Analysis of the novel by Andrey Bitov "Pushkin House" from the point of view of postmodernist techniques. The main motives and artistic originality of the lyrics of A.S.

Pushkin's prose was a qualitatively new stage in the development of Russian literature in general and Russian prose in particular. But in order to understand what is the innovation of Pushkin's prose, it is necessary to trace the development of Russian prose to Pushkin.
"Russian literature XVIII century was mainly occupied with the organization of verse” (B. M. Eikhenbaum). Prose seemed to recede into the background. Russian prose of the 18th century, and especially of the end of the century, tends to moralizing, loving and adventure novels who came to Russia from the West. On the other hand, it is characterized by proximity to monumental poetic genres: philosophical ode and satire. Hence the predominance of satirical (Novikov) and philosophical-journalistic (Radishchev) works in Russian prose of that time. Karamzin faces the task of updating Russian prose, that is, overcoming the traditions of the 18th century. At the same time, Karamzin, firstly, brings prose as close as possible to sentimentalist poetry and, secondly, refers to purely everyday or historical material, and with a noticeable moralistic connotation. By the beginning of the 1910s, sentimentalist prose was becoming a cliche that needed to be destroyed. This was carried out by the Russian prose of that time: the romantics (Bestuzhev-Marlinsky, Odoevsky) and the "didactics" (Narezhny, Bulgarin). Despite significant differences, for example, the romantics' attitude to exclusivity, both directions had much in common with Karamzin: the “didacticians” turned to everyday material, the romantics drew closer to poetry, only with romantic poetry. By the end of the 1920s, even such prose became a cliché. Around this time, Pushkin wrote his first prose work, the unfinished novel Peter the Great's Moor. As we have seen, one of general principles Russian prose before Pushkin was its rapprochement with poetry. The main artistic principle of Pushkin's prose is the rejection of such rapprochement, so to speak, the deliberate prosaicization of prose.
The problematics of a work of art is always connected with the goal that the author sets for himself and with the genre of the work of art. Pushkin, as a reformer of Russian prose, was interested in both particular problems of Russian life and general problems. Moreover, developing more specific problems, Pushkin uses the genre of the short story, and more general - the genres of the novel and short story. Among such problems, it is necessary to name the role of the individual in history, the relationship between the nobility and the people, the problem of the old and new nobility (“History of the village of Goryukhina”, “Dubrovsky”, “The Captain's Daughter”).
The literature that preceded Pushkin, both classicist and romantic, created a certain, often one-line type of hero, in which any one passion dominated. Pushkin rejects such a hero and creates his own. Pushkin's hero is, first of all, a living person with all his passions; moreover, Pushkin defiantly refuses the romantic hero. Aleksey from “The Young Lady-Peasant Woman” in appearance has all the features of a romantic hero: “He was the first to appear gloomy and disappointed in front of them (the young ladies), the first to tell them about the lost joys and about his faded youth; moreover, he wore a black ring with the image of a death's head. Alexei's hunting dog is called Sbogar (named after the protagonist of the story TTT. Nodier "Jean Sbogar"). But then Pushkin himself remarks to his hero: “The fact is that Alexei, despite the fatal ring, the mysterious correspondence and gloomy disappointment, was a kind and ardent fellow and had a pure heart, capable of feeling the pleasures of innocence.” If Pushkin in "Dubrovsky" uses the theme of the noble robber, then he strongly modifies it: Dubrovsky takes revenge not for the insults inflicted on the poor and destitute, but for the death of his father. In contrast to the romantic focus on exclusivity, Pushkin makes the main character of his prose works the average person - the source of new themes, new plots, new artistic effect. In addition, the introduction of the average person as the protagonist into prose allows Pushkin to identify the special, typical features of a particular era, situation (in this sense, Pushkin is close to the position of Walter Scott).
Pushkin's prose is characterized by a variety of plots: from the everyday descriptive "Arap of Peter the Great" to the fantastic "The Undertaker" and "The Queen of Spades". The principle of depicting reality in Pushkin's prose was objectivity. If a romantic, describing this or that event, seemed to pass it through the prism of his own imagination, thus enhancing the tragic or heroic effect of the work, then for Pushkin such a path was unacceptable. Therefore, he abandons the romantic plot and turns to everyday material. But at the same time he does not goes the way authors of moralizing novels of the 18th century, sentimentalists or “didactics”, moreover, he refuses any sentimentalist plot: “If I obeyed one of my desires, I would certainly and in all detail begin to describe the dates of young people, the growing mutual inclination and gullibility, classes, conversations; but I know that most of my readers would not share my pleasure with me. These details should generally seem cloying, so I will skip them ... ”(“ The Young Lady-Peasant Woman ”). Thus, Pushkin, as a rule, refuses the detailed depiction of the feelings of the characters, so characteristic of the prose of his predecessors. Pushkin is interested in life not only in any of its individual manifestations, but in the whole of life as a whole. Therefore, the plots of Pushkin's prose are so far from the plots of "didacticians" and romantics. Most of Pushkin's prose works gravitate towards a sharp plot “with the accumulation of weight towards the denouement” (B. M. Eikhenbaum). Yu. N. Tynyanov even notes that the basis of some of Pushkin’s prose works is an anecdote (“Belkin’s Tales”, “ Queen of Spades”). But at the same time, Pushkin deliberately slows down the development of the plot, using a complicated composition, the image of the narrator, and other artistic techniques. All this is necessary to create a special tense atmosphere in the work, in which the effect of surprise is even stronger. Sometimes Pushkin uses the plots of other authors, but significantly alters them, introduces new characters, new details, draws attention to other aspects of the plot. So, “Roslavlev” is obviously close to the novel “Roslavlev, or Russians in 1812” by M. Zagoskin, “Snowstorm” is close to Washington Irving’s short story “The Groom-Ghost” (this parallel was noticed by N. Ya. Berkovsky). Interesting from the point of view of the plot is Pushkin's unfinished story "Egyptian Nights", in which there is actually no plot. Its main theme is the relationship between the poet and society, the poet and the crowd, the theme is clearly poetic. On the other hand, Pushkin's poems devoted to this topic are plotless. Maybe that's why Egyptian Nights has no plot.
The conciseness of the plot implies the conciseness of the work itself. Indeed, Pushkin does not have large-scale works: the largest - "The Captain's Daughter" - takes just over a hundred pages. Most of Pushkin's prose works are characterized by clarity of composition: they are divided into chapters or these works can be easily divided into several parts, and each of these parts can be perceived as a complete passage. Such a division is often carried out with the help of special narrative techniques. So, for example, “The Stationmaster” can be easily divided into parts according to the three meetings of the narrator with the stationmaster Samson Vyrin. Often in Pushkin's prose, one can distinguish between an introduction and a conclusion. In the introduction, either the prehistory of the work is given, or a description of the main characters (in the first case - “Dubrovsky”, in the second - “The Young Lady-Peasant Woman”). The conclusion is always about further destinies heroes. Sometimes there is no introduction as such, the action begins immediately (this is especially typical for short stories that do not require a detailed characterization of the characters). This emphasizes the rhythm and style of Pushkin's prose ("The Shot", "The Undertaker", "The Queen of Spades"). Often there is no conclusion, the work remains open (“Snowstorm”, “The Undertaker”). This is connected with Pushkin's philosophical view of life as something that never stops, has no end, and therefore there is no end to life either. Pushkin's stories. We have already said that to slow down the development of the plot, Pushkin uses a variety of compositional techniques. Among such techniques, it is necessary to name the introduction to the prose text of songs, poems, even documents (“Dubrovsky”). An interesting compositional technique is the continuation of prose in verse. Especially often it is used in Belkin's Tales and Journey to Arzrum. Here is an example from “The Young Lady-Peasant Woman”: “He cultivated his fields according to the English method:
But Russian bread will not be born in someone else's manner,
and, despite a significant reduction in expenses, Grigory Ivanovich's income did not increase. Such techniques not only slow down the development of the plot, but also characterize the hero or the environment in which he acts. Often Pushkin uses such an artistic device as a story within a story or an inserted short story. It is necessary not only to slow down the plot (this is brilliantly shown by Boris Mikhailovich Eikhenbaum in his work “Problems of Pushkin's Poetics”), but also to clash different points of view in the work. The best illustration of this is Belkin's Tales: they were published by Pushkin, written by Belkin, in turn they were told to him by different persons (titular adviser A. G. N., lieutenant colonel I. L. P., etc.), and already the stories themselves contain the stories of their characters. In general, the problem of the narrator in Pushkin's prose is extraordinarily complex. This is explained by the fact that Pushkin often not only introduces a conditional narrator into a prose work, but also talks about him, characterizes him, and himself acts as a publisher, and it is often difficult to understand where Pushkin himself speaks in the work, and where the narrator. In any case, an equal sign cannot be put between them.
It has already been said that Pushkin opposed descriptiveness in prose. Nevertheless, descriptions of nature and interior in Pushkin's prose are found repeatedly. There is no doubt that Pushkin needs them to create a special atmosphere for the story, to characterize state of mind hero. It should be noted that the descriptions of nature in Pushkin's prose always correspond to the general mood of the narrative. Here are two examples from The Young Lady-Peasant Woman and from The Queen of Spades: “The dawn shone in the east, and the golden rows of clouds seemed to be waiting for the sun, as courtiers are waiting for the sovereign; Clearly, the morning freshness, the dew, the breeze, and the singing of the birds filled Lisa’s heart with childlike gaiety” (“The Peasant Young Lady”). “The weather was terrible: the wind howled, wet snow fell in flakes; the lanterns glowed dimly; the streets were empty ... Herman stood in one frock coat, not feeling either the wind or the snow ”(“ The Queen of Spades ”). On the other hand, descriptions of the interior characterize not only the hero, but also the customs of a whole circle of people, and sometimes the customs of an entire era. (Recall that the hero of Pushkin - average person.) Undoubtedly, the description of Charsky's cabinet in the "Egyptian Nights" characterizes, first of all, himself, but it also characterizes the life of the noble youth of the 30s of the 19th century. Due to this special role detail plays in Pushkin's prose. Each detail in Pushkin not only stands out in particular, but also performs a certain function in the development of the plot or in the characterization of the hero: “I will not describe either the Russian caftan of Andriyan Prokhorov, or the European attire of Akulina and Daria, deviating in this case from the custom adopted by our novelists. I think, however, it is not superfluous to note that both girls put on yellow hats and red shoes, which happened to them only on solemn occasions” (“The Undertaker”). Sometimes the whole work is built on one detail: this technique was used by Pushkin in “ stationmaster”: the story of the prodigal son is played out in pictures that hang in Vyrin’s room.
For Pushkin, the question of the style and language of a prose work was important. Pushkin wrote in the note “On the reasons that slowed down the course of our literature”: “Our prose is still so little processed that even in simple correspondence we are forced to create turns of words to explain the most ordinary concepts ...” Thus, Pushkin was faced with the task of creating a new language of prose . Pushkin himself defined the distinctive properties of such a language in the note “On Prose”: “Accuracy and brevity are the first virtues of prose. It requires thoughts and thoughts – without them, brilliant expressions are of no use.” Such was the prose of Pushkin himself. Simple two-part sentences, without complex syntactic formations, a negligible number of metaphors and precise epithets - such is the style of Pushkin's prose. Here is an excerpt from The Captain's Daughter, typical of Pushkin's prose: “Pugachev has left. For a long time I looked at the white steppe, along which his troika was rushing. The people dispersed. Shvabrin disappeared. I returned to the priest's house. Everything was ready for our departure; I didn't want to delay any longer."

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Artistic originality of Pushkin's prose

Features of Pushkin's creativity: 1. Specific universality of artistic thinking. 2. The ability to intuitively penetrate the spirit of different cultures and eras ("proteism"). 3.Wide awareness in world literature. 4. Continuation of the tradition of creating new Russian literature begun by Trediakovsky, Lomonosov and Sumarokov, Radishchev, Karamzin, Zhukovsky and Batyushkov. 5. A clear sense of boundaries within one's own development. 6. Implementation of some organic - creative and life - way. 7. Multi-genre. 8. The novelty and unusualness of Pushkin's style is a condition for creating a synthesis of linguistic styles and a new national literary language.

I. Lyceum period (1813 - summer 1817) Traditions of Karamzinism, Batyushkov and Zhukovsky (elegies, romances, messages). Interest in the genres of the XVIII century. (philosophical prose, ode to Derzhavin, satirical poem) and to civil lyrics early 19th century The range of Western European influences - from Voltaire to Ossian. Top work: Memories in Tsarskoye Selo (1814) - synthesis historical elegies Batyushkov with Derzhavin's ode = civic-patriotic poetry with personal intonations II. Petersburg period (autumn 1817 - spring 1820) Decembrism and the search for new artistic solutions in political lyrics (the use of "marginal" genres to create civil poetry that combines high pathos with intimate intonations: madrigal, message) The main creation of the period is the poem Ruslan and Lyudmila (1820 , 1828): The main artistic principle is a contrasting juxtaposition of incompatible genre and stylistic passages, irony aimed at the very principle of genre, the principles of narration of "Eugene Onegin"

III. "Southern" period (1820-1824) The period of romantic poems Prisoner of the Caucasus(1820–21), Gavriiliada (1821), Robber Brothers (1821–22), Bakhchisarai Fountain (1821–23), Gypsies (1824) The problem of "Byronism". Structure romantic poem: principles of elegy in epic genre and descriptive beginning. Crisis moods in 1823 and the appeal to the problem of nationality. The final (frontier) works of the period: a novel in verse by Eugene Onegin (1823–1830), a historical and political tragedy (1825, publ. 1831) was begun. Two aspects of the problem of nationality: 1) reflection in literature folk psyche and folk ethical ideas (the concept of Eugene Onegin), 2) the role of the people in history (Boris Godunov). Eugene Onegin as a formula of the Russian novel: 1) the relationship between the hero and the heroine becomes a model of the main historical and national collisions of the Russian Society XIX in. 2) The complexity of Onegin's character is a hero of his time and a historical person who has not exhausted his possibilities.

IV. After references (ser x - 1830) The requirement to extract historical lessons from the defeat of the Decembrists, historicism is one of the dominant features of period 1. The theme of Peter in the further work of the poet Poltava (1829): plot and stylistic interweaving and contrast of lyrical-romantic and odic jets (clash of an egoistic personality with historical regularity); documentary commentary and dedication; path to the Bronze Horseman. 2. Pushkin's transition to a new stage of realism - a growing interest in prose. Boldin autumn (Sept. - November 1830) - the search for a new construction of a person's character, a new prose word: The completion of Eugene Onegin is the end of the previous stage, the Tale of the late Ivan Petrovich Belkin is the beginning of a new one. "Little Tragedies" - the desire for historical, national and cultural specificity of images, the idea of the connection of a person's character with the environment and era (psychological fidelity of characters and historical conflicts between the characters of people of different eras: the knightly and money age in the Miserly Knight, classicism and romanticism in Mozart and Salieri, Renaissance and the Middle Ages in Stone Guest and Renaissance and Puritanism in Pir during the plague).

V.1830s Knot of the main themes of creativity in the 1830s. - three forces whose enigmatic behavior could determine the future fate of Russia: 1. Autocratic power, the highest embodiment of which is Peter I: a reformist and Europeanizing force, but despotic. 2. The enlightened nobility - has it exhausted its historical possibilities on Senate Square? force opposing autocracy, a class of people who are close to Europe in education, tradition - with the Russian village, material situation - with the "third estate" and who inherited from their ancestors the age-old resistance to power and a sense of dignity, This environment naturally gives rise to rebellious moods (Decembristism). 3. The people, whose image is increasingly identified with Pugachev: The theme of popular revolt The paradox of Russian history according to Pushkin: “Peter I is Robespierre and Napoleon in one person (revolution incarnate)”, the nobility is “a terrible element of rebellions”, the people are a rebel. These forces are either hostile to each other or follow different paths towards different purposes. The correlation of social forces operating in Russia is the object of study by Pushkin, an artist and historian.

1. At the beginning of the 1830s: the ancient nobility, which had lost their class privileges and property, was a natural ally of the people, Dubrovsky's plan. 2. The Captain's Daughter (1833, publ. 1836) and Pugachev's History (1833) - a transition to a story from someone else's face, the narrative manner and way of thinking of which are not equal to the author's. 3. Images of a symbolic nature: various images of raging elements: snowstorms (Demons, Blizzard, Captain's daughter), fire (Dubrovsky), floods ( Bronze Horseman), plague epidemic (Feast during the plague); a group of images of statues, pillars, monuments, "idols"; images of a person, people, living beings, victims or fighters (a people “driven by fear”, or a proudly protesting person). The picture is complicated by the presence of images included in several main figurative fields - the image of the House as a sphere of life, the natural space of the Personality. the author's ability to take the point of view of any of these forces, each of them for him is not devoid of its own poetry. the plots consist in a violation of the stable correlation of images (the elements break out of captivity, the statues begin to move, the humiliated enters the struggle); behind all the plot conflicts of these images is a deeper philosophical opposition of Life and Death.

M. Yu. Lermontov Representative of the "1830s" (mid-1820s - early 1840s) Acceleration and intensity of creativity (1828-1841) Periods of creativity: 1828-31, 1832-34, 1835 - early 1837, 1837–38, 1838–41 Romanticism of Lermontov: "Byronic Poem": the cult of titanic passions and extreme situations, lyrical expression combined with philosophical introspection; "vertex composition"; geographical (“East” = Caucasus) and time coordinates (Kalli, 1830–31; Izmail-Bey, 1832; Aul Bastundzhi, 1833–34; Khadzhi-Abrek, 1833; Litvinka, 1832). early lyrics: "lyrical diary" in cycles = literary autobiography; correlation lyrical "I" with tragic destinies real poets of the past (A. Chenier, Byron) lyrical situation of expectation of death, execution, exile, public condemnation; genre of "excerpt" - lyrical reflection, meditation (introspection / self-understanding): antitheses of peace and activity, good and evil, earthly and heavenly, one's own "I" and the world around; political lyrics and "providential" motifs drama A strange man(1831), novel by Vadim (1832–34)

Symbolic generalization of lyrics (1832: Sail, Desire, Reed, Two Giants). interest in problems national history and culture (poems by Boyarin Orsha, 1835–36; Song about Tsar Ivan Vasilyevich, young oprichnik and the daring merchant Kalashnikov, "microepos" Borodino, 1837;). Appeal to the plot characterological narration on modern material(lyric: Death of a Poet, 1837; novel Princess Ligovskaya and drama Masquerade 1836; poems by Sashka, 1835-36; Tambov Treasurer, 1836-38). The strengthening of folklore and ethnographic tendencies of ethnically and historically defined folk character (tale Ashik-Kerib, 1838; Gifts of the Terek, 1839; Cossack lullaby, 1838; Fugitive, 1837–38). historical fate generations (Duma, 1838; Do not believe yourself, 1839). Return to Pushkin's principles (Stoss, Journalist, reader and writer, 1840; Tamara, 1841). Analysis modern society and psychology modern man motives of mutual misunderstanding and disunity, loneliness, loss and impossibility of communication (How often surrounded by a motley crowd..., Testament, 1840; Cliff, Dream, They loved each other so long and tenderly..., In the wild north stands alone..., Prophet , 1841)

Completion / transformation of the line of the lyrical-epic genre - Demon (1829-39) and Mtsyri (1830-39) - the idea of "aimless action" Hero of Our Time (1838-40): o form, construction, composition, o interpretation of the image of Pecherin, o reassessment of spiritual values (love, friendship), o romantic origins and the tradition of analytical psychologism in subsequent Russian literature. Studying national foundations Russian life (Motherland, 1841), social psychology (poem Tale for children, 1840), development of epic thinking.

N. V. Gogol The movement from romantic forms to realism in the work of Gogol decisive factor the subsequent development of Russian literature Evenings on a farm near Dikanka (publ - part 1, 1832 - part 2) Appeal to Ukraine = to the indigenous, national fundamental principles Slavic world("Slavic Avzonia"). The concept of Ukraine as a whole continent on the map of the universe, with Dikanka as a kind of its center. But - the world of "Dikanka" is initially conflicted due to interference fantasy world in human affairs Evening on the eve of Ivan Kupala, Terrible revenge- romantic alienation of the central character, Sorochinskaya fair, May night and The Night Before Christmas - a love story involving (benevolent or hostile) unreal forces, enchanted place and The Missing Letter - an ironically serious contrast between the desired and the real, Ivan Fedorovich Shponka and his aunt. "Jollyness" and the threat of invasion by hostile forces.

Mirgorod and Arabesques (1835) The emergence of new symbolically generalized worlds - Mirgorod and Petersburg: transformation of sentimental and romantic conflicts, a significant change in the type of perestroika speech style and fantasy. The fusion of romantic material with social issues (Overcoat, 1842) and stylistic effect (comic tale, language game, deliberate tongue-tied tongue are combined with pathos). The universality of the collision of dreams and reality - the unpredictability of events, the invasion of everyday life elemental forces hostile to man. The evolution of Gogol's fantasy: 1) "Frank" fantasy and its subordination to a temporary plan (in the past - the participation of otherworldly forces, in the present - a system of means: coincidences, rumors, dreams), 2) "Implicit" fantasy (Nose, 1836) and a parody of romantic secrets; 3) The manifestation of the strange and unusual (in the behavior of things; in the appearance of objects; in the behavior of characters; in involuntary movements and grimaces of characters; road confusion and confusion) Gogol's non-fantastic fiction in Dead Souls.

The evolution of historical generalization: 1) the epicness of Taras Bulba (1835, 42); 2) Auditor (1836) - historic moment the life of the people modern Gogol era using the "reception of the city" (horizontal and vertical expansion of the semantic volume). 3) Dead Souls (1835 - 42, 55): The monumental panorama of the "poem": instead of a family romance (weaving individual destinies with a historical background), the construction is linear (with the help of a through hero) and a consistent demonstration of the whole. The introduction of dramatic principles into the epic stream (with a plot, a climax, a denouement, with a grouping of faces around one central event - the Chichikov scam). The search for extra-plot, symbolic-associative and philosophical principles of combining material - the antithesis of the "dead" and the living soul (Dante's tradition). 4) Selected passages from correspondence with friends (publ. 1847) - a new attempt to bring utopia to life. The significance of Gogol for Russian literature is in the "natural school": the anti-romantic tendencies of his poetics, the motives of social criticism; installation on social and national generalization; humanistic treatment of the "little man" theme.

Essay

If we read one after another such, for example, Pushkin's poems as "To Chaadaev", "Village", "To the Sea", "I visited again ...", "Message to the Censor", "Prophet", "Autumn", "I he erected a monument to himself not made by hands ... ”, then even by ear we will notice some special features of the language of Pushkin’s lyrical works. In the poetic language of Pushkin, various stylistic elements of Russian speech merged on a broad folk basis: Slavicisms, bookish and colloquial elements of the all-Russian language, and the vernacular of the broad masses of the people. Until the beginning of the 20s of the XIX century. Pushkin in his views on Russian literary language adhered to the point of view of N. M. Karamzin. He believed that the literary language of the book should be brought closer to spoken language educated society. In his works of this period, Pushkin limits the use of Church Slavonicisms, but, on the other hand, even lively colloquial everyday speech is still almost not included in his poems. Since 1817, the socio-political, revolutionary terminology of the Decembrist circles appeared in Pushkin's poetic language.

Gradually, Pushkin changes his attitude towards the Church Slavonic language: in it he begins to see support in the fight against dominance French. The Church Slavonic language now seems to him closer to the "root" foundations of the Russian language than Karamzin's "new syllable". He appreciates the Church Slavonic language for its stylistic virtues, simplicity, brevity, "freedom from European affectation." But he subordinates Church Slavonic words and expressions in his works to the peculiarities of live colloquial speech.

By the beginning of the 20s of the XIX century. the main features of Pushkin's poetic language were determined:

* combining colloquial and literary elements of speech based on the folk language;
* simplicity and harmony of syntax:
* strict word order in a sentence (inversion is used only for stylistic purposes, i.e. to enhance expressiveness);
* energy and speed of presentation of thoughts and expression of feelings.

