The theme of "fathers and children" in Russian literature
Question: In what works of Russian classics is the theme of “fathers and children” reflected, and in what way do these works echo the “Quiet Don” by M. Sholokhov?
Contexts: A. Griboyedov "Woe from Wit" (Molchalin lives in accordance with the code formulated by his father), A. Pushkin "The Captain's Daughter" (father's testament "Take care of honor from a young age"), N. Gogol "Dead Souls" (Chichikov transforms into life testament of the father "Copy a penny"), I. Turgenev "Fathers and Sons", L. Tolstoy "War and Peace".
Origins of character and spiritual world the central image - the character; conflict between generations and ideologies; "dialectics" of the relationship between "fathers and children"; universal problems; family and extra-family ties; "private life" and the movement of history.
The theme of love in Russian literature
Question: Which of the Russian poets addressed the theme of love?
Contexts: A. Pushkin "I loved you ...", "K ***" ("I remember a wonderful moment ..."), "On the hills of Georgia ..."; F. Tyutchev "K.B." (“I met you - and all the past ...”); N. Nekrasov "Sorry"; A. Blok "About valor, about exploits, about glory ..."; V. Mayakovsky “Lilichka!”, O. Mandelstam “Insomnia. Homer. Tight sails ... ".
Rationale for comparison: love as a subject of high poetry; the psychological truth of love experiences; the idea of a woman as a source of beauty, harmony, inspiration, inexplicable pleasures; gratitude to a woman for love; love as a symbol of spiritual rebirth; poeticization of the image of the beloved; love as a life-moving force (“…everything is driven by love…”).
Question: In what poems of Russian poets does the theme of love sound tragic?
contexts: M. Lermontov “No, I don’t love you so passionately ...”, F. Tyutchev “Oh, how deadly we love ...”, N. Nekrasov “I do not like your irony ...”, A. Akhmatova “Song last meeting».
Rationale for comparison: love is like a drama; "duel" of two individuals; "duel fatal"; fragility of happiness; love as suffering, "the verdict of fate", the drama of misunderstanding; the motive of separation, parting, "last meeting"; "bliss and hopelessness"; ways of revealing the dramatic experiences of a person in love lyrics.
Question: Which of the Russian poets associated the image of nature with love motives, and in what way are these works consonant with B. Pasternak's poem "There will be no one in the house ..."?
Contexts: A. Fet "Whisper, timid breathing ...", S. Yesenin "Do not wander, do not crush in the crimson bushes ...", A. Akhmatova "Song of the last meeting."
Rationale for comparison: the interaction of landscape details and love experiences; love is the continuation of the life of nature; psychological function landscape sketches; "naturalness" of the image of a woman; psychological parallelism; animation of objects of the surrounding world; artistic detail; poetization of "non-poetic" images, everyday details and details.
Subject national history in Russian literature
Question: Which of the Russian poets addressed the theme of Russian history, and in what ways are their works comparable to A. Blok's poem "On the Kulikovo Field"?
Contexts: M. Lermontov "Borodino", S. Yesenin "Soviet Rus'", A. Akhmatova "Requiem", A. Tvardovsky "Vasily Terkin".
Rationale for comparison: the involvement of heroes in the cycle of socio-historical events; a high sense of responsibility for everything that happens on earth; love to motherland; the theme of the historical path, faith in the power of Russia and the ability to revive; unity lyrical hero(heroines) and homeland; the relationship between the path of the poet and the path of Russia; historical understanding of modernity; philosophy of history; the relationship of the past and present of Russia; lyrical hero (heroine): poet, warrior, patriot; historical parallels; artistic imagery.
The theme of creativity in Russian literature
Question: In what works of Russian writers is the theme of creativity touched upon and what brings them closer to M. Bulgakov's novel The Master and Margarita?
Contexts: A. Pushkin "Eugene Onegin" (author about the creation of his novel), N. Gogol "Dead Souls" (author's lyrical digression about the writer: "Happy is the writer who ..."), S. Dovlatov "Suitcase", "Branch ".
: author's reflection on his own creativity; the problem of the relationship between the artist and the crowd, the artist and the authorities; “drama of misunderstanding; affirmation of inspiration and freedom of creativity; skill problem; creativity as a special, "other" reality, not subject to the earthly existence of man; tradition and innovation in creativity; means of embodying the artistic concept of the author.
Question: Which of the Russian poets turned to the theme of creativity and in what way their works are consonant with B. Pasternak's poem "Being famous is ugly ..."?
Contexts: O. Mandelstam "Batyushkov", A. Akhmatova "Creativity", "I don't need odic rati ...", V. Mayakovsky "Introduction to the poem" At the top of my voice ...".
Rationale for comparison: reflection on the fate and purpose of the poet; continuity of artistic experience; the relationship between the poet and time; the tragic fate of the poet; finding your way; metaphorical perception of the surrounding world; poetry as a "new" birth of reality in word, image, metaphor; the high destiny of the poet, who took responsibility for the fate of the world in an era of tragic upheavals; "attachment" to the era and independence of life position; poetization of the surrounding world; means of artistic expression.
Question: What is the theme of the poem by A.S. Pushkin "Freedom sower of the desert ..."? Which Russian poets addressed this topic?
Contexts: ON THE. Nekrasov "To the Sowers", V. Khlebnikov "The Lonely Actor".
Justifications for matching Here is the text of the poem by A.S. Pushkin in full:
Depart, sower, sow your seeds
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
Yarmo with rattles and whip.
Using the biblical story about the sower, A.S. Pushkin speaks about the fate of the poet, more broadly - the enlightener. The lyrical hero is aware of the prematureness of his appearance (“he left early, before the star”). An educator who seeks to talk about freedom faces a misunderstanding of those around him. Accustomed to living in slavery, the people do not perceive it (“The cry of honor will not wake you up”) and does not want to use the “life-giving seeds”. The sower-educator is disappointed, he sees that his time is wasted, “good thoughts and works” did not find a response from “peaceful peoples” (the epithet peaceful characterizes their indifference and passivity).
ON THE. Nekrasov in the poem "To the Sowers" refers to the gospel parable about the sower, but he realizes a different understanding of his role. According to the poet, it is necessary first of all to sow "knowledge for the people's field", to sow "reasonable, good, eternal". He, like the Pushkin sower, sees that "labor is rewarded with frail seedlings", that "there is little good grain." But the lyrical hero is looking for the reason for this, first of all, in the sower himself (“Are you timid in heart? Are you weak in strength?”). The people, on the contrary, will be grateful to the educators: “The Russian people will thank you from the heart ...”. If the pathos of Pushkin's poem is bitter irony, even sarcasm, then Nekrasov's is an instruction, a demand, a call to the sowers.
In the 20th century, V. Khlebnikov addressed the theme of the sower in the poem "The Lonely Actor". Here, as in Pushkin, the lyrical hero himself acts as a sower-poet, "actor". He, too, is alone, not understood. His asceticism ("And I removed the bull's head from the mighty meats and bones / And put it against the wall") is not appreciated by the crowd ("And with horror I realized that I was not visible to anyone ..."). The conclusions reached by the lyrical hero of V. Khlebnikov are already close to Nekrasov's appeals. The lone actor addresses these calls not only to others, but also to himself: “I understood<...>that it is necessary to sow eyes, / That the sower of eyes must go. Thus, V. Khlebnikov's poem absorbs both previous traditions of interpreting the theme of the sower and contains its most fruitful solution: to fulfill one's duty at all costs, and "he who has ears to hear, let him hear."
INTRODUCTION
The theme of creativity in the lyrics of M.I. Tsvetaeva
2.1 The theme of creativity in literature
2.2 Cycle "Poets". Pushkin's image
2.3 The theme of creativity in the cycle "Poets"
INTRODUCTION
In Russian literary criticism, A.A. Potebnya, A.S. Pushkin, A. Akhmatova, B. Pasternak, M.I. Tsvetaeva and others were interested in questions of creativity. A special place in science is occupied by works about the "creative laboratory" of the classics of world literature and the stories of the writers themselves about their work. The theme of creativity is one of the main ones in the lyrics of M.I. Tsvetaeva. It arises in the earliest poems of the poet and runs through all her work. Being just a poet, Marina Ivnovna always refers to this topic, defining her attitude to the problems of creativity, the poet and poetry. The theme of creativity in the poetry of M. Tsvetaeva must be considered in connection with the stages creative way poet and changes in her poetic ideals. Creativity for her is a gift from God, like life itself. Tsvetaeva's poetry comes from the heart; she is wayward, fickle, and terribly alive. It is very difficult to squeeze Tsvetaeva into the fetters of the poetic tradition; it arises not from the poets that preceded it, but directly from the Arbat pavement. The powerless feature of her poetry is expressed in the extraordinary freedom and variety of its forms and means, as well as in a deep indifference to canonized rules and style. Tsvetaeva's poetry is, first of all, the embodiment of her personal experiences, the decaying expression of her obstinate nature, her challenge to reality. But it is inseparable from the history of national and world poetry. In the early poems, the echo of the voices of her favorite authors is clearly heard. The poems of Marina Tsvetaeva have a truly hypnotic power, we can see this in one of her phrases “I don’t believe the verses that are pouring and tearing - yes!” Tsvetaeva is unpredictable, you can expect any emotions from her, except for indifference. It is alien to her passionate nature, her sincere, her suffering heart.
The relevance of research: The creative heritage of M. Tsvetaeva, one of the most original poets of the Silver Age, continues to attract the attention of researchers in the XXI century. The volume of what was done in Russian color science in the second half of the 20th century (starting from the 60s to 200) is significant. With all the diversity and breadth of the problems of the work, much remains unexplored. So, one of the little-studied was the theme of creativity in the lyrics of M. Tsvetaeva. Now Tsvetaeva's poetry occupies a special place in Russian literature of the twentieth century. I single out Tsvetaeva from a number of other authors for her utmost sincerity, intolerance to patterns and rules, independence in her views on assessments .. The theme of creativity is extremely important for Tsvetaeva, the leitmotif runs through all her lyrics, including a demanding attitude to the word (she knows how to quite clearly choose definition of any phenomenon), rejection of aestheticism, the responsibility of the poet to his reader, the desire for harmony, the expectation of dialogue with the reader. Endless reflections on all this gave rise to a huge variety of poems. These poems may be devoted to various subjects, but they were united by one thing - the idea of \u200b\u200bcreativity. For Tsvetaeva, the purpose of creativity is unshakable: the desire for light. Full participation in life, opposition to death, struggle with spirituality. These are eternal human values, quite sincerely proclaimed by Tsveaeva. They made her work not just famous - immortal.
Purpose of the thesis study of the theme of creativity in the lyrics of M. Tsvetaeva
The task of the thesis:
1. Explore creative biography M.I. Tsvetaeva.
2. Determine the role of creativity in the life of M. Tsvetaeva.
3. Explore the poetic images of Tsvetaeva.
4. Show that the images of lyrical heroes were a means of self-expression of the poetess
The novelty of the thesis: scientific novelty lies in what is shown in the work. As the total meaning of the diverse image of the poet. It is a kind of starting point, rushing from which, the lyrical heroes of Tsvetaeva are trying to make the movements “upward endless”. It was through the images of the poets that Tsvetaeva tried to comprehend the essence of the Poet's mission and realize the true purpose of Poetry, finding her place in its healing rainbow spaces.
Thesis object: The cycle of the poem "Poets"
The subject of the study are The theme of creativity in the lyrics of M. Tsvetaeva ("Poets")
The results of the thesis: The main content of the thesis was distributed in four parts: introduction, two chapters containing special paragraphs, conclusion.
CONCLUSION
When every person is born, his destiny, his calling in this world, is born with him, but not everyone finds it. Having read and learned the lyrics of Marina Ivanovna, we can say with confidence that she not only found her recognition in this life, she lived it, not only wrote poetry, she created them. She is a great Poet, in whom literary and human talent are equal. Once Marina Tsvetaeva said that " great poet consists of two things - great literary talent and great human talent. And when something is missing, genius does not work: either the personality is greater than the gift, or the gift is greater than the personality, ”a person who has read at least one of her works can immediately be convinced that these two qualities are present in Marina Ivanovna, she is rich in both literary talent and human talent, which is surprisingly rare. Her work has become an outstanding and original phenomenon as a culture " silver age”, and the history of Russian literature. She brought to Russian poetry an unprecedented depth and expressiveness of lyricism in the self-disclosure of the female soul with its tragic contradictions.
In conclusion, if we first consider "creativity" as a literary phenomenon, it is a process human activity , which creates new material and spiritual values or the result of creating a subjectively new, which has a high quality property. The most distinguishing criterion of creativity from production is the uniqueness of its result. Of course, it is difficult to derive the result of creativity directly from the initial conditions. Only the author, sometimes even he has to find it difficult to get exactly the same result if you create the same initial situation for him. Thus, in the process of creativity, the author puts into the material some possibilities that are not reducible to labor operations or a logical conclusion, and in the end expresses some aspects of his personality. We can also note that creativity is an excellent activity, with the help of which something qualitatively new is born, which until that time did not exist before. In a word, creativity is the creation of a new, special, valuable not only for the creator, author, but also for others. This work occupies a huge place in the life, in the poetry of Marina Ivanovna. Her poetry is, first of all, the embodiment of her personal experiences, the decaying expression of her obstinate nature, her challenge to reality. But it is inseparable from the history of national and world poetry. In the early poems, the echo of the voices of her favorite authors is clearly heard. The work of M. Tsvetaeva consists not only of unique poems and poems, poetic dramas and tragedies, but also of the most interesting, also extremely original samples of prose. Marina Tsvetaeva has always been cramped in the framework of cool deference to famous poets. Sincere and deepest reverence did not prevent her from thinking of them as living people - amazing people who in different ways carried the cross of their great gift. Twenty-three-year-old Marina Tsvetaeva, having not met Alexander Blok with her own eyes, dedicated poems. Imbued with piercing tenderness, not only poems to Alexander Blok and his contemporaries, such as Andrei Bely or Rainer M. Rilke, but also about Goethe, about Hölderlin, she always spoke as about close people with whom she was simply divorced by life circumstances. She perceived each from the inside of his personal and unique destiny - this was due to the fact that she released the lines written by them into the very depths of her own heart. Letting them germinate there and bear fruit - those in which both grain and soil are already intertwined. The name of A. S. Pushkin is the main authority in Russian and, perhaps, world poetry. They also appear in the poetry of the greatest poets of the early 20th century - M. Tsvetaeva and A. Akhmatova. But it is especially significant in Tsvetaeva's poetry. The main charm of Pushkin for Tsvetaeva is his independence, rebelliousness, ability to resist. It is amazing, but sometimes it seems that Tsvetaeva considered Pushkin her contemporary, contrary to time and common sense. But no one loved Pushkin as much as Marina Tsvetaeva, the famous Russian poetess. It wasn't just love. "Friendship" with Pushkin influenced her entire future life. The appearance of Pushkin in the life of Tsvetaeva was prepared by the environment where she grew up
Don't beat Pushkin!
For they beat you - them!
M. Tsvetaeva
The rhythmic code of Marina Ivanovna's poems undergoes changes depending on the state of her soul. The poetic experiences of a romantically inclined girl are born in the kind atmosphere of the parental home; this is almost traditional chamber lyrics. How exquisite are the words here, how quivering and transparent are the emotions! Later intonation, the rhythm of her lines becomes harder, more energetic. In a humiliating beggarly existence abroad, she does not change herself, and here her firm uncompromising character is manifested: “I don’t know how much I have left to live, I don’t know if I will ever be in Russia again, but I know that I will write strongly to the last line, I will not give weak verses. And this is not self-confidence - this is self-confidence, this is a feeling of the power of one's God-given talent, one's high mission as a Poet.
In the lyrics of M. Tsvetaeva we can find poems on various topics, poems about love, about life, about the fate of the poet and about creativity, what role does creativity play in the poet's life. Among the many cycles created by Marina, we can find the cycle “Poets”, written on April 22, 1923. This cycle consists of three verses "A poet - from afar starts a speech", "There are superfluous, additional ones in the world ...", "What should I do, a blind man and a stepson ...". After reading this cycle, we can once again be convinced of the genius of the author. In "Poets" we can learn about the place of creativity in the life of a poet: who is a poet and what is his difference from the common people.
After reading and analyzing this cycle, one can come to the conclusion that M. Tsvetaeva divided all people into poets not poets. The proud consciousness of her superiority did not leave her all her life. Her creativity is bottomless. As a poet, she contained both a thinker and an artist, and a romantic and a man crushed by everyday life. That is why, as a person, she is doomed to suffer from internal inconsistency, discord between opposite worlds: earthly and heavenly, eternal and vain. And as a poet, she is the messenger of God, an inspired mediator between people and heaven, a prophet of higher truths. Like a poet - she must write without getting tired, all her heartache that lies on her heart, which worries.
In the end, I would like to say that today, the great Russian poetess Marina Ivanovna Tsvetaeva is known and loved by millions of people - not only in Russia and the CIS countries, but all over the world. Her poetry entered the cultural life, became an integral part of spiritual life. Some poems seem so old and familiar, as if they have always existed - like a Russian landscape, like a mountain ash by the road, like a full moon flooding a spring garden, and like an eternal female voice, intercepted by love and suffering.
Freedom is an important concept in her life, in her work, freedom of writing, it is necessary for her to create. She was characterized by the desire to create, to create in such a way that “it couldn’t be better”; the desire to be necessary, indispensable to those who touched in this moment her creative imagination, her soul. Not finding herself in reality, she retreated into herself, into her Soul. "My whole life is a romance with my own soul"
retreat: go away
In themselves, like great-grandfathers in feuds.
Privacy: in the chest
Seek and find freedom...
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INTRODUCTION
PROBLEMS OF STUDYING THE THEME OF CREATIVITY IN THE SCIENCE OF LITERATURE
1.1 Scientific and theoretical aspects of the study of creativity as a literary category
1.2 Lyrics by M.I. Tsvetaeva: themes, plots, heroes
1.3 The theme of fate in the poetics of M.I. Tsvetaeva
GOU secondary school with in-depth study of economics No. 1301
Exam topics in the form of an interview
on literature
2. Patriotic theme in the works domestic literature(L. Tolstoy "War and Peace", M. Sholokhov "Quiet Don").
3. Gospel motifs in the works of Russian writers (F. Dostoevsky "Crime and Punishment", M. Bulgakov "The Master and Margarita", L. Andreev "Judas Iscariot").
4. The theme of the generation and the image of the "superfluous person" (A. Pushkin "Eugene Onegin", M. Lermontov "A Hero of Our Time", I. Goncharov "Oblomov", I. Turgenev "Fathers and Sons").
5. The image of Rus' in the works of Russian poets (N. Nekrasov “Who should live well in Rus'”, S. Yesenin, A. Blok).
6. Women's images in Russian literature of the 19th century (A. Ostrovsky "Thunderstorm". L. Tolstoy "War and Peace", "Oblomov", "Fathers and Sons").
7. The fate of a person in the context of the era (I. Bunin "The Gentleman from San Francisco", " Sunstroke”, “Clean Monday”, A. Kuprin “Garnet Bracelet”, Sholokhov “The Fate of a Man”).
8. The theme of the struggle between good and evil in the works of Russian literature (F. Dostoevsky, A. Pushkin, M. Bulgakov).
1. The theme of creativity in the lyrics of Russian poets of the 19th and 20th centuries. (A. S. Pushkin. M. Yu. Lermontov, B. L. Pasternak).
A.S. Pushkin
This issue is touched upon in his first published poem, "To a Poetic Friend" (1814). The poet speaks of the sorrows that befall the poets whom
Everyone praises, nourishes - only magazines;
Rolling past their Fortune wheel ...
Their life is a series of sorrows, thundering glory is a dream.
The author advises the beginning poet to be "calm". He sees the purpose of poetry in being useful to society. In his opinion, “good poems are not so easy to write,” but if you write, then only good ones.
In the 1824 poem "A Conversation between a Bookseller and a Poet," a judicious bookseller remarks:
Inspiration is not for sale
But you can sell the manuscript.
The poem ends with the poet's recognition of the correctness of the bookseller. The final lines of the poem are written in prose. This transition to prose speech takes the reader from the world of dreams of the sublime to the world of mundane reality. In this poem, Pushkin acted as an innovator: for the first time he expressed a realistic attitude towards the poet's activities.
The poem "Prophet" (1826) tells in allegorical form about the transformation common man into a poet-prophet. The “six-winged seraph” endows a person with “prophetic eyes”, extraordinary hearing, the sting of a “wise snake”, instead of a heart, “pushes” into his chest “coal burning with fire”. But even this complete transformation is not enough for a person to become a poet-prophet, this requires the will of God:
And God's voice called out to me:
“Arise, prophet, and see, and listen,
Fulfill my will
And, bypassing the seas and lands,
Burn people's hearts with the verb."
Thus, Pushkin in The Prophet sees the purpose of the poet and poetry in "burning people's hearts with the verb."
Two years later, the poem "The Poet and the Crowd" was written, exposing the attitude of the secular "rabble" towards the poet.
Why is he singing so loudly?
Like the wind his song is free,
But like the wind and barren:
What use is it to us?
However, the poet also expresses his attitude towards the "mob":
Go away - what's the matter
The peaceful poet is up to you!
In debauchery boldly stone,
The voice of the lyre will not revive you!
According to Pushkin, poets are born "for inspiration, for sweet sounds and prayers." The poet is a complex being, marked from above, endowed with a part of the creative power of the Lord God, but at the same time he is an ordinary living earthly person. God sends inspiration to the poet, and then -
The soul of the poet will tremble,
Like an awakened eagle.
Pushkin creates the image of a poet fighting for freedom of expression of his thoughts, for the truthfulness of poetry, for his independence from the power of money and the crowd. So, in the poem "To the Poet" (1830), the author refers to the poet:
Poet! do not value the love of the people.
Enthusiastic praise will pass a moment's noise;
You will hear the judgment of a fool and the laughter of the cold crowd:
But you remain firm, calm and gloomy.
At the same time, the fate of the poet is to be a lonely person. Pushkin calls on the poet to follow "the road of the free, where the free mind leads you." The theme of the relationship between the crowd and the artist Pushkin continues in the poem "Echo" (1831). The author compares creative activity echo poet:
For every sound
Your response in the empty air
You suddenly give birth ...
You don't have a response ... Such
And you, poet!
A kind of poetic testament of Pushkin was the poem “I erected a monument to myself not made by hands” (1836), written six months before his death. It goes back to the ode of the Roman poet Horace "To Melpomene", the poems of Lomonosov, Derzhavin.
Pushkin singled out the essential quality of his work - serving the people, as well as the fact that he "awakened good feelings" with his poetic work:
And for a long time I will be kind to the people,
That I aroused good feelings with lyre,
That in my cruel age I glorified Freedom
And he called for mercy on the fallen.
The poet, according to Pushkin, should not depend on anyone, “not bow his proud head” to anyone, but worthily fulfill his mission - “to burn people’s hearts with the verb.” At the age of fifteen, in the poem "To a Poet Friend," Pushkin declared:
And know that my lot has fallen, I choose the lyre.
Let him judge me as the whole world wants,
Get angry, shout, scold - but I'm still a poet.
Later, Pushkin would say: "The purpose of poetry is poetry," and he will remain true to this to the end.
1) The process of creativity, its purpose and meaning, the relationship of the poet with the reader;
2) The relationship of the poet with the authorities and himself.
All these aspects are presented by Pushkin and throughout his work the theme is evolving (developing)
The theme of the poet and poetry is traditional in Russian and European literature.
Turning to her, Pushkin conducts a dialogue with his predecessors:
- Horace (Dr. Rome)
- Ovid
- Lomonosov and Derzhavin
The theme runs through all of Pushkin's work. His first published poem was "To a friend of a poet" 1814. And the last poem to this theme was "I erected a monument to myself not made by hands" 1836.
In his work, Pushkin built a concept about the place of the poet in the world, about the relationship between the poet and society, about the creative process.
The theme of the poet and poetry is cross-cutting
The theme of the civil personality of the poet in the poem "Licinia"
The theme of the chosen circle of poets, opposition of the poet to the crowd Zhukovsky
Two images of the poet in Pushkin's late lyrics - Poet as a prophet - "Prophet", Poet as Priest - "The Poet and the Crowd".
The fate of the poet in Pushkin's work is a symbolically expressed thought about one fate of the poet - "Orion". Creativity expresses an ordinary person in life above others. Posthumous glory, which is identified with eternal life - "Monument».
Poet and King. The motive of the spiritual rivalry between the poet and the Tsar. Affirmation of the right to complete freedom of creativity. 1828 - "Friends".
On the way from Mikhailovsky to Moscow, where the disgraced Pushkin was going to meet the Tsar. In the view of the romantics, the poet and the prophet merged into one person, but Pushkin thinks otherwise. The poet and the prophet have much in common, since God calls both to service. However, in Pushkin's poems they do not merge into one being. Because the poet lives among people until he is captured by inspiration.
People expect fiery words from the poet-prophet. God sends a prophet into the world to "burn people's hearts with a verb." The prophet is the majestic offspring of God - the doer of the will of God. The most important thing for God is the main thing - his own will, he is not the executor of the will of God. God chooses him for creativity.
The prophet and the poet have in common the ability to see the world in such a way that a simple person will never see it: they both see hidden, secret sides. But the prophet does not use this omniscience for creativity. The prophet corrects the world, the poet colors it.
The prophet brings the word of God to people, the poet creates his own words, but both of them turn to people, revealing the truth about earth and sky.
"Monument" - 1836
The theme of the poet and poetry
The problem of poetic glory, poetic immortality.
Genre - "Ode" The specificity of the poem is dictated by tradition. The poems are written as a kind of imitation of Derzhavin's poem "Monument", which in turn is a remake of Horace's ode. The epigraph to his poem Pushkin borrowed from Horace. Pushkin is trying to show what his merit to Russia is: "And for a long time I will be so kind to the people." He knows that the uninitiated define the merits of his poetry in this way, and calls on the muse not to challenge the fool.
Means of poetic expression:
Metonymy - I awakened good feelings with lyre
Synecdoche - and every language that exists will call me.
Personification - be obedient to the command of God about the muse.
M.Yu.Lermontov
In the lyrics of Lermontov we find the main themes of Russian poetry of the 19th century. In the late lyrics of Lermontov, there is an insistent appeal addressed to the poet: do not write poetry! How to understand the rejection of poetic speech? After all, the lyrical hero of Lermontov - the poet-prophet, it turns out that the poet is silent not because he is weak, but because the poet is too involved in heaven and the abyss.
The poem "Journalist, Reader and Writer" indicates two main sources of poetic inspiration. The bright beginning of creativity is from God, and the other is from the Demon.
But no matter what pole the poet strives for, he is still incompatible with the century, with today's crowd.
The poet could and should serve the people of the past - the heroes in comparison with our tribe - "Poet" 1838
But to make your divine gift a golden toy or to put it up for sale is not good for the chosen one of higher powers.
According to Lermontov, the poet has two options:
Peaceful departure from this world;
A hopeless war with a generation, society, the world of people. Reproof and revenge "by means of an iron verse, drenched in bitterness and anger" - "How often surrounded by a motley crowd."
"The Prophet" - 1841
We are talking about the familiarization of a person with secret beings - the poem continues Pushkin's "Prophet", but is not similar either in content or in style. "I began to proclaim love."
People do not talk to him, they drive him away, the stars in the desert listen to him praying, where the earthly creature is also obedient to him.
Lermontov entered literature with the words "Slave of honor" - "Death of a poet", and passed away with the words "Evil rulers of the prophet, how everyone despise him." God also does not speak to him, but he did not leave a prophet, but people persecuting him.
However, a prophet remains a prophet when he remains a prophet, when no one believes him, because he believes in himself.
B.L. Pasternak
In the 20th century, the motif of uselessness and incomprehensibility continues. Pasternak "Being famous is ugly."
The poet's view of the relationship between lyrical creativity and reality is peculiar. According to B. Pasternak's deep conviction, the true creator is not man, but nature. And therefore poetry is not the creation of a particular person, but a direct consequence of life. The artist is the one who helps the creativity of nature, without inventing anything, without bringing anything from himself:
It used to be that the snow is hard-boiled,
Whatever comes to mind.
I I prime it with dusk
Your home, and canvas, and everyday life.
All winter he writes sketches,
And in front of passers-by
I take them from there
I melt, I copy, I steal.
Many poems by B. Pasternak were written about the fact that art is born in the bowels of nature. Nature is poetic from the very beginning, but the poet is only a co-author, an accomplice, he only clarifies this poetry. The consequence of this clarification is that B. Pasternak constantly applies literary terms to natural phenomena:
For this book, the epigraph of the Siple Desert...
The sprouts of the shower are dirty in clusters And share, share, until dawn, Drip their acrostic from the roofs, Blowing bubbles into rhyme.
The identification of the poet and nature, the transfer of copyright to the landscape - all this, in essence, serves one single purpose. Poems composed by nature itself cannot be a fake. So the author confirms the authenticity of what is written. Authenticity, reliability, according to B. Pasternak, - main feature true art. How is this authenticity achieved? The most important thing here is "not to distort the voice of life that sounds in us." Therefore, heightened impressionability, increased susceptibility to all sensations, to all movements of the surrounding world, is the main feature of genuine poetry. This is how the image of “poetry-sponge” appears in B. Pasternak, deployed in one of his early poems:
Poetry! Greek sponge in suction cups
Be you, and between the sticky greens
I would put you on a wet board
Green garden bench.
Grow yourself lush mesentery and figs,
Take in the clouds and ravines,
And at night, poetry, I'll squeeze you out
To the health of greedy paper.
Art in this sense implies a renewed view of the world, which is, as it were, seen for the first time by the artist. B. Pasternak believed that the creative process begins when "we stopped recognizing reality", when the poet begins to talk about it, like Adam, as if not a word had been said about it before. Therefore, B. Pasternak in his lyrics constantly emphasizes the unusualness of the most ordinary phenomena, preferring it to any kind of exotic and fantastic. A simple morning awakening is fraught with a new way of looking at the world. ("I I wake up. I am embraced by what has been revealed.") The poet feels the original novelty of everything that happens around ("The whole steppe, as before the fall...").
The late lyrics of B. Pasternak add important points to the understanding of poetic creativity. The idea of moral service here prevails over everything, and if earlier poetry was defined as a sponge, now, without canceling the past, another motive dominates: The goal of creativity is dedication, And not hype, not success. It's shameful, meaning nothing, To be a parable on everyone's lips. Poetry in his understanding is the incessant work of the soul, a movement in which the main thing is not results, but discoveries. Making discoveries, the poet shares them with other people, does his best, strains all his mental strength in order to be understood. And this is much more important for the poet than fame and success, because the poet, first of all, testifies with each of his works about the greatness of life, O the immeasurable value of human existence.
2. The patriotic theme in the works of Russian literature (L. Tolstoy "War and Peace", M. Sholokhov "Quiet Flows the Don").
L. Tolstoy "War and Peace"
The story of the war of 1812 L. N. Tolstoy begins with harsh and solemn words: “On June 12, forces Western Europe crossed the borders of Russia, and the war began, that is, an event contrary to human reason and all human nature took place. Tolstoy glorifies the great feat of the Russian people, shows the full strength of their patriotism. He says that in Patriotic War 1812 "the goal of the people was one: to clear their land from invasion." The thoughts of all true patriots were directed towards the realization of this goal - from the commander-in-chief Kutuzov to the ordinary soldier.
The main characters of the novel, Andrei Bolkonsky and Pierre Bezukhov, strive for the same goal. For this great goal young Petya Rostov gives his life. Victory over the enemy is passionately desired by Natasha Rostova and Marya Bolkonskaya.
