If the soul was born winged reasoning. Essays based on works

If the soul was born winged...

red brush

The rowan lit up.

Leaves were falling.

I was born.

M. Tsvetaeva

Marina Ivanovna Tsvetaeva is a great, strong and courageous talent. Poems began to write early, from the age of six, printed - from sixteen. Already in the youthful poems of Tsvetaeva, her individuality, her style and style are manifested.

In the early poems of Marina Ivanovna, the beginning of the song dominates, sonority and complete freedom of poetic breathing.

Like right and left hand

Your soul is close to my soul.

We are adjacent, blissfully and warmly,

Like right and left wings.

But the whirlwind rises - and the abyss lies

From right to left wing!

Rebelliousness and intransigence, the desire to check everything herself distinguish her first poems. Tsvetaeva is interested in the origins of this rebelliousness. She wants to understand and realize, first of all, herself, her place in this beautiful, multi-voiced and multi-colored world.

The first grandmother has four sons,

Four sons - one torch ...

And the other - on a different charter! -

At that, all the gentry are yearning at their feet.

I left both grandmothers - granddaughter:

A laborer - and a white hand!

At the center of this multi-colored and polyphonic world stands the image of a lyrical heroine, equally sharply revealed in her national features, on behalf of whom all poems are written, a woman with a “proud look” and a “wandering disposition”, the bearer of a “passionate fate”, who “doesn’t care about anything ”, which knows no restraint either in passion or in despair, neither in love nor in hatred, and in everything craves only “immension”.

Others - with eyes and a bright face,

And at night I talk with the wind

Not with that - Italian

Zephyr young, -

With good, with wide,

Russian, through ...

The element of self-will, spiritual rebellion, "immensity" - this is the emotional environment, outside of which it is impossible to understand either Tsvetaeva's poetry or the poet himself. She lived a difficult and difficult life, did not know and did not seek either peace or prosperity, she was always in complete disorder, and although she knew her worth as a poet well, she did absolutely nothing to somehow establish and secure her literary destiny. . And for all that, she was a very resilient person, greedily loved life and, as it should be for a romantic poet, made enormous demands on her, often exorbitant.

I wrote on the slate board

And on the leaves of faded fans,

Both on river and sea sand.

Skates on the ice and a ring on the windows,

And on the trunks, which are hundreds of winters,

And finally - for everyone to know! -

What do you love! love! love! - love! -

Signed - a rainbow of heaven.

The love of life of Marina Tsvetaeva was embodied primarily in love for Russia and for Russian speech. But just at the meeting with the Motherland, the poet was overtaken by a cruel and irreparable misfortune.

You! I will lose this hand of mine, - At least two!

I will sign with my lips On the chopping block: strife of my land -

Pride, my Motherland!

The first four years after October, Tsvetaeva lived in Moscow. She wrote a lot, but little was printed, and she was known only in a narrow circle of inveterate lovers of poetry.

Yesterday I looked into your eyes

And now - everything is squinting to the side!

Yesterday, before the birds sat, -

All larks today are crows! ..

I'm stupid and you're smart

Alive and I'm dumbfounded.

O cry of women of all times:

“My dear, what have I done to you?!”

Itself - what a tree to shake! -

In time, the ripe apple falls ...

For everything, for everything, forgive me

My dear, what have I done to you?!

In 1922, she was allowed to go abroad to her husband. Lived in Berlin, Prague, Paris. Soon, Tsvetaeva comes to the realization that behind the “white movement” there is neither historical nor human truth, and the white émigré environment with its mouse fuss and furious squabbling turned out to be more alien and hostile to her than Soviet Russia.

To the Eiffel - at hand!

Come on and get down. But each of us is

Ripe, see, I say, and today.

What is boring and ugly

We think yours. Paris.

“My Russia, Russia, Why are you burning so brightly?”

In severe hardships and complete loneliness, Tsvetaeva continued to work courageously - she wrote not only wonderful lyrical poems, but also poems, poetic dramas, and prose. The poetry of the mature Tsvetaeva is monumental, courageous and tragic. She thought and wrote only about big, important things; searched and paved new paths in poetry. Her verse hardens with time, loses its former volatility. It is impossible to read her poems in between times. She is a complex poet, she requires the reader to counter the work of thought.

Our conscience is not your conscience!

Full! - At ease! - forget about everything.

Children, write your own story

Their days and their passions.

In 1939, Tsvetaeva returns to Russia, but life does not get easier; loneliness, melancholy, war broke Marina Ivanovna, she voluntarily passed away.

Homesickness! For a long time

Exposed haze!

I don't care at all -

Where all alone...

Years passed - and Tsvetaeva's poetry reached readers. The best of what she wrote, “the time has come” - because the real in art is not lost and does not die.

If the soul was born winged. Lyrics by Tsvetaeva

If the soul was born winged 8230 . Lyrics by Tsvetaeva

M.I. Tