless!

Baiushki bye,

The copper moon looks dimly

Into your cradle

And boring, and sad, and there is no one to cheat at cards ...

As long as such parodies have a tangible connection with the original work, there will be a comic effect. When this connection is lost, the problem of introducing new stylistic elements into old forms is solved by itself. We find an example of such use and change of old forms, for example, in the poem “The Carrier”, which is sustained in the old ballad form:

The guy was Vanyukha bright-eyed,

Tall man - Do not succumb to the power of enemies,

Would live a long life!

N. A. Nekrasov widely uses the technique of reshaping old genres, giving them new content. The poet's "Elegy" is a poem about love, but about love for the people: in the poem "Reflections at the front door" there is a bizarre combination of ode and feuilleton. The result is that N. A. Nekrasov reduces the high genres and raises the genres of the tabloid press. According to Andreevsky, "Nekrasov elevated the poetic feuilleton to the value of a major literary work." The change in the poetic system had to be made in such a way that it (the feuilleton) was unequivocally understood as the liquidation of "sacred" poetry. Therefore, a new pathos, a new rhetoric, new themes, a new language appear.

But N. A. Nekrasov needed not only to declare his departure from the Pushkin tradition in Russian poetry, but also to motivate him, to determine his attitude towards him. In the 1856 poem “The Poet and the Citizen,” N. A. Nekrasov gives a kind of Pushkinian subtext of the poet’s theme, but affirms the need to give civic content to creativity. N. A. Nekrasov, perhaps, was the first to write poetry “on the topic of the day”, on social topics. Gradually, even a person in his lyrics becomes unthinkable without a social environment. The poet moves from psychological analysis to social analysis. The state of a person's soul is associated with living conditions. The main theme of the poet's work is "people's sadness", while he manages to arouse in the reader a sense of belonging to the described, to create the impression of not uniqueness, but the generality of the situation. In the poetry of N. A. Nekrasov, in general, there is a great desire for typification. From the particular, he moves on to the whole: having shown the fate of Ivan from the poem “Orina, the soldier's mother”, he talks about the fate of all the soldiers, speaking of Daria, he talks about the fate of the peasant woman in general.

In the Russian literary tradition, there was an established view of poetry as a way of expressing feelings, and prose as a way of expressing thoughts. N. A. Nekrasov was the first to look at this problem differently, saying that it was “from the harmonious combination of this thought-prose with poetry that real poetry comes out.” Such an idea came to Nekrasov not by chance. In a non-poetic era, poetry, if it wanted to find a wide audience, especially in the person of raznochintsy, had to be simplified. It is this process that we observe in the lyrics of N. A. Nekrasov. He finds plots for his poems in prose, essays, magazine and newspaper notes. For example, the plot of the poem "The Carrier" is taken from Pogodin's essay "Psychological Phenomenon". But this is not the main thing in the poetic system of N. A. Nekrasov. He constantly strives to simplify the language of his works. Lines like

Hey, the teacher was a hundred crashing,

Byte the coachman, Ivanych Toropka... -

for a long time strengthened the idea of \u200b\u200bN. A. Nekrasov's poetry as non-aesthetic poetry. Indeed, the poet-citizen is completely freed from the traditions of the "high language" of poetry.

The word in the poetry of N. A. Nekrasov, as in prose, acquires a specific meaning. Hence the completeness or even aphorism of the endings of his poems:

That heart won't learn to love

Who is tired of hating.

The developed clear position in relation to reality becomes the reason that the poetry of N. A. Nekrasov is devoid of any indecision or ambiguity. Even his lyrics, even painful experiences in the poem “Knight for an Hour” are the result not of doubts, but of a clear consciousness, where is the truth and where is the deviation from it. In his poems, the poet emphasizes what does not correspond to the ideal: the factory for him is “quiet crying and complaints of children”; instead of the magnificence of St. Petersburg, he sees his “sick day”. This absence of doubt suggests that in the poetry of N. A. Nekrasov there is no struggle, there is no gap between the author-poet and the author-man, for there is a poet-citizen.

The style of many poems by N. A. Nekrasov deliberately focuses on the folklore style. A huge number of prosaisms and dialectisms fall into his works: “sivka”, “a young woman roars”, etc. Folklore material is widely used. Proverbs are altered, they often contain a symbolic meaning. For example, the proverb “Like Christ in the bosom” takes on a completely different meaning in the words of Obolt-Obolduev about the life of landowners before the reform. Nekrasov can even argue with folk wisdom. For example, the proverb “Whose strength is true” Nekrasov opposes his own:

Strength with unrighteousness

Doesn't fit...

N. A. Nekrasov skillfully uses the folk style: negative parallelisms (“I didn’t walk with a flail in a dense forest, // I didn’t lie in a moat on an impenetrable night ...”), repetitions of the basics of a word (untwisted-braided, kissed-pardoned ), pickups of the previous line with its transfer to the beginning of the next one (“I ruined my life for the beauty girl, // For the beauty girl, for the noble daughter ...”), characteristic epithets (“white hand”, “violent head” ), repetition of prepositions (“in trading villages, in big cities”), etc. A large number of free dactyls appear in the verses, which are very characteristic of folk poetry. Riddles are introduced into the text of the poem “To whom it is good to live in Russia” (“Flies - is silent, lies - is silent, when he dies - then he roars”), which can even take the form of a poetic comparison:

And the women are pulling beets,

Such a good beet!

Just like red boots

Lies on the strip.

However, despite the fact that folklore elements are found in the lyrics of N. A. Nekrasov quite often, their use was not the goal, but only a means to help the poet achieve the necessary effect in the lyrics. By the way, in addition to elements of folk art, N. A. Nekrasov, where he considers it necessary, also uses genres of urban folklore, such as street romance and chansonette.

N. A. Nekrasov is one of the poets who have found their own, unique Muse. According to B. Eikhenbaum, N. A. Nekrasov was a historically inevitable and necessary phenomenon, he managed to hear and realize the voice of history, because he created the type of poetry that was necessary for a new perception of poetic creativity.

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nnovelty of poetryon the. nekrasova

INTRODUCTION

nekrasov poetry lyrics

The President of Uzbekistan Islam Abduganievich Karimov in his work “There is no future without historical memory” rightly noted that “it is impossible to realize oneself without knowledge of true history” Karimov I.A. There is no future without historical memory. In 16 volumes - T .: Uzbekistan, 1999. T.7. - P.150. . In the conditions of modern reality, the socio-cultural function of literature is being updated, which meets the basic conditions of the spiritual and socio-political development program of our state. The President of the Republic of Uzbekistan I. Karimov notes: “One of the main priorities in the implementation of the ideology of national independence is the formation of a spiritually rich and morally integral, harmoniously developed personality with an independent worldview and independent thinking, based on the invaluable heritage of our ancestors and universal values” Karimov I. Idea National Independence: Basic Concepts and Principles. - Tashkent:

Uzbekistan, 2001. - S. 55. .

Creativity N.A. Nekraosva is one of the most original phenomena in the history of Russian literature at the beginning of the 20th century, and is of very deep interest not only in scientific terms, but also from the point of view of the spiritual education of modern youth.

In this regard, an appeal to the study of the poetic heritage of N.A. Nekrasov, from the point of view of his innovative achievements in the general development of Russian poetry, is undoubtedly relevant and timely.

Relevance studies of innovative achievements in the poetry of N.A. Nekrasov is due to the fact that the study of this problem contributes to the understanding and understanding of the specifics of poetry as a kind of literature, which in the work of N.A. Nekrasov acquires completely new properties.

Nekrasov's "new word" consisted not only in a new theme - the theme of the city, the fate of the raznochinets, in an appeal to the people's, peasant life. For Nekrasov, the “prose” of life appears for the first time not with an ironic attitude towards it, but as something directly experienced by the author, which has become the sphere of his consciousness. The composition, the lyrical structure of the poems was determined by the "flow" of life in the author's mind.

Nekrasov's discovery was the image of a new hero of our time - a man of labor in his social certainty and correlation with the environment. This hero is, first of all, a raznochinets and a peasant, the main social forces that came to the fore in the fifties and sixties of the nineteenth century.

These factors indicate an undeniable relevance this scientific study.

Scientific novelty of the research consists in a modern analysis of issues that have so far been insufficiently studied. In the light of modern achievements in literary science, the chosen perspective of the study of poetry by N.A. Nekrasov presents a very wide range of scientific problems that require understanding the specifics and features of the lyrical system of N.A. Nekrasov. Despite the fact that there are separate studies on the issue of interest to us (V.M. Zhirmunsky, A.I. Pavlovsky, B. Korman, P. Rymar, etc.), the problem of innovation in the work of N.A. Nekrasov as a literary problem remains insufficiently studied. In our work, we make an attempt to identify the key moments of the relationship between N.A. Nekrasov with previous Russian poetry and to reveal the features of the innovation of Nekrasov's lyrics.

The degree of knowledge of the problem. In modern literary criticism, in addition to works that seek to comprehensively cover the work of H.A. Nekrasov (V.E. Evgeniev-Maksimov, K.I. Chukovsky, B.M. Eikhenbaum, O.B. Korman, M.M. Gin, M.N. Boyko, A.M. Garkavi, H.N. Skatov, B.Ya. Bukhshtab, H.N. Paikov) there are numerous studies, the authors of which study certain aspects of his poetry: creative connections (V.V. Gippius, B.Ya. Bukhshtab, A.D. Grigorieva), genre originality (K.N. Grigoryan, T. S. Tsarkova, I.A. Dymova), features of the verse (B.V. Neiman, K.D. Vishnevsky, A.A. Ilyushin, Yu.N. Tynyanov, O.I. Fedotov, M.Yu. Lotman), etc. Lyric composition H.A. Nekrasov was studied mainly on the example of individual poems by B.O. Korman, M.Yu. Lotman, M.N. Boyko, A.M. Garkavi, O.I. Fedotov.

Despite the special interest in Nekrasov's poetic works, there is still no work devoted to the innovative forms of the poet.

Purpose of the study - explore the poetry of N.A. Nekrasov and reveal his innovative achievements.

The main objectives of the study:

· To study the traditions of Russian classics in the works of N.A. Nekrasov

ь Traditions of civil lyrics of Decembrist poets

b Nekrasov and Pushkin

b Nekrasov and Lermontov

b Nekrasov and Koltsov

· To identify elements of the "prose of life" in the poetry of N.A. Nekrasov

ь Demonstrate the principles of epic narration in the lyrics of N.A. Nekrasov

ü Explore the cycle of St. Petersburg poems “On the Weather”.

· Consider the specifics of the lyrical system of N.A. Nekrasov

· Expand the thematic range in the lyrics of N.A. Nekrasov.

Methodology and methods of conducting research

The methodology is based on the method of comparative typological analysis. The scientific works of the President of the Republic of Uzbekistan I. Karimov, as well as the works of famous philologists: V.M. Zhirmunsky, A.I. Pavlovsky, Yu. Lotman, L.Ya. Ginzburg, B. Korman, P. Rymarya and others.

object studies were the lyrical works of N.A. Nekrasov.

Subject of study - poetics of the lyrical system of N.A. Nekrasov: type of hero, structure of lyrical narration, rhythm.

Theoretical significance and practical application The work consists in the possibility of using the material systematized in it for further study of Russian lyrics in the aspect of the relationship and innovation of the work of individual writers, as well as in studying the issue of the influence of traditions in historical and cultural terms. The practical significance of this work lies in the use of materials in the classroom and extracurricular activities in school and university education in the humanities.

Approbation of work. Separate provisions of the work were discussed at the student scientific-practical conference (April 2014) at the UzGULYa. (article "Raznochinskaya theme in the lyrics of N.A. Nekrasov")

Work structure.

The work consists of Introduction, two chapters, each of which contains paragraphs, Conclusions, list of references.

ChapterI. -Traditions of Russian poetry in the lyrics of N.A. Nekrasov - contains: Traditions of Russian classics in the works of N.A. Nekrasov, which examines the formation of Nekrasov's lyrics in the context of previous Russian poetry: the civil poetry of A.S. Pushkin, M. Lermontov. The problem of innovative achievements of N.A. Nekrasov, in connection with which the issue of prosaicization of his lyrics, the principles of epic narration, which are demonstrated in the process of analyzing the St. Petersburg poems "On the Weather", are considered.

ChapterII - The specifics of the lyrical system of N.A. Nekrasov - under consideration the function of the author in the role lyrics of N.A. Nekrasov, new aspects of his themes, analyzes poems on a peasant theme ("On the Road", "Schoolboy", "Troika", etc.), raznochinskaya theme ("I'm driving down a dark street at night", "Masha", "Shyness ", etc.), as well as intimate lyrics ("I do not like your irony", "Three Elegies"). The originality in the resolution of the love theme is revealed, in which there are dramatic collisions characteristic of the epic narrative (dialogue, monologue, confession.

In custody the main conclusions and results of the whole work are summed up.

Bibliography represents all the sources used in the work.

CHAPTERI. Traditions of Russian poetry in the lyrics of N.A. Nekrasov

1.1 Traditions of Russian classics in the work of N.A. Nekrasov

Innovation is by no means a formal experiment, not the invention of some unprecedented artistic technique or even a system of techniques. Behind genuine innovation is a new content, a new vision of the world, clothed in a form merged with it. Every great, and even more truly great writer is an innovator. Dante and Shakespeare, Pushkin and Tolstoy, Byron and Balzac, each of them came with his own "new word", with his own system of artistic means, although based on the previous tradition, but signifying a new stage in the artistic development of literature.

Nekrasov acted as a poet of revolutionary democracy, which stood up for the people, proclaiming the demand for a change in reality. He saw this reality in a new way in all its tragic essence, in the injustice of social relations. “... In our poetry,” Dostoevsky said in a speech at the poet’s funeral, “Nekrasov included a number of those poets who came with their“ new word ”Cit. according to the book: B. Bursov. Dostoevsky's personality. L., 1987. P. 101. . In this sense, he should stand right next to Pushkin and Lermontov among poets” Ibid., p. 101. . Somewhat later, Dostoevsky wrote about Nekrasov: “... it was a wounded heart, once for a lifetime, and this unclosing wound was the source of all his poetry, all this man’s passionate to torment love for everything that suffers from violence, from cruelty, unbridled will that oppresses our Russian woman, our child in a Russian family, our commoner in his bitter, so often, share of him ”Ibid., p. 273. . Dostoevsky not only listed here the circle of new social themes with which Nekrasov appeared, but also emphasized that "suffering" shade, that "disharmony" in the perception of life, which, although inherent in Nekrasov's poetry, were not its basis. He exalted this motive of the “wounded heart”, without saying about that optimistic pathos, about that way out of the contradictions that Nekrasov found, believing in the people, in their future.

Nekrasov's creativity reaches its peak on the crest of the revolutionary upsurge of the late fifties and early sixties, reflecting the complex and tense situation that developed at that time. These years marked the onset of the "raznochinny" period.

Nekrasov's world is still devoid of stability and integrity. He is a poet of contradictions, everyday dramas and painful contrasts of contemporary life. His poetry expressed not only acute social conflicts, but also the complex and difficult path of the poet to democratic consciousness, aggravated by moments of personal weakness, the painful elimination of liberal illusions. In a sense of crisis, in the consciousness of the inevitability of the death of the old Nekrasov, he called to Dostoevsky, who also spoke in defense of the humiliated and offended. But unlike Dostoevsky's confused impulses, his religious quests, his spiritual split, Nekrasov steadily walked towards the people, resolutely overcoming hesitation and doubt.

Nekrasov set himself the task of a series of paintings and thoughts to open the eyes of society to the cruel social untruth, to the suffering and death of that particular class in which “there was one essential force of society. The poet, on the one hand, tried to describe with sympathetic features the portrait of this mighty worker and passion-bearer in all his various manifestations, to illuminate with a bright light the whole depth of grief that befell him; on the other hand, compare with this stern, mournful picture heartlessness, vulgarity and impotence of every kind in those areas to which too much was given and from which nothing was required” Art. Rassadin. Russian literature: from Fonvizin to Brodsky. M.: SLOVO, 2001. S. 135. . In these words, although very approximately, the feeling of the new that Nekrasov brought to Russian poetry is conveyed.

Nekrasov's poetry was distinguished not only by the originality of its ideological content, asserting the progressive aspirations of the era, but also expressed the complexity and inconsistency of the consciousness of a person of a new social formation. The formation of a new democratic consciousness was reflected in the work of Nekrasov, “the appearance of a commoner as the main, mass figure in the liberation movement” Prutskov N.I. Russian literature of the nineteenth century and Russia. M.: Enlightenment, 1983. S. 83. and at the same time, the "suffering" of the sacrifices made by these figures in the name of creating a revolutionary theory, their internal hesitations and searches.

The poetic world of Nekrasov is dramatically tense. His poetic impulse is weighed down by harsh, painful experiences. “I walked towards the goal with a hesitant step,” the poet said about himself. Ibid., p. 85. . Going to the new, to the triumph of ideals, he painfully felt the need to break with the old - with his habits, with his former friends, with the illusions of the past.

Nekrasov, being personally weak, hesitated between Chernyshevsky and the liberals, but all his sympathies were on the side of Chernyshevsky. Nekrasov, due to the same personal weakness, sinned with notes of liberal servility, but he himself bitterly mourned his “sins” and publicly repented of them” Ibid., p. 185. . Of course, there is no reason to overestimate Nekrasov as a folk poet, as a poet of democratic lyrics. But at the same time, one should not simplify the long and complex path of the poet, pull all his work to straightforward standard formulas.

Nekrasov is a huge phenomenon in Russian poetry, and his “complexity” is immeasurably more meaningful and significant than that simplified appearance, which is often canonized.

Summing up his life, the poet wrote:

The struggle prevented me from being a poet,

Songs prevented me from being a fighter.

This is not a recognition of the opposition between "struggle" and "songs", but a recognition of the difficulty of such a path. Nekrasov does not regret this, but, on the contrary, sees his justification, his right to immortality, in the fact that:

Who, serving the great purposes of the age,

He gives his whole life

To fight for the brother of man

Only that “outlive you ... N.A. Nekrasov. Complete Works: In 15 volumes. T. 3. Leningrad: Nauka, 1985. S. 175. In the future, quotes from poems by N.A. Nekrasov will be cited according to this edition, indicating the volume and page in parentheses.

Nekrasov saw his civic duty in serving the people. He overcame the liberal illusions, the beautifully stuffy dreams of the noble Rudins of his day. He felt a sense of responsibility to the people for his work as a poet and citizen, which animated the democrats. That is why he made to himself those high, severe demands of moral purity, selfless, sacrificial service to the homeland and people, which he considered obligatory for the leader. This ideal was proclaimed by him in the poem "In Memory of Dobrolyubov":

You were harsh, you were young

He knew how to subjugate passion to reason.

You taught to live for glory, for freedom,

But you taught more to die.

Consciously worldly pleasures

You rejected, you kept purity,

You did not satisfy the thirst of the heart,

As a woman, you loved your homeland ... (2; 173).

Such is the image of a fighter-citizen, in which the ascetic principle, self-restraint is emphasized. Such is Rakhmetov Chernyshevsky. In the light of these demands, Nekrasov realized the insufficiency of his "sacrifice", his "service", and this led him to "repentant" motives. These sentiments are ultimately conditioned by the social situation, the unfulfilled revolutionary situation of the sixties, and the passivity of the popular masses.

Nekrasov solved the problem of personality, personal happiness in finding common ground with the destinies of the people, in merging the personal and the national. This was the main thing not only in his biography as a writer, but also in his work. Therefore, previously opposed spheres of consciousness - the poet and the people - have become mutually correlated, striving for merging. The theme and images of people from the people and, moreover, people's awareness of life determined the poet's lyrical world and his poetic system. Overcoming the subjective beginning, which affected the feeling of loneliness, the poet turned to the people.

Genuine innovation does not happen from scratch, since any innovation is at the same time a continuation, a further development of what has already been outlined, which gradually matured in the work of its predecessors. Without the poetry of Pushkin, Lermontov, Koltsov, Nekrasov's path would not only be much more difficult, but his conquests, his innovative achievements would hardly have been possible.

The article by Vas. Gippius "Nekrasov in the history of Russian poetry of the 19th century". The author of the article proceeds from the absolutely correct position that “Nekrasov is not an imitator, but a successor of both Koltsov and Lermontov, but to an even greater extent - an original poet-innovator; that Nekrasov is the heir of Pushkin, despite the deep and fundamental novelty of his poetry ”V. V. Gippius. Nekrasov in the history of Russian poetry of the 19th century // In the book: V. V. Gippius. From Pushkin to Blok. M.: Apocrypha, 2001. S. 237. . Nekrasov in the work of his predecessors, first of all, took what he needed, contributing to the solution of the tasks he set for his poetry.

The political purposefulness and pathos of many of Nekrasov's poems echo the civic poetry of the Decembrists. Nekrasov's poetic declaration "The Poet and the Citizen" develops that understanding of the tasks of poetry and the duty of the poet, which was proclaimed by K. Ryleev: "I am not a poet, but a citizen!" - Nekrasov's demand for the ideological, civic purposefulness of poetry, put forward by Ryleev, is expressed in words paraphrasing Ryleev's verse:

You may not be a poet

But he must be a citizen (2; 5).

Fully accepting the Decembrists' demand for the propaganda, revolutionary role of poetry, he also continues many of the artistic principles that distinguished Decembrist poetry: its oratorical pathos, its political phraseology, the desire for clarity and simplicity of form. But the civil poetry of the Decembrists was largely rhetorical, overflowing with historical props and reminiscences. The theme and image of the people sounded in it still abstractly and (fluently, while Nekrasov's poetry has a distinct democratic basis, it is truly popular and addressed to the people.

Pushkin - "the beginning of all beginnings", according to Gorky - created the poetry of realism, poetry freed from literary conventions, the first to bring it closer to life. The strength of Pushkin's poetry was in its truthfulness, in its openness to all phenomena of reality, in the truthful expression of both the inner world of man and the diversity of social life in its historical movement and development.

Nekrasov assimilated Pushkin's poetic culture, the humane pathos of his poetry, the objectivity of his artistic method, continuing those aspects of Pushkin's poetry that especially fully conveyed the phenomena of life in their real essence, in their social conditioning. Such works by Pushkin as "Autumn" or "My ruddy critic, fat-bellied mocker" suggested to Nekrasov the way to liberation from poetic stencils, to the convergence of life and poetry.

The indignant pathos of Lermontov's poetry, its incriminating beginning with Nekrasov, received even greater sharpening, even greater political certainty. Romantic passion of Lermontov's poetry, his rejection of social reality, naked lyricism. And the tragic disclosure of the lyrical "I" also affected the artistic method of Nekrasov. The energy of Lermontov's verse, its heightened emotionality and intonational pathos were especially manifested in such works by Nekrasov as "Shut up, Muse of revenge and sorrow", "Reflections at the front door", "Knight for an hour". From Lermontov came Nekrasov's appeal to three-syllable sizes - dactyl, amphibrach, anapaest. The accusatory pathos, passion, tragic excitement of Lermontov's poetry affirmed the image of a poet-fighter, a Protestant poet, which Nekrasov acquired a more concrete image of a poet-citizen, a democrat in its spiritual and social content.

Koltsov's poetry was of particular importance, of fundamental importance for Nekrasov. After all, it was Koltsov who put forward a new hero of poetry - the peasant, approached him from the standpoint of the people, turned to folklore as the main source of creativity. Belinsky wrote about Koltsov's poetry: “Koltsov knew and loved peasant life as it really is, without decorating or poeticizing it. He found the poetry of this everyday life in everyday life itself, and not in rhetoric, not in poetry, not in a dream, not even in his fantasy, which gave him only images to express the content already given to him by reality. 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. Rassadin. Decree. op. S. 80. . This characteristic of Koltsov's poetry is applicable to Nekrasov's work as well.

It is difficult to exaggerate the importance of Koltsov's poetry for the formation of Nekrasov's creativity, for mastering the secret folk song.

The poetic world of Koltsov recreated the folk, peasant awareness of the life of nature. The pathos of peasant labor, the reproduction of the typical features of folk psychology, the authenticity of song rhythms, intonations, the colorfulness of the folk language were assimilated and continued by Nekrasov.

However, the poetic horizon of Nekrasov is immeasurably wider than that of Koltsov. Nekrasov does not close himself within the limits of peasant life, like Koltsov, but includes in his poetry all the diversity of reality.

Nekrasov continued and made dominant those tendencies in the poetry of his predecessors that turned out to be close to him. And at the same time, we quite clearly feel the poetry of Nekrasov, his verse as a new, innovative system that did not exist before him.

1.2 "Prose of life" in the poetry of N.A. Nekrasov

A striking example of Nekrasov's innovation was the poem "I'm driving down a dark street at night" (1847), which demonstrated the new principles of his lyrics. The very theme was already new - the tragic fate of the poor raznochintsy, crushed by social injustice, the cruel contrasts of the big city. This theme is embodied by the poet in an emphatically dramatic plot and everyday details that are stunning in the truth of life.

N. G. Chernyshevsky subsequently wrote (in 1878) that this poem is the first of those "which will remain for a long time the most beautiful of Russian lyric plays." According to him, “it was the first to show that Russia is acquiring a great poet” N.V. Osmakov. Russian literature in historical and functional coverage. M.: Nauka, 1982. S. 61. .

The pathos of social protest and the unusually sharp unvarnishment of the truthful depiction of life outraged and indignant the reactionary camp. So, the censor E. Volkov, in a report to the Minister of Education, reported in 1858 about the “immorality” of this poem, that Nekrasov sees everything in “black color”: “It is impossible to read this terrible story without shudder and disgust! There is so much immorality in it, so much horrific poverty!.. And there is not a single gratifying thought! Mr. Nekrasov is one of the darkest and that he sees everything in black ... As if there is no longer a brighter side? Cit. according to the book N.I. Prutskov. Decree. cit., 187. .

This evidence is important to us because it shows with our own eyes how tangible and harsh was the "new word" of the poet, who violated all the canons not only of the aesthetic, but also of the ethical order in the eyes of the adherents of government reaction.

The critic of Otechestvennye Zapiski wrote under the direct impression of Nekrasov’s newly appeared poems, and above all “Am I going at night ...”: “Their distinguishing feature is a sharp, penetrating discovery of bodily and mental suffering, in which there is no mercy for sensitivity . The author does not cover his paintings even with a light veil, out of condescension to weak eyes; does not put a mute on the cries of a sick heart, but allows him to scream with all the power of a natural cry ”Ibid., p. 187. . The merciless truth of life, the passionate excitement of the poet, the sharpness of everyday colors, the feeling of the author's direct experience, the sharpness of everyday tragic details - all this was new for the poetry of those years.