Prince Andrey found the news of the invasion of enemy troops in Russia in the Moldavian army. He immediately asked Field Marshal Kutuzov to transfer him to the Western Army. Here he was offered to stay with the person of the sovereign, but he refused and demanded an assignment to the regiment, which "lost himself forever in the court world." But this was of little concern to Prince Andrei. Even his personal experiences - Natasha's betrayal and break with her - faded into the background: "A new sense of anger against the enemy made him forget his grief." The feeling of hatred for the enemy merged with him with another - a "pleasant, reassuring feeling" of closeness to real heroes - soldiers and military commanders. The Battle of Borodino was the last in the life of Prince Andrei. Pierre Bezukhov in the first weeks of the war was so overwhelmed by his personal experiences associated with the feeling that gripped him for Natasha Rostova that everything that happened around him seemed unimportant and uninteresting to him. But when the news of the impending catastrophe reached his mind, he caught fire with the idea that he was destined to "put the limit of the power of the beast," and decided to kill Napoleon. Meeting with soldiers and militias in Mozhaisk, as well as being present at the Battle of Borodino, led to profound changes in his mind.
Pierre wanted to break out of the usual circle of life and give up his wealth. He realized that "all this, if it's worth anything, it's only because of the pleasure with which you can throw it all." He was seized by the desire to become a soldier: “Enter this common life whole being, to be imbued with what makes them so. The question arose before him: “How to throw off all this superfluous, diabolical, all the burden of this outer man? Pierre decided to connect his fate with the fate of his people. And when he was captured, the consciousness of the correctness of the path he had chosen helped him endure the most difficult moral and physical suffering.
On the eve of the war, Natasha Rostova experienced a personal tragedy - a break with her loved one. It seemed to her that her life was over and "that state of freedom and openness to all joys will never return again." Natasha was seriously ill, and it seemed that there was not even hope for her recovery. But, despite this, she took the people's disaster very close to her heart. Her sense of patriotism was most vividly manifested in the scene of preparations for her departure from Moscow. She was shocked to learn that while they were busy with their things carts, the wounded were ordered to leave in Moscow. “With a face mutilated with anger,” she burst into the room to her parents and literally ordered them to give carts for the wounded. Her nature woke up in her - impulsive and fiery. Thus, Natasha returned to life, as if her second birth.
With what selflessness she cared for the wounded Prince Andrei! Fate has prepared for her new difficult trials - the loss of a loved one (now forever), and soon the death of her younger and beloved brother Petya. But even in a moment of terrible grief and despair, Natasha cannot think only of herself. She day and night takes care of her mother, who fell ill after receiving the news of the death of her son.
We can safely say that the war turned out to be a severe test for all the heroes of the novel. Tolstoy, putting them in the face of mortal danger, gave them the opportunity to show all those human qualities that they are capable of. And Prince Andrei, and Pierre, and Natasha passed the test, which made readers feel even greater sympathy for them, bow before their stamina and courage.
M. Sholokhov "Quiet Flows the Don"
After the Pugachev rebellion, attracted by large benefits, the Cossacks became
support for the Russian tsars, fought for them and for the glory of Russia.
The end of this life is described in the first books of The Quiet Flows the Don by Sholokhov.
Cheerful, joyful, full of work and pleasant worries, the life of the Cossacks is interrupted by
first World War. And with it, the age-old way of life irrevocably collapses. Gloomy
winds blew over the Don steppes.
Cossacks walk on the battlefield, and desolation, like a thief, creeps into
farms. And yet, fighting is a common thing for the Cossacks, but the revolution ...
February 1917... The tsar to whom they swore allegiance was overthrown. AND
Cossacks who served in the army rushed about: who to believe, who to obey?
It was especially difficult to decide in the days of the Kornilov rebellion. commander in chief
Kornilov calls for the overthrow of the revolutionary power of the Provisional Government. IN
in the end, the Cossacks turn back from Petrograd. And here's a new one
October Revolution. And again, confusion in the soul of the Don. Which side to take?
What do the Bolsheviks promise? Earth? So they have enough. World? Yes, war
tired...
The protagonist of the novel "Quiet Flows the Don" Grigory Melekhov suffers from the same
doubts that the rest of the Cossacks. At first, it seems to him that Izvarin is right,
who says: “We need our own, and above all, the deliverance of the Cossacks from
all guardians - be it Kornilov, or Kerensky, or Lenin. Let's get by on
own field and without these figures. Deliver, God, from friends, and with enemies we ourselves
we'll manage."
But after meeting with Podtelkov, Grigory leans towards the Reds, fights on them
side, although the soul still does not stick to any shore. After
wounded under the village of Glubokaya, he goes to his native farm. And heavy in the chest
contradictory. It was difficult to find the right path; as in a swampy gati,
the soil broke out under their feet, the path was crushed, and there was no certainty - along that
whether, on which it is necessary, goes.
Particularly painful are the memories of the execution of officers by the Red Army,
started at the command of Podtelkov. Thus began the great extermination
Cossacks by the Soviet authorities, which was called "decossackization".
They say that Ya. M. Sverdlov, with the consent of the Central Committee, gave the order to take hostages and
to shoot everyone who in one way or another opposed the new government.
Melekhov did not find his place among those who wanted to establish an alien
donts order. And now he, along with other fellow villagers, is performing
fight with Podtelkov.
Tragically, the writer draws the capture of the Podtelkov detachment. Meet suddenly
classmates, godfathers, just people who believe in one God, who used to
could call each other countrymen. Joyful exclamations, memories. A
the next day, the captured Cossacks are put up against the wall ... A bloody river spills over
Don land. In a deadly fight, brother goes to brother, son to father. Forgotten
valor and honor, traditions, laws, the life that has been adjusted for centuries is crumbling. AND
now Gregory, who had previously internally opposed bloodshed, easily himself
decides someone else's fate.
And the time began when power was changing, and yesterday's winners, not having time to
execute opponents, become defeated and persecuted. Everything is cruel
even women. Let's remember a very strong scene when Daria kills Kotlyarov,
believing him to be the murderer of her husband Peter.
But still Soviet authority seems alien to the majority of the Cossacks, although
those like Mikhail Koshevoy were loyal to her from the very beginning. In the end,
begins a broad insurrection against her. proficient in
politics Osip Shtokman sees the main reason for the anti-Soviet uprisings on the Don
in kulaks, atamans, officers, rich people. And does not want to understand that no one
given the right to break someone else's life with impunity, to impose a new order by force.
Gregory becomes one of the major military leaders of the rebels, showing
himself as a skilled and experienced commander. But something is already breaking in his soul from
many years of military assassination: more and more often he gets drunk and confuses with
women, forgetting about the family, become more and more indifferent to themselves.
The uprising is crushed. And again, fate makes a coup with Melekhov.
He is forcibly mobilized into the Red Army, where he fights with Wrangel.
tired man from seven years war. And I wanted to live a peaceful peasant
work with family. He returns to his native place. Not left in the farm
Tatar family, which would not be deprived of fratricidal war. In
the words of one of the heroes turned out to be true in many respects, that “there are no more Cossacks
life, and there are no Cossacks!
On the ashes, Gregory tries to revive life, but does not give him this
Soviet authority. Threatens with prison (and maybe execution, if it came to
until the wrong and speedy judgment) for having previously fought against her. AND
this authority acts on behalf of a relative of Grigory - Koshevoy. And here
the surplus arrived. And the dissatisfied united again in Fomin's detachment.
Gregory left. However, the Cossacks were already tired of the war, and the authorities promised
not interfere with their work and farming. (Deceived, as it turned out later,
giving peace for only a few years!)
And Fomin has a dead end. The great tragedy of Grigory Melekhov is that in
everything disappeared in a bloody whirlwind: parents, wife, daughter, brother, beloved
woman. At the very end of the novel, through the mouth of Aksinya, explaining to Mishatka who
father, the writer says: “He is not a bandit, your father. He's so...
unfortunate person." And how much sympathy in these words.