Further creative development Pushkin's poetic language increasingly blurs the boundaries between poetic and prose speech (in terms of word choice). Since the mid-1920s, Pushkin, reflecting the most diverse life phenomena in his lyrical works, increasingly uses "prosaic" words.

But this "simplification" of the language does not reduce the artistic perfection of his works. The point is that the word work of art(and especially in lyrics), in comparison with the same word in non-artistic speech, acquires an additional aesthetic function. If in non-artistic speech the word is used in a given speech situation in one, nominative meaning, then in lyrics the word is always polysemantic.

What are the ways to unravel the "significant lyrical speech"? You need to know the "traditional conventionality of word usage and poetic style in general" and you need to be able to comprehend the word in context. “It is known that two people are more than twice as strong as one person. In the same way, in the language, the combination of words gives a meaning greater than the simple sum of "meanings" individual words. Combinatorial increments are formed both within one phrase and, in addition, from a combination of periods - within a chapter; further, there are shades that arise only from a finished literary whole.

In Pushkin's poems, words, even those to which we are accustomed in everyday speech, "so skillfully staged" that the poem requires repeated re-reading, reflection, in order to understand, to unravel not only direct, real meaning poems, but also subtext.

Let's read, for example, the poem "To Chaadaev":

* While we burn with freedom,
* As long as hearts are alive for honor,
* My friend, we will devote to the fatherland
* Souls beautiful impulses!
* Comrade, believe: she will rise,
* Star of captivating happiness,
* Russia will rise from sleep,
* And on the ruins of autocracy
* Write our names!

In terms of content, genre and composition, the poem "To Chaadaev" is a poetic variety of works of oratory. A high emotional mood, a fighting spirit that mobilizes for struggle, expressed in invocative intonations, is created by special means of verbal expression inherent in the oratorical style. The syntax of the poem is simple and harmonious. Clarity in the presentation of thoughts, vigor in the expression of feelings are achieved by relative brevity. simple sentences that make up complex ones: fifteen simple sentences form four complex ones, two of which include appeals.

The vocabulary of the poem is unique. Expressing the ideas of the Decembrists in it, Pushkin uses the words of the "high" style (listen, fatherland, hope, rise up). In addition, the poem contains socio-political terms that were common in the speech of the noble revolutionary circles (oppression, fatal power, liberty, honor, autocracy).

However, being a model of oratorical style, "To Chaadaev" remains highly artistic. poetic work. Rhythm and "significant lyrical speech" make it such. Rhythm acts both as one of the constituent elements of intonation, and as a constructive element, with the help of which the integrity of a lyrical work is achieved. “Meaningful lyrical speech” is created by the whole set of verbal figurative and expressive means: poetic tropes and figures, context, “synonyms poetic speech"," homonyms of poetic speech "...

“Synonyms of poetic speech” are “similar expressions”, “compared to synonyms of practical speech, they are inaccurate, they mean approximate, not completely identifiable, representations, but they are reduced to one semantic focus.” “Homonyms of poetic speech” are “similar-sounding speech combinations”. “In (lyrical) poems, the meeting of homonyms will be not only the use of a word in its two meanings, referring to completely different realities, but also the repetition of the same turn of speech (“word”) in one basic meaning, but with new semantic details. Returning to new connection, okay, - just in a different place ... the verses change semantically. And this is the most refined and difficult for the reader kind of homonymous organization of the poem.

Reading the poem "To Chaadaev", we focus on the words and expressions that create subtext: these are epithets, comparisons, metaphors, and "synonyms of poetic speech." “Unraveling” them, volitional or intuitive, in fact, causes a certain excitement in the reader, intensified by the feeling of rhythm: and poetic size, and alternation of similar and contrasting intonation-melodic movements. We deeply understand the meaning of the work. It is about the past, present and future of the freedom-loving generation of the early 19th century.

In the past - deceived hopes. The thought of them, expressed in the first four lines, built on the repetition of falling melodies, plunges us into sad thoughts. The framework of the poem is moving apart: in our minds, other freedom lovers of that time are lined up with the poet and his friend Chaadaev ...

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Introduction

Lyrica A.S. Pushkin. Literary and artistic world of poems. The high poetic skill of the poet in describing nature and depicting human feelings. General characteristics of the lyrics of A.S. Pushkin for children

Bibliography

Introduction

« Pushkin died in full

development of their forces and undoubtedly carried away

with me in the coffin of some great

secret. And now we are solving this mystery without him.”

F.M. Dostoevsky.

AS Pushkin has been a companion of many generations for nearly two centuries. Hearing gets used to his name from childhood. They say about him "my Pushkin". This is a sign of a particularly trusting relationship, openness of feelings and devotion to the poet.