Ap. Grigoriev. “We are not dealing with the moral,” he wrote about “I’m driving at night ...” - but only from the aesthetic side: these tense expressions of the most extreme and rare sorrows or life-giving inclinations, expressions that neglect verse, language, or constantly looking for brighter, sharper shapes, thicker colors - for a long time, if not forever, the possibility of enjoying the true, slender, calmly graceful is undermined in the soul. Grigoriev. Works by N.A. Nekrasov // P.A. Annenkov. Forties ... Tomsk: Aquarius, 1998. S. 219. . For Ap. Grigoriev, the bareness of feeling, the extreme "condensedness" and sharpness of Nekrasov's colors, his poems that beat like a hammer, the very "disharmony" of the poetic worldview are unacceptable.

But already in this poem the main properties of Nekrasov's poetry appeared. He refers to the facts of life, to the situation, the authenticity of which he emphasized in a purely personal tone of the story on behalf of the author. (The degree of autobiographicalness is not essential here.) This is the narration of the participant in the unfolding drama of life himself, who painfully survived it. This is the confession of a man who found himself on the verge of despair, hiding nothing in a tragic situation, excitedly telling about it in words devoid of literary conventions.

Let us recall the "confessions" of Dostoevsky's heroes, the whole atmosphere of his novels such as "Crime and Punishment". Nekrasov's poems grew up on the same socio-psychological soil, marking the protest of the "humiliated and insulted" against the ruthless essence of social relations based on the power of the "heartless purebred". They began as a literature that rebelled against capitalist society in defense of the rights of a destitute and restless person.

Nekrasov talks about the everyday drama, typical of St. Petersburg, in which such terrible tragedies occur every day. Despite the small volume, the poem "Am I going at night ..." has a sharp plot. He managed to succinctly, but exhaustively, characterize the heroine of the cruel St. Petersburg drama, emphasize the typical nature of the character he created:

From childhood, fate disliked you:

Well, your gloomy father was poor,

You got married - loving another,

Husband you fell unkind to the lot:

With a mad disposition, with a heavy hand;

Did not submit - you went free,

Yes, not for joy, she agreed with me ... (1; 62).

This is a man with a crippled, broken life, who grew up in poverty, in the heavy oppression of a terrible, inhuman life. But the heroine is not broken by the difficult, painful circumstances of life. She found the strength and courage to break with family and everyday bondage: “You didn’t submit - you went free ...”. This is already the forerunner of a new generation of "children" that powerfully declared itself in the sixties. But "will" also turned out to be unhappy. Deprivation, hunger, cold - the fate of the poor - haunt the young couple. The death of a child completes the tragedy. There is no money for food or for a coffin for a child, and the young woman decides on the only opportunity left for her - like Sonya Marmeladova, to go out into the street to sell her body.

A poem, a kind of story in verse, contains a broad social and psychological content. In a more developed form, its plot can form the content of not only a short story, but also a novel. Nekrasov introduced dramatic collisions and intense plot conflicts into poetry.

Nekrasov's poetry is internally polemical in relation to the environment. Its pathos lies in exposing traditional morality, inert forms of social life, hypocrisy and falsehood of representatives of the ruling classes. Therefore, in his works, the satirical principle plays such a large role, not to mention the works of the satirical genre, such as "Recent Times", "Ballet", "Contemporaries". But the matter is not limited to the "open" satirical orientation, the obvious "tendency" of Nekrasov's poetry.

Nekrasov's "new word" consisted not only in a new theme - the theme of the city, the fate of the raznochinets, in an appeal to the people's, peasant life. Of course, both the themes and the problems put forward by Nekrasov are important and indicative, marking a new stage in the country's historical development, the growth of social contradictions. But the main thing was the very attitude to the phenomena of reality, which Nekrasov expressed with such force and poetic completeness in new artistic forms.

1.3 Cycle of St. Petersburg poems "About the weather"

The courage of the poet is amazing, who was not afraid to speak out against the established poetic canons that consolidated the traditionally prosperous vision of the world. He seeks to free objects and phenomena of the surrounding world from the halo of false "poetry", from idealized perception, to show their true essence, to return their real being.

Such, for example, is his cycle of St. Petersburg poems "On the Weather", in which this "polemicism", this struggle against "decoration" was particularly acute. Petersburg in these verses is given in its everyday life, in its everyday tragedy, polemically opposed to the solemn grandeur of Petersburg of the Bronze Horseman:

The day begins ugly -

Muddy, windy, dark and dirty.

Ah, if only we could look at the world with a smile!

We look at him through a dim web,

What, like tears, flows through the windows of houses

From damp fogs; from rain and snow (2; 175).

In this world, seen by the poet in its negative, everyday appearance, a person is humiliated and crushed. The reality surrounding the poet is shown in their social essence, real images, meaningful and appreciated by the poet - in clear and concrete images, in which, as in a focus, its typical features are collected.

In Nekrasov's poetry, "high" and "low" seem to have swapped places. While for the poetics of classicism the ideals of noble statehood, the brilliance and splendor of the absolutist, feudal state were “high”, and the people, real everyday life were “low”, Nekrasov’s “high” poetic features and qualities are endowed with the people, people’s life, the ideal of the worker is put forward, and in a “low”, debunking and contemptuous “syllable” he speaks of landowners-feudal lords, plutocracy, the ceremonial tinsel of the facade of the empire. Therefore, both the capital itself and the entire urban landscape appear to him in an unadorned, stern guise. The city appears in the undisguised nakedness of poverty, sorrow and grief, in its everyday, terrible, tragic everyday life.

The very range of topics, the dramas of life, the everyday life of the capital attract the attention of Nekrasov. "A Moral Man", "A Beautiful Party", "In the Hospital", "Poor and Smart", "Cheap Purchase" - all these are original urban short stories, pictures of morals. If such works as “About the Weather”, “On the Street”, gravitated towards plotless essay sketches, “physiological essays” of the “natural school”, then “Poor and smart” or “Cheap purchase” are short stories in verse with a concisely retold plot .

Of course, "prosaic" images and vocabulary were familiar to Russian poetry even before Nekrasov (suffice it to recall Krylov's fables, "Eugene Onegin" and Pushkin's "House in Kolomna"). But in Nekrasov this “prose” of life appears for the first time not with an ironic attitude towards it, not as “a motley rubbish of the Flemish school”, but as directly experienced by the author, which has become the sphere of his consciousness. And the composition itself, the lyrical structure of the poems of this cycle was determined by the "flow" of life in the author's mind. This was also the discovery of Nekrasov.