With the death of Aksinya, Grigory loses his last hope. He goes to his native
house where he is no longer the owner. The last scene is filled with faith and love of life
novel. Grigory at the threshold of his native home, in his arms he has a son, the last thing
left over from a past life.
But life goes on.
The revolution caused a lot of grief to Grigory Melekhov and all the Cossacks. AND
it was only the beginning of the trials that befell this part of our
people. But the Cossacks did not die. alive and reborn. Happy to see everything
more often on the screens blue Cossack uniforms, brave faces.
3. Gospel motifs in the works of Russian writers (F. Dostoevsky "Crime and Punishment", M. Bulgakov "The Master and Margarita", L. Andreev "Judas Iscariot").
F. Dostoevsky "Crime and Punishment"
Dostoevsky, in the notes of the last edition of the novel Crime and Punishment, formulates its main idea in this way: the idea of the novel is the Orthodox view, in which there is Orthodoxy. There is no happiness in comfort, buy happiness with suffering. This is the law of our planet, but this direct creation, felt by the life process, is such a great joy that you can pay for years of suffering.
Man is not born to be happy. A person always deserves his happiness by suffering, because the knowledge of life and consciousness is acquired by the experience of pro and control (pros and cons), which must be dragged through oneself.
The main character of the novel, R-va, the murderer of Alena Ivanovna and her sister Elizabeth, after he left the people closest to him, is drawn to Sonya, who lives on a yellow ticket, a sinner like him.
“We are cursed together, we will go together. Didn't you do that? You also crossed over, you were able to cross over.
Forced to leave the university, brought to the last degree of humiliation, suffering from insulted pride, compassionate for the degraded official Marmeladov, his consumptive wife, children, he comes to the conclusion that the rich, disgusting, useless old woman must be destroyed.
On the one hand, driven to despair, he dares to change the entire system of values, to get away from the established social hierarchy, where the lower rungs are occupied by the poor inhabitants of St. Petersburg corners, and the upper rungs are occupied by the powers that be. R-v is convinced that there is a different scale of reference: those who have the right and trembling creatures.
great pride, great love R-va make the motives for the murder mutually exclusive. R-v did not prove to himself that he great person did not become Napoleon for himself. The conscience that lives in him and endlessly makes him tormented by the memory of the spilled blood brings the understanding that his terrible life before the crime was a paradise compared to what he experienced after the murder. So, R-v creates his own theory on the basis of which all people are divided into two categories: trembling creatures and those who have the right.
For Dostoevsky, a deeply religious man, the meaning human life is to comprehend the Christian ideals of love for one's neighbor. Considering Raskolnikov's crime from this point of view, he singles out in it, first of all, the fact of the crime of moral laws, and not legal ones. Rodion Raskolnikov is a man who, according to Christian concepts, is deeply sinful. This does not mean the sin of murder, but pride, dislike for people, the idea that everyone is "trembling creatures", and he, perhaps, "has the right." "The right has" to use others as material to achieve their goals.
When a conversation begins about R-va’s article, about the ideas expressed in it, investigator Porfiry Petrovich turns to conscience and R-v, who was so afraid to let it out, suddenly blurts out when he says thoughtfully, not even in tone: “Suffering and pain are always necessary for a wide consciousness and deep heart. Truly great people, it seems to me, must feel great sadness in the world.
No rational constructions carried out by crime destroy what is indestructible in the soul of R-va, so you can believe the hero when he tells Porfiry that he believes in God, in the resurrection of Lazarus. The question of whether R. believes in the resurrection of Lazarus is of great importance in the plot of the novel and in the development of the character of the hero.
On the 4th day after the murder of the old pawnbroker R-in went to the house on the ditch where Sonya lived. He is driven by the desire to follow the same path with the "great sinner" and a premonition that thanks to her, he will be saved for a new, happy life.
Dostoevsky's beloved heroes, who do good, renounce themselves for the sake of their neighbor, reproach themselves for the fact that they still do little good, firmly believe that compassion and self-denial is the manifestation of God's will.
It is no coincidence that when asked by R-va if she prays to God, Sonya replies: “What would I be without God?”
Her appearance, weak, sickly, with meek eyes that sparkled when it came to the innermost things for her, makes an unexpected impression on R-va. Falling down at Sonya's feet, he bows to all human tradition. Reading R-vu about the resurrection of Lazarus, Sonya hopes to change his mind, that he will believe.
Dostoevsky, of course, does not agree with Raskolnikov's philosophy, and forces him to abandon it himself. We can say that the plot has a mirror character: first, the crime of Christian commandments, then the murder; first, the recognition of the murder, then the comprehension of the ideal of love for one's neighbor, true repentance, purification, resurrection to a new life.
R-va's "resurrection" did not become a miracle like the miraculous resurrection of Lazarus. The hero must still go through a tortuous, painful path, must go through an unsuccessful repentance in the square, through a confession in the quarter of a double murder, a recognition that he, R-v, is not a great person, and only after that, in agony, having parted with pride, " rises" R-v. For the hero of Dostoevsky, this was the beginning, where instead of dialectics life came and something completely different had to be developed in the mind. This is how the novel ends for the hero, but according to Dostoevsky, the resurrection of humanity is far ahead.
M. Bulgakov "The Master and Margarita"
The events described in the Gospels continue to remain a mystery for many hundreds of years. Until now, disputes about their reality and, above all, about the reality of the person of Jesus, do not stop. M. A. Bulgakov tried to portray these events in a new way in the novel "The Master and Margarita", presenting to us, the readers, a kind of "Gospel according to Bulgakov".
In the novel The Master and Margarita, the writer's attention is directed to just one episode of Christ's earthly path: the clash with Pontius Pilate. Bulgakov is not interested in the depths of Christian metaphysics. Painful personal relationships with the authorities, rudely intruding into his work and life, force the writer to choose in the gospel plot those episodes that his own era makes him feel most profoundly: persecution, betrayal, wrong trial ...
Evangelical Pilate also did not find fault with Jesus and "sought to let him go", i.e. Bulgakov retained the meaning of the events. But unlike the canonical texts in the novel written by the Master, Pontius Pilate is one of the main characters. Shades of his mood, hesitations, emotions, the course of his thoughts, conversations with Yeshua, the process of making a final decision, received a vivid artistic embodiment in the novel.
The only thing we learn about Pilate from the Gospel is that he was sure of the innocence of Jesus and "washed his hands before the people and said: I am innocent of the blood of this righteous man." From the novel "The Master and Margarita" we learn many details about Pilate. We learn that he suffers from hemicrania, that he does not like the smell of rose oil, and that the only creature he is attached to and cannot live without is
this is his dog.
Yeshua attracts Pilate not as a healer (although with his appearance headache Pilate passed), but as a man: Pilate saw in him a real human soul. He is amazed at Yeshua's inability to tell lies. Pilate especially remembers the phrase "cowardice is one of the main vices of mankind." Later, Pilate himself would say that "cowardice is the most important vice of mankind."
Probably, according to Bulgakov, the sin of Pilate - the sin of fear, fear to openly and boldly express one's thoughts, defend one's convictions, friends - was especially understandable to people of an era that frightened rudely and sophisticatedly. And in order to better reveal the image of Pilate, the Master sometimes allows himself to deviate from the gospel interpretation of events.
Another difference is the fate of Judas. In M. A. Bulgakov, Judas is a handsome young man (by the way, it is interesting how differently different authors draw the same image: in L. Andreev, Judas, on the contrary, is extremely ugly). He betrays Yeshua because it is considered the norm, because everyone does it and not doing it means not fulfilling his duty. He betrays
Yeshua for thirty pieces of silver, just like the gospel Judas, but, unlike the Gospel, in The Master and Margarita Judas is not tormented by repentance. And after the betrayal, he goes on a date with a calm soul. Further, the plot of the novel differs even more from gospel story: Judas is killed on the orders of Pontius Pilate, who wants in this way to at least somehow atone for his guilt before Yeshua.
Pilate was punished with the most terrible punishment - immortality (remember Gorky's Larra). And none other than Yeshua asks to be released (which once again proves that he cannot work miracles).
The question immediately arises: why is Bulgakov's interpretation of the gospel events so different from the gospel? Of course, one cannot refer to the fact that M. A. Bulgakov knew the Gospel poorly: being the son of a professor at the Theological Academy, the future writer was familiar with the canon like no one else. The reason for this interpretation is that Bulgakov draws a parallel between the ancient Yershalaim and contemporary Moscow. The writer shows that after almost two thousand years, the psychology of people has not changed. Indeed, if you take a closer look at Judas by M.A. Bulgakov, then you can see in him a typical Soviet inhabitant of the twenties and thirties of the last century, for whom betraying his friend, neighbor or even relative is a common thing. And the phrase about cowardice applies not only to Pilate, it is timeless.
L. Andreev "Judas Iscariot"
Judas Iscariot is not only a version of the Gospel, but also a story about people's passions, about love and betrayal. Evangelical Judas is almost devoid of specific human traits.
“This is a traitor in the absolute who found himself in a narrow circle of people who understood the messiah, but betrayed him.”
The crowd does not know what he is doing, but Judas knows, and therefore he is a real criminal, justly cursed by the entire Christian world.
He has no forgiveness, tk. he does evil deliberately.
Andreev's Judas is not a symbol, but a living person.
A lot of passions and feelings intertwined in it. He loves Christ and is offended by him, because John, and not he, is the beloved disciple of Jesus.
It turns out from jealousy to crime is one step. Judas does not commit his crime for the sake of money, as in the Gospel, he is driven by offended love.
Andreev's main idea is that love should not be offended, it should be noble.
Not only out of resentment and love does Judas do his deed.
Unlike other disciples, he wants to love Christ with an active love, not only to listen to him, to believe in him, but to make sure that all Jews follow Christ.
Judas commits his betrayal, because counts on the fact that, having seen the suffering of Christ, they will rise in revolt and overthrow the Romans and Pharisees.
Judas is not only a traitor, but also a provocateur.
He argues that if the crowd saves Jesus, follows him, his betrayal will be justified and serve a good purpose, and if not, then for whom the teachings of Christ.
For people who are so cowardly that they left their teacher in the lurch.
Andreev proves that no end justifies unclean, ignoble means, so in the finale Judas does not triumph, but commits suicide.
4. The theme of the generation and the image of the "superfluous person" (A. Pushkin "Eugene Onegin", M. Lermontov "A Hero of Our Time", I. Goncharov "Oblomov", I. Turgenev "Fathers and Sons").
"Superfluous Man" Onegin
About nine years, almost half of his creative life, Pushkin gave the creation of the novel, putting into it the fruits of "the mind of cold observations and the heart of sad remarks."
With all the breadth of the themes of the novel, "Eugene Onegin" is, first of all, a novel about the mental life and quests of the Russian noble intelligentsia of the 20s of the 19th century. Pushkin addressed the creation of the image of his contemporary in early romantic works, for example, in The Prisoner of the Caucasus. However, the hero of this work did not satisfy the author, as he turned out to be romantic. The circumstances in which he acted were hothouse, his past remained vague, the reasons for his disappointment were unclear. Therefore, Pushkin returned to the idea of creating a typical image of a contemporary in his main work - the novel "Eugene Onegin".
Now we also have a disappointed hero, and in this we can see a connection with romantic poems, but he is depicted in a completely different way: his upbringing, education, the environment in which he was born and lives are described in detail. The poet not only indicates clear signs of his disappointment, but aims to explain the reasons that gave rise to it.
The concept of "extra man" appeared in 1850, when I. S. Turgenev's "Diary of an Extra Man" was published. However, in Pushkin's drafts, a remark flashes that Onegin at a social event "is like something superfluous," and it is Pushkin who for the first time in Russian literature creates the image of a "superfluous person."
Onegin - "secular St. Petersburg young man", a metropolitan aristocrat; "Having fun and luxury as a child," he received a home education and upbringing, typical for the aristocratic youth of that time, under the guidance of a French tutor, who, "so that the child would not be exhausted, taught him everything jokingly, did not bother with strict morality ..."
Onegin leads a life typical of the "golden youth" of that time: balls, restaurants, walks along Nevsky Prospekt, visits to theaters. It took him eight years. But Onegin stands out from the general mass of aristocratic youth. Pushkin notes his "involuntary devotion to dreams, inimitable strangeness and a sharp, chilled mind", a sense of honor, nobility of soul. This could not but lead Onegin to disappointment in life, in secular society.
Spleen and boredom took possession of Onegin. Moving away from the "empty light", he tries to do some useful activity. Nothing came of the attempt to write. Yevgeny did not have a vocation: "yawning, he took up the pen," and he does not have the habit of work: "hard work was sickening to him." An attempt to combat "spiritual emptiness" through reading was also unsuccessful. The books he read either did not satisfy him or turned out to be consonant with his thoughts and feelings and only strengthened them.
And here Onegin is trying to organize the life of the peasants on the estate, which he inherited from his uncle:
Yarem he is an old corvée
I replaced it with a light quitrent ...
However, all his activities as a landowner-owner were limited to this reform. Former moods, although somewhat softened by life in the bosom of nature, continue to own him. Everywhere he feels like a stranger and superfluous: both in high-society and in provincial living rooms. It was hard and unbearable for him to see before him
One dinner is a long row,
Look at life as a rite
And following the orderly crowd
Go without sharing with her
No shared opinions, no passions.
Onegin's extraordinary mind, his freedom-loving moods and critical attitude to reality put him high above the "secular mob", especially among the local nobility, thereby dooming him to complete loneliness. Having broken with secular society, in which he found neither high interests nor real feelings, but only a parody of them, Onegin loses contact with people.
From "spiritual emptiness" could not save Onegin and such strong feelings as love and friendship. He rejected Tatyana's love, since he valued "freedom and peace" above all else, he was unable to discern the whole depth of her soul and her feelings. Fed up with the love of secular ladies, Onegin was disappointed in this feeling. His attitude to love is rational and feigned. It is sustained in the spirit of assimilated secular "truths", the main purpose of which is to enchant and seduce, to appear in love.
How early could he be hypocritical,
Hold hope, be jealous
disbelieve, make believe
To seem gloomy, to languish.
And finally, Onegin's friendship with Lensky ended tragically. No matter how the noble mind of Onegin protested against the duel, the social conventions formed by the light nevertheless prevailed. Onegin killed his friend Lensky because he could not rise above public opinion of the local nobility, which he internally despised. He was frightened of the "whispers, the laughter of fools," the gossip of the Zaretskys, the Petushkovs, and the Skotinins.
And here's the public opinion
Spring of honor, our idol.
And this is where the world revolves! -
exclaims Pushkin. The result of Onegin's life is bleak:
Having lived without a goal, without labor
Until the age of twenty-six
Languishing in idle leisure
No service, no wife, no business,
Couldn't do anything...
V. G. Belinsky called Onegin "an unwilling egoist", "a suffering egoist", because society made such a "strong, remarkable nature". "Evil hides not in man, but in society," wrote the critic. Onegin's skepticism and disappointment are a reflection of the general "malaise of the newest Russians," which at the beginning of the century seized a significant part of the noble intelligentsia. Pushkin condemns not so much the hero as the secular environment that shaped him as a person.
Obviously, the Onegins are doomed to inaction. The transformation of Onegin into a "superfluous person" was certainly inevitable at that time. He belonged to that enlightened part of the noble intelligentsia, which avoided serving tsarism, did not want to be in the ranks of the silent, but stood aloof from social activities. Pushkin's undoubted merit is that in his novel he showed the tragedy of "superfluous people" and the reasons for their appearance among the noble intelligentsia of the 20s of the 19th century.
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The theme of creativity in Tsvetaeva's poetry You open any page and immediately plunge into its element - into the atmosphere of spiritual burning, immensity of feelings, the most acute dramatic conflicts with the outside world. V. Orlov
Relations with poets: admiration, respect, friendship
Tsvetaeva and Blok From the cycle "Poems to Blok" April 15, 1916 Your name- a bird in the hand, Your name is an icicle on the tongue, One single movement of the lips, Your name is five letters. A ball caught on the fly, A silver bell in your mouth, A stone thrown into a quiet pond, Sobs like your name. In the light clicking of night hooves Your loud name thunders. And he will call him to our temples. A loud clicking trigger. Your name - oh, you can't! - Your name is a kiss on the eyes, Into the gentle cold of motionless eyelids, Your name is a kiss on the snow. Key, icy, blue sip. With your name - sleep is deep.
Tsvetaeva and Mandelstam You throw back your head Because you are proud and a liar. What a merry companion this February brought me! Pursued by ragamuffins And slowly blowing smoke, By solemn strangers We pass through our native city. Whose gentle hands did not live Your eyelashes, beauty, And on what thorns Laurel your verst ... - I do not ask. My hungry spirit Has already overcome the dream. You have a divine boy - I honor the ten-year-old. Let's slow down by the river, rinsing the colored beads of lanterns. I will bring you to the square that has seen the youth-kings... February 18, 1916
Tsvetaeva and Akhmatova Oh, muse of lamentation, the most beautiful of muses! Oh you crazy fiend of the white night! You send a black blizzard to Rus', And your cries pierce us like arrows. And we shied away and deaf: oh! - One hundred thousandth - you swear - Anna Akhmatova! - This name is a huge sigh, And it falls into the depths, which is nameless. We are crowned by the fact that we are the same with you We trample the earth, that the sky above us is the same! And the one who is wounded by your mortal fate, Already immortal, descends into a mortal bed. Domes burn in my melodious city, And a wandering blind man praises the Savior of Light... - And I give you my city of bells, Akhmatova! - and your heart to boot. From the cycle "Akhmatova" June 19, 1916
Tsvetaeva and Mayakovsky September 10, 1921 Above crosses and trumpets, Baptized in fire and smoke, Archangel-heavy-footed - Great for centuries, Vladimir! He is a carrier and he is a horse, He is a whim and he is right. He sighed and spat into his palm: - Hold on, dray glory! Singer of market miracles - Great, grubby pride, Chose a heavyweight like a stone, not being seduced by a diamond. Hello, cobblestone thunder! He yawned, saluted, and again the Shaft rows - the wing of the Archangel of the dray.
Tsvetaeva and Pasternak March 24, 1925 Distance: versts, miles ... We were placed, seated, seated, To behave quietly At two different ends of the earth. Distance - distance: versts, gave... We were unglued, unsoldered, In two hands parted, crucified, And we didn't know that it was an alloy of Inspirations and tendons... They didn't quarrel - they quarreled, We stratified... A wall and a ditch. They resettled us like eagles - Conspirators: miles, gave ... They didn't upset - they lost them Through the slums of the earth's latitudes They shoved us like orphans. Which one, well, which one is March?! They smashed us - like a deck of cards!
Physical education minute
Longing for the motherland ... Sergei Efron was carried away by the ideas of Bolshevism, became a member of the Union of Return to the Motherland group. In 1937 he fled to the USSR. In October 1939 he was arrested for ties with French intelligence, and in 1941 he was shot.
Ariadne Efron returns to the USSR in March 1937. In August 1939, she was arrested, under torture testifies against her father, then spends 8 years in forced labor camps. Homesickness…
Longing for the Motherland… Marina Tsvetaeva in June 1939 returned with Moore to her Motherland. After the arrest of loved ones, he tries in vain to achieve justice.
Appeals to the Union of Writers with a request to help find housing and work. I agree to work as a dishwasher. In August 1941, thanks to the efforts of B. L. Pasternak, together with other writers, she was evacuated to Yelabuga (Tatarstan).
The last place of life of M. I. Tsvetaeva
On August 31, 1941, M. I. Tsvetaeva died. Purr! Forgive me, but it could get worse. I'm seriously ill, it's not me anymore. I love you madly. Understand that I could no longer live. Tell dad and Ala - if you see - that you loved them until the last minute and explain that you are in a dead end. A letter written before suicide. Addressed to son George
Memorial plaque on the house where the path of the great Russian poet ended
Homework Write an essay-reflection on the topic "What is close to me and what I do not accept in the work of M.I. Tsvetaeva." Read O.E. Mandelstam's poems "Notre Dame", "Dombey and Son", "Twilight of Freedom"
The article presents a small selection of poems dedicated to the theme of poetry and the fate of the poet, and their brief analysis. This selection will help graduates taking the exam in literature when writing a detailed answer in task 16, where it is necessary to compare the given passage from the lyrical text with other poems with related topics and quote them.
He is haunted by blasphemy:
He catches the sounds of approval
Not in the sweet murmur of praise,
And in the wild cries of anger ...
Nekrasov's poem is built on antithesis. The first part is devoted to poets who do not touch on topical, topical topics, do not use satire in their work and, thus, find a large number of admirers of his work: “And his contemporaries are preparing a monument to him during his lifetime ...”. The second part of the poem reflects creative life a rebel poet, one who writes sharply, sincerely, does not try to please. He remains honest with his readers and, above all, with himself, and in his works he shows the truth of life without embellishment. Despite the fact that such a poet does not find recognition during his lifetime (“And every sound of his speeches produces harsh enemies for him”), Nekrasov notes that after his death, great works will be understood and appreciated even by those who previously criticized them. Thus, the author of the poem reflects the following point of view: brilliant poet is the person who is not afraid to express his civic position in poems, is not afraid of being misunderstood and does not strive for fame, and who sees the meaning of his life in the opportunity to speak through his creativity.
Mayakovsky "An Extraordinary Adventure ..."
I will pour my sun
and you are yours
poems.
The author depicts a dialogue between the poet and the sun, thereby, as it were, likening a person who creates poems to a luminary that sheds light on the earth. The poet, just like the star, dispels the darkness, but only does it in the soul of each individual reader. Mayakovsky's message is important: it is necessary to work hard and hard, and then the creations can become for people the same sunlight that warms and illuminates the life path:
Shine always, shine everywhere
until the days of the last bottom,
shine - and no nails!
Here is my slogan and the sun!
Tvardovsky "The whole essence is in one single testament ..."
I'm worried about one thing in life:
About what I know best in the world,
I want to say. And the way I want.
In most of his poems, Tvardovsky urges people to always be honest, to say only what they think. He portrayed contemporary life and a Russian man with an open soul. Lyric work“The whole essence is in one single testament ...” was no exception, but here Tvardovsky draws attention to the special purpose of the poet. The only purpose of creativity for him is the expression of thoughts and feelings through his lines. The creator must speak openly and directly, without lies and falsehood - this is the only possible condition for the existence of art. The work is built as a monologue-declaration, that is, as a declaration of one's own truth, which for the lyrical hero is an indisputable truth.
Pushkin "Poet"
But only the divine word
It touches the sensitive ear,
The soul of the poet will tremble,
Like an awakened eagle.
In Pushkin's view, the poet is a sublime, heavenly creature - this is exactly how Alexander Sergeevich describes him in his works. Therefore, at the beginning of the poem, the life of the creator in the ordinary world is reflected, in which there is no place for lofty ideas and dreams. He suffocates and feels worthless, being part of this routine and prosaic life: "And among the children of the insignificant world, perhaps he is the most insignificant of all." The second half of the poem is devoted to the very moment of creativity, when the muse comes to the poet and he becomes not involved in the world. ordinary people. The author emphasizes that a creative person cannot live without inspiration, only in the presence of it does he become truly free and happy, the usual earthly life is alien to him. And it is at the moment of creating his works that he can be alone with his art.
Balmont "Higher, higher"
Higher, higher, all behind me
Enjoy the high
Get caught in my net
I sing, I sing, I sing.In the poem "Higher, Higher" Balmont described the creative process. He portrays the poet as a creator, a creator who touches the soul of everyone who reads his poem: "I touched the souls of strangers, like strings, but my strings." Another image that Balmont’s metaphor suggests us is the lyricist as a musician who, with the help of words, creates a work that plays on the strings of a person’s soul. The poem can also be considered as a process of reading this work: “With the flutter of sonorous wings, it fogged, intoxicated.” Indeed, with each line you read, you are more and more immersed in art world Balmont and you yourself unconsciously become a part of it.
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