At the name of Pushkin, the thought of a Russian poet immediately appears. None of our poets can be higher than him, this right belongs only to him. It alone contained all the richness, strength and flexibility of our native language. He pushed the boundaries of the language, and moreover, showed all of its space. Pushkin's poems reflected Russian nature, Russian character, the Russian language in such purity, in which it is reflected in a quiet frosty night moon in the sky. The first thing that strikes one when reading Pushkin's poems is their amazing charm, brightness and clarity of images, strength of feelings, brilliance of the mind, virtuoso command of verbal means - rhythm, sounds.

Pushkin lyrics nature upbringing

Pushkin's poems must be read very carefully, pondered over every word, because every word of his is important for understanding the whole. N.V. Gogol wrote in the article “A few words about Pushkin”: “There is no eloquence here, only poetry: no outward brilliance, everything is simple, everything is decent, everything is full of inner brilliance, which is revealed not in a friend; all laconicism, as it always is pure poetry. There are few words, but they are all so precise that they mean everything. In every word there is an abyss of space.

The material that Pushkin introduced artistically for the first time into Russian literature is inexhaustible: the characteristic images of the poet's contemporaries, European enlightened and suffering youth of the 19th century, the world of the humiliated and offended, poems about peasant life, the national-historical world; great socio-historical conflicts and the world of experiences of a solitary human soul, embraced by an all-consuming idea, which became its destiny. And each of these areas found in further development literature of their great artists - wonderful successors of Pushkin, Lermontov, Gogol, Turgenev, Goncharov, Nekrasov, Saltykov-Shchedrin, Dostoevsky, Leo Tolstoy.

Pushkin's method can be defined as the highest artistic objectivity. The poet refuses to impose the author's tastes, passions, desires on the reality he depicts, he gives a generalization of the laws of development of reality itself, regardless of whether they correspond to the author's intentions. This is evident already in the first romantically colored poems.

But objectively reflecting reality, Pushkin does not exclude the perception of the poet-artist himself. Pushkin's objectivity is a close attention to other people, an ardent sympathy for their joys and sufferings that constantly sounds in his works.

The social theme, the theme of the people and their fate, occupied one of the main places in his work.

In the spiritual life of the poet, friendship played huge role. Therefore, lyrical messages to friends for the celebration of the annual anniversary of the formation of the Lyceum acquired great importance for him.

The poet dedicates inspirational lines to each of his friends - Pushchin, Gorchakov, Delvig, Kuchelberg, thanking them for visiting "the disgraced house of the poet...", true to their friendship. All poems are a hymn to friendship. “My friends, our union is beautiful!” - exclaims the poet ("October 19, 1825").

For the lyrical hero Pushkin, love is a deep, morally pure, tender and selfless feeling, it is a delight in spiritual and physical beauty, it is a hymn in honor of the sublime, bright feeling of love, it is an expression of boundless respect for a woman, it is a touching devotion to a loved one, it is the torment of jealousy .

A rare poem by Pushkin is as popular as “I remember a wonderful moment ...”, dedicated to A.P. Kern, written by a poet in exile in 1825.

Pushkin begins his poem with a reminiscence from the first meeting with Kern and is mentally transferred to the Petersburg atmosphere of 1817-1820, during the years spent

In the languor of hopeless sadness

In the anxieties of noisy bustle…

Events cut short this period of the poet's life:

Years passed. Storms gust rebellious

Scattered old dreams...

came hard years exile:

In the wilderness, in the darkness of confinement

My days passed quietly

Without a god, without inspiration,

No tears, no life, no love.

Tears, love, inspiration - these are the companions of true life. But the depressed state of the poet did not last long, and to new meeting Pushkin comes with a feeling of fullness of life:

The soul has awakened:

And here you are again

Like a fleeting vision

Like a genius of pure beauty.

The last two verses repeat the initial quatrain. They mark a return to youth, overcoming the anguish of past years.

And the heart beats in rapture

And for him they rose again

And deity, and inspiration,

And life, and tears, and love.

The awakening of the soul opened to Pushkin the possibility of intoxication with creativity, life, and love. Love in the life and work of the poet has always been a passion embodying the feeling of fullness of life to the highest degree.

Very often, the theme of love in Pushkin merges with the lyrical landscape, in harmony with the feeling that the poet owns.

Landscape poetry occupies a special place in Pushkin's work. He was the first Russian poet who not only learned and fell in love with the wonderful world of nature, but also opened for readers the amazing charm of the light, delicate colors of the landscape. middle lane Russia, the greatness of the gray-haired snowy peaks of the Caucasus is a peculiar beauty sea element. Throughout his work, Pushkin turns to landscape lyrics. In poems about nature, Pushkin embodied his idea of \u200b\u200bthe world order. Pushkin thinks of man as component nature. Birth, childhood, youth, maturity, old age and death are perceived by the poet as natural things and do not cause protest or bewilderment in him. There is no romantic strain in his attitude to nature; Pushkin's nature is wise and fair. Pushkin bows before the very miracle of life, and in his lyrics it is beautiful in all its manifestations.

The poet illuminated the poem “Already the sky was breathing in autumn” to his favorite time of the year. What was low for former poets was noble for Pushkin; what was prose for them was poetry for him. Autumn is better for him than spring or summer, and as we read these verses, we cannot agree with him. In autumn, the poet wrote better and more. Two “Boldino autumns” are famous - 1830 and 1833, when the poet, living in his estate Boldino, wrote in a short time many first-class works, both small and large, both in verse and prose. A simple and modest landscape is conveyed here in all its poetry.

Already the sky was breathing in autumn,

The sun shone less

The day was getting shorter

Forests mysterious canopy

With a sad noise she was naked ...

The description of nature in the work is inseparably connected with the life of the people, the opposition of the description of fields and forests to how other poets describe nature in a romantic style. In these ten lines, Pushkin's gift is conveyed - to see and convey the autumn mood in a few words.

The emotional coloring of objects does not violate the accurate and visual picture, as if imprinted on the canvas by an artist’s brush: the last leaves crumbling from the trees, geese flying south, the rare rays of the sun are meager details that mark only the main changes in nature.

The author, as it were, is talking to the reader, he not only paints a picture of autumn, but also talks about himself. Behind the simple and natural narrative in the poem is the author himself, with his clever, understanding irony.

Poem " Winter evening” was written by Pushkin in 1825, when he was in Mikhailovsky after his southern exile. The poem opens to us with a picture of a raging winter element:

The storm covers the sky with mist

Whirlwinds of snow

The whole picture is imbued with movement. However, this is not just a movement, it is a breakthrough of flying images, both sound and visual.

Like a beast she will howl

It will cry like a child.

The motive of solitude, rejection of the hustle and bustle of secular life is observed, although it does not play a big role:

What are you, my old lady,

Silent at the window?

Or howling storms

You, my friend, are tired

Or slumber under the buzz

Your spindle?

Pushkin's lyrics, starting from 1825, sometimes acquire features that are unusual for his lyrical works of an earlier time. First of all, elements of the prose style, images penetrate into it. In the poem "Winter Evening" (1829), which begins with the usual general lyrical expressions:

Frost and sun; wonderful day!

You are still dozing, my lovely friend -

It's time, beauty, wake up ...

After a number of beautiful scenes that could be found in a romantic poem:

Evening, do you remember, the blizzard was angry,

In the cloudy sky, a haze hovered;

The moon is like a pale spot

Through the gloomy clouds turned yellow ...

Under blue skies

splendid carpets,

Shining in the sun, the snow lies.

After all these wonderful poetic comparisons and metaphors, the poet introduces into his poems the most mundane, prosaic words and images:

The filled oven crackles

It's nice to think by the couch.

But you know, do not order the sled

Harness a brown filly?

Russian winter is better than Russian summer, Pushkin was the first to understand this. Pushkin depicted nature surprisingly faithfully and vividly, he painted it, but did not think about it.

Alexander Sergeevich did not specifically write children's poems, but since his works are distinguished by an easy, well-remembered style, colorful images, and when writing fairy tales in verse, the folk style is used, the plots and images so familiar to us from childhood.

An old man lived with his old woman

By the blue sea.

Poetry is a difficult and responsible business. Talent is a gift from above. The poet sees and hears what is not given to see and hear an ordinary person. The poet is able to influence people, so he has a special responsibility. The poet and his vocation is the innermost theme of Pushkin's creativity, since for Pushkin there was nothing higher than Poetry, Art, except maybe Love. Poetry A.S. Pushkin, his personality and fate - the clarification of the secrets of poetic genius.

Sometimes I'll get drunk again with harmony,

I will shed tears over fiction.

Harmony, beauty - "the measure of all things", the only thing that can save humanity and man.

The pictures of nature in Pushkin's lyrics, depicted by the poet with deep respect for everything native, national, close and dear to the heart of a Russian person, are an excellent means of cultivating love for the motherland. Pushkin's poetry, like a fabulous talisman, saves from troubles, gives vitality.

In Pushkin's lyrics for children there is no natural-philosophical symbolism characteristic of other poets, such as F. Tyutchev. These are very, earthly poems that do not have a series of symbols and correspondences behind them. They do not have an impressionistic fluctuation, a subjective perception of nature, everything here is precisely and clearly outlined. The strength of Pushkin's poems is that the poet managed to convey typical, generalized characters in sharply concrete images, whether it be a picturesquely generous description of an autumn grove or a description of summer. Pushkin's realism lies in the fact that with the utmost truthfulness he shows both external and inner world discarding any conventions.

Bibliography

1. Veresaev V.V. Pushkin in life. M. 1984. From 30-31.

2. Veresaev V.V. Works in 4 vols. T 3. Pushkin in life.

3. Pushkin A.S. Poems by Alexander Pushkin//Comments by Bondi S.M. 1965.

4. Surat I. Pushkin: biography and lyrics. M. 2002.

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Analysis of the novel by Andrey Bitov "Pushkin House" from the point of view of postmodernist techniques. The main motives and artistic originality of the lyrics of A.S.

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