Nekrasov is merciless, the very landscape of the city, its appearance becomes a means of exposing its hostility to man:

The wind is something suffocating beyond measure,

An ominous note sounds in it,

All cholera - cholera - cholera -

Typhus and all sorts of sickness promises!

Everyone is sick, the pharmacy triumphs

And brews her potions in droves;

In the whole city there is no man

In whom bile would not boil with a key ... (2; 176).

You can't confuse these poems with anyone else - they are so "Nekrasov's"! Nekrasovskiye not only by the emphasized "prosaic" intonation, syntax, epithets, vocabulary, but, above all, by their inner experience: nervous, feverish agitation, a keen sense of hostility to the environment, anxiety, expectation of an impending catastrophe (Blok's disturbing lyrics echoed such Nekrasov's poems ).

An important discovery in poetry was the implementation by Nekrasov of the principle of "polyphony" in his poems, which had previously been the lot of prose. The poet managed to convey in his works a combination of different consciousnesses, different “voices” objectified in the heroes of his poems and poems: “Nekrasov caught many different human voices,” notes S. Marshak, “preserving for us not only intonations, but even the timbre of the voice "a ten-pood general", a young peddler, commercial bigwig Zatsepa ... "S.Ya. Marshak. Education with a word (articles, notes, memoirs) // Collected works in eight volumes. Volume 7. M .: Fiction, 1981. P. 143. . This "polyphony" is characteristic not only for Nekrasov's poems, but also for his lyrics by B.O. Korman. Selected works on the theory and history of literature / Foreword. and compiled IN AND. Chulkov. Izhevsk: publishing house Udm. un-ta, 1992. S. 178. .

The striving for the "polyphony" of poetry by no means excluded the possibility of a "monologue" verse, did not cancel those confessional verses that shock with the bareness of feeling. This is precisely what Nekrasov's lyrics turned out to be so close to Blok.

No less innovative and productive were those poems by Nekrasov, in which he proceeds to dramatize poetry, implements a plurality of “voices”, provides an opportunity for different characters to “speak out”. Naturally, this primarily applies to his poems, in which the presence of independent characters included in the plot, placed among themselves in complex relationships, determined the presence of scenes and dialogues in which their characters were revealed. Nekrasov often carries out the same principle in lyrics. Such poems as "Masha", "In the Hospital", "Village News" dramatize the plot, reveal the point of view and characters of the characters, including them in the author's narrative. In Nekrasov's poetry, for the first time, the voices of life sounded, representatives of different social groups, estates, and professions spoke. Never before has Russian poetry known such an abundance and variety of intonations, vocabulary, and phraseology.

With the lyrics of Nekrasov, a new "lyrical hero" came into poetry. We are talking not only about those characters in Nekrasov's poems who received their independent existence, social, and psychological characteristics, but about the poet's lyrical "I" revealed in his poems, about the lyrics of "self-expression", that "confessional" lyrical manner, which with such force affected the work of Nekrasov. One should not identify the lyrics of "self-expression" with subjectivism, with the opposition of the poet's inner world to the reality surrounding him. The lyrical "I" of the poet, his "self-expression" is at the same time an expression of the poet's consciousness, a recreation of a typical experience, an objectification of the "lyrical stream" of consciousness. For Nekrasov, even in these poems, what is important is not the impressionistic “fluctuacy” of sensations, not the nuances of psychological states, but the general thing that stands behind them, typical of the consciousness of a person of his era.

Lyrics of Nekrasov are autobiographical, the pose, any mediation of experiences is alien to him. In love lyrics, Nekrasov speaks with the utmost truthfulness about his feelings. He, as it were, analyzes the very process of the development of feeling.

Nekrasov boldly expanded in poetry (and especially in lyrics) the sphere of personal experience and experience, endowing the poetic image with independent significance. Lyricism was at the same time both self-expression and the statement of the dramatic beginning. Let's take "Orina - a soldier's mother" as an example. The "theme", "internal image" of the poem is deeply emotional: the inconsolable grief of a mother who has lost her beloved son. But this “internal image”, this “theme” immediately acquires from Nekrasov a specific social content, a distinct ideological, social sound. After all, the death of a son is a consequence of inhuman and cruel social orders, cane discipline, and the wild arbitrariness of the bosses.

The complex ideological content of the "internal image" finds expression in the plot structure of the poem and in the concrete-real image of the old peasant woman Orina, the "soldier's mother". This image is typical. It embodies the features of spiritual purity, humility, religious humility - typical of a Russian peasant woman from the time of serfdom. But the "content", the objectification of the "inner image" does not end there. In the plot of the poem, typical, specific features of reality itself appear, are fixed - the inhumanity of the conditions of soldier's service, barracks discipline, the arbitrariness of the authorities and even cruel punishment with gauntlets (for censorship reasons, this is referred to by a hint - "Aesopian language").

The plot disclosure of the lyrical content, the “inner image” brings Nekrasov’s poem closer to the prose narrative, as well as the story itself on behalf of Orina, conveying her perception, her understanding of what is happening and the features of her speech manner (“narrative”). The drama of events is emphasized by the inclusion of the figure of Ivanushka, his consciousness, his life experience in Orina's narrative. Orina reports what she learned from her son's stories, Ivanushka's "voice" appears in her narrative and directly (motivated by the accurate transmission of his dying speeches).

But after all, Orina's point of view - Christian humility - is unacceptable for the author himself! Moreover, Nekrasov himself holds the opposite view, rebels against the oppression and humility of the peasantry, which arose as a result of centuries of oppression. However, he does not condemn Orina, and her very story makes her perceive as a consequence of this backwardness, transferring his condemnation to that social order, that ideology, which led to humility. In the poem, this authorial attitude is, moreover, fixed in the plot: the author meets Orina during a hunting overnight stay.

Few words, but grief river,

A bottomless river of grief!

Internal tension, the pathos of Nekrasov's lyrics affected the drama of his poems, which are a kind of dramatic monologues. The tragic collision of the hero with a reality hostile to him, the conflict of personal feelings with the inevitability of duty, is the inner basis of his lyrical poems, which determine the drama of their lyrical construction, the pathetic excitement of intonation:

The heavy cross went to her share:

Suffer, be silent, pretend and do not cry;

To whom and passion, well youth, well will -

She gave everything, - he became her executioner! (1; 164).

But not only poems in which the author himself acts as a lyrical hero are an expression of this inner drama, but such poems as “Orina is a soldier’s mother”, “Cheap purchase”, in which the narration is not from the author, but on behalf of the narrator.

In these verses, the intonation is not of a calm narrative, but of an excited monologue, designed to be spoken aloud, to the listener. Nekrasov introduced his own special intonation into Russian poetry. This is not just the intonation of colloquial speech: in it, sharp transitions from irony to pathos, from everyday "talk" to the drama of pathetic "maxims" are sharply felt. Here is an example of verse speech, characteristic of Nekrasov, in which inner excitement breaks through its colloquial “shell”, which affected the brevity of sentences, in sharp intonation transitions (“Reflections at the front door”):

Night. We were able to enjoy everything.

What are we to do? I do not want to sleep.

We are now ready to pray

But we do not know what to wish (2; 47).

Here, inner agitation, as it were, breaks through the restraint of the narrative intonation (in the question "What should we do?"). By the way, this intonation was deeply assimilated by Blok. And here is a purely everyday, skazka intonation, so frequent with Nekrasov in his poems dedicated to village life (“Village News”):

"How's the harvest?" - "Nothing.

Another grief: stolen

A lot of your fishing line.

We already called the officer ... ”(2; 75).

It seems as if the poet took and wrote down the conversation he directly heard. But how much expressiveness in this story, both bitter, and affectionate, and layered with humor. This expansion and enrichment of the verse went in two main ways: by including folk song rhythms and intonations in the verse, which is especially important for Nekrasov's poems ("Pedlars", "Frost, Red Nose", "Who Lives Well in Russia"), and by enrichment of the verse with colloquial intonation, which deformed the usual forms of verse, the frozen inertia of the metrical schemes of poetry in the early 19th century. In essence, in our time, this principle of convergence of verse with modern colloquial speech was repeated by Mayakovsky.

We see how complex the internal structure of Nekrasov's works is, combining different genre and structural principles. Therefore, it is difficult, even impossible, to attribute so many of the poet's poems to any traditional genre. After all, the same "Orina - a soldier's mother" can be called both a "ballad", and a small poem, and a kind of "physiological essay". It would be more correct to define this “poem as a story in verse, as a staged novel, which emphasizes its new genre quality” B.O. Korman. Selected works on the theory and history of literature. Decree. op. S. 212. . Such verse "short stories" are the poems "Village News", "Princess", "Schoolboy", "Masha", "Vlas" and many others. The only difference is that in such poems as "Masha" or "Schoolboy", Nekrasov refuses the narrator, does not "stage" the action, but tells the story on behalf of the author. In "Masha", for example, a whole short story is also conveyed with a plot outline, a clearly outlined plot: the story of the frivolous fashionista Masha, who makes her husband, an honest worker, work beyond his strength to fulfill her whims, thereby dooming him to an early death. Here, the “internal image” of the poem is revealed in the image, or rather, the opposition, of two characters: (empty and stupid Masha and her husband, a man of advanced views, kind and noble. So the lyrical content is objectified (although this does not exclude the author’s attitude, internal lyricism and emotional coloring of the poem).

The “polyphony” of Nekrasov’s poetry, its centrifugal nature, the desire to establish in the lyrics the inner “experience” of the poet in objective events and characters of the external, objective world enriched the gains of realism in lyrics,” researcher B.O. Korman. Selected works on the theory and history of literature. Decree. op. S. 98. . That is why the artistic discoveries of Nekrasov, and above all his lyrics, have become an inalienable property of realist poetry.

The openness, centrifugal nature of the artistic structure of Nekrasov's works was also reflected in such a well-known work of his as Reflections at the Front Door. And in it merge in a kind of unity - the lyrical monologue of the author and the chain of objective "pictures" of reality that exist independently of the subjective-lyrical consciousness. Here is a sternly accurate picture of the arrival of beggars, ragged peasants crowding at the front entrance of a noble nobleman, and a contrasting description of the idle life of the “owner of luxurious chambers”, “serene Arcadian idyll”, and a powerful final picture of suffering peasant Russia, barge haulers walking towed along the Volga.

"Reflection at the front door" is difficult to attribute to any canonical genre: here is an ode, an elegy, a "physiological" scene, and a political invective. In the same way, there are various stylistic layers in it: high pathos of oratorical intonation, odic speech, “prosaic” physiological essay, and elegiac reflections, and satirical vaudeville vocabulary and the melody of poems about the “owner of luxurious chambers”, etc. All together and creates that "polyphony" that distinguishes the work of the poet, expands the traditional genre boundaries and means of poetic expression.

All these paintings are different, their tone is different, the author's attitude towards them, the very manner of depiction, even style. The result is a stark picture of the helpless despair of the peasants. Behind the restrained factuality of this scene, one can feel the author's seething anger, his compassion for the plight of the peasant. There is a different tone in the description of the “owner of luxurious chambers”: there is a caustic irony here, the undisguised contempt of the author, who boldly plucks falsehood from this “Arcade idyll” of the hero, “quietly cursed by the fatherland”. Here appear deliberate, almost parodic prettiness, elegance of style. And in conclusion, the finale, dedicated to the fate of the people, sounds like a solemn and sad requiem. In "Reflections ..." "polyphony" is achieved not by the introduction of a number of different "heroes", but by the difference in the author's voice, which includes all the variety of phenomena of reality.

Nekrasov also created a new genre of the poem - close to the folk epic, with a free and wide alternation of epic and lyrical elements, with accurate modeling of typical characters, with a wealth of song elements. P. Sakulin wrote about Nekrasov’s poems: “His poetry is full of sounds and noises of folk Russia: now there is a green noise, the green noise of a golden spring, then the wind howls sadly in the cold of autumn or in bad weather of winter; then the river flood booms, then the crackling of the governor Moroz is heard, then the groans of the peasant soul are heard, then the music of a folk song is heard. The poet has learned to look at life through the eyes of the people, to speak their language, to write in their taste. according to the book N.V. Osmakov. Russian literature in historical and functional coverage. Decree. op.. with. 29. .

The critic correctly conveyed the diversity, the richness of not only the content itself, but also Nekrasov's artistic means. His poems can in no way be confined to any traditional genre, they were a new word in poetry, opened up new paths and opportunities for it. Nekrasov's poems are characterized by the same narrative novelistic character as his lyrics. See: N.V. Osmakov. Russian literature in historical and functional coverage. Decree. op.. with. 84. .

Nekrasov approved new genres and new artistic principles in lyrics, but his creation of new epic genres was no less significant. In the work of the poet of revolutionary democracy, epic works, poems occupy the main place. It was in the epic, in the poems "Pedlars", "Frost, Red Nose", "Who Lives Well in Russia" Nekrasov came closest to the principles and forms of folk poetry, created new poetic genres. For such poems by Nekrasov as "Pedlars", "Frost, Red Nose" and in particular "Who Lives Well in Russia", in fact, there are not even precedents in the previous tradition, either in Russian or in world literature. After all, Koltsov's poems, even his ballad experiments like "Khutork", do not go beyond the lyrical genre. Only Nekrasov achieved such a breadth of coverage of life, such an amazing fusion with the people's consciousness, which contributed to a genuine penetration into the folklore element.

Nekrasov's discovery was the image of a new hero of our time - a man of labor in his social certainty and correlation with the environment. This hero is, first of all, a commoner and a peasant, the main social forces that came to the fore in the fifties and sixties.

The place that a person occupies in society, in the labor process, is for the poet a measure of his value. Heroes who belong to the dominant, exploitative circles (landlords, bureaucratic officials, plutocracy) are shown in a negative, satirical aspect. With ardent sympathy, people of labor, modest urban workers, peasants, and workers appear in his poems. In The Railway, the creative labor of the masses of the people (in this case, the construction workers of the railway) is contrasted with particular completeness and sharpness against the vile money-grubbing and embezzlement of the tsar’s henchmen and contractors, who robbed and oppressed the working workers (“Railway”).

This noble habit of work

We would not be bad to adopt with you ...

Bless the work of the people

And learn to respect the peasant (2; 168).

N. Dobrolyubov determined the significance of the new aesthetics, that turn of literature to life, which was outlined by Pushkin: “Before Pushkin, the disgust from any natural feeling and the correct image of ordinary objects extended to the point that they tried to distort nature itself, according to the perverted taste of the educated public. Pushkin aroused indignation for a long time with his boldness to find poetry not in the imaginary ideal of the subject, but in the subject itself, as it is. But the strength of his talent, the ability to sense, capture and recreate the natural beauty of objects - defeated the wild persistence of dreamers, and in this approximation to realism in nature lies Pushkin's greatest literary merit. Rassadin. Decree. op. S. 145. . It was this path that Nekrasov followed.

...

1. Novelty of content

Let us turn to the example of the poem "Vlas". Nekrasov for the first time depicts a man from the people not from the outside, as a pity-worthy "little man", but from the point of view of the people themselves. The voice that tells about the rebirth of Vlas belongs to the same peasant as Vlas himself, the bearer of the same faith common to the whole people (both superstitions and poetic ideas). With such an image, a person from the people appears as a complex personality, passing through his life zero, full of significance.

Nekrasov leaves far "behind the scenes" an educated person with his intellectual pity for the "little brother" peasant. In his poems, the people speak for themselves and appear not as miserable and downtrodden, but as powerful, consciously believing, preserving national moral norms. The people's truth is harsh: sin will be paid for by hellish torment, and the worst of sins is to "take off the shirt from the plowman." The cause of God is always the cause of the people. Unjustly acquired wealth is opposed to "labor mite". Each working peasant turns out to be a guardian of God's cause and a patriot: with his feasible gifts, his native land flourishes and is adorned with holy churches. The poem also contains a hidden warning to the oppressors of the people, to everyone who has acquired unrighteous wealth, to everyone who robbed the plowman, "stole the beggar's bag."

Like Turgenev in prose (in "Notes of a Hunter"), so Nekrasov in verse addresses the people from a new, unprecedented side, finds in their language and thinking the richest source of poetry, beauty, truth.

On the examples of other poems, one can see that the range of life phenomena depicted by the poet is expanding significantly. (“Masha”, “On the street”, “About the weather”, “Songs about free speech”, etc.)

If we compare the artistic world of Nekrasov and any romantic poet according to one criterion: who is the lyrical hero of the poems, the difference will become obvious. The hero of romantic works is most often the poet himself or his lyrical counterpart. Deviations from this rule are rare and have the character of conventionality, stylization. (For example, “If only I knew, if I knew ...” A.K. Tolstoy is a girl’s song.) In Nekrasov, the heroes of poems are a reflective intellectual (“Knight for an Hour”), an awkward raznochinets (“Shyness”), a reckless peasant- an orphan (“Kalistrat”), an old messenger (“On the Weather”), a coachman (“On the Road”), an old woman who lost her breadwinner son (“In the Village”), an ascetic woman (“Fragment”), a former censor ( "Newspaper"), the husband of a capricious lady ("The First Step to Europe"), a rebellious young woman, a crafty matchmaker ("Songs") and many others. This creates the effect of poetic "polyphony". Nekrasov's lyrics are often compared with a kind of poetic theater, where many characters speak in their own voices, express ideas and feelings typical of their circle. Among them are dear to the author (people from the people) and hostile to him (“oppressors”, stranglers of free speech, embezzlers and bribe takers, etc.). The author gives the floor to everyone, but the sincerity of the former causes sympathy and admiration, while the frankness of the latter gives rise to anger and contempt. The lyrical and satirical poles in Nekrasov's poetry are connected by a single axis of a common poetic device: the hero's self-disclosure through his speech. The line between poetry and satire is elusive.

But even turning to the traditional poetry themes of love, nature, creativity, Nekrasov introduces his “new word” into them. Let's trace this on the example of several love poems: “I don’t like your irony ...”, “We are stupid people ...”, “About the letters of a woman dear to us!”, “How meek you are, how obedient you are .. ., "Tears and nerves". These poems, inspired by the history of the poet's relationship with A. Ya. Panaeva, depict a love feeling in its evolution: from the heyday, when even quarrels do not overshadow happiness, to complete extinction, when even the memory of former relationships becomes painful and tiresome. Love for a woman is portrayed by Nekrasov as part of life, subject to all the vicissitudes of life. She is devoid of that halo of miraculousness, divinity or tragedy, which romantic poets surround her with.

Both in mastering the folk theme and in interpreting the theme of love, Nekrasov's poetry relies on the experience of previous prose, absorbs its qualities: in-depth psychologism, socio-typological analysis, interest in modernity, a critical attitude, realistic depiction techniques.

2. Form innovation

The novelty of its form also became a reflection of the innovative content of Nekrasov's poetry. Here are some of the most significant features:

More active use of three-syllable meters (“On the road”, “Peasant children”), which give melodiousness, and sometimes epic lyrical speech.

Approval of dactylic rhyme on a par with masculine and feminine (“To the Sowers”).

Introduction to speech of prosaisms, dialectal, professional, slang words to characterize the character ("On the Road").

The use of various rhetorical traditions of previous poetry: the high style of ode or satire of the early 19th century, the lexical and syntactic structure of Pushkin's lyrics ("Elegy").

Widespread use of motifs, images, techniques of folk poetry (of various genres: from song to fiction) ("Kalistrat", "Songs").

Summarize. Nekrasov, of course, is both a successor to the traditions of Russian poetry of the early 19th century and a bright innovator. In Pushkin's way, he creates "the poetry of reality", while expanding the scope of the depicted. In this he relies on the experience of Gogol's satire, Lermontov's psychological prose, and on the essay method of the "natural school". The combination of diverse traditions turns out to be an organic fusion in Nekrasov's work, subject to his individuality, his main lyrical string - the theme of serving the people.

Used book materials: Yu.V. Lebedev, A.N. Romanova. Literature. Grade 10. Lesson developments. - M.: 2014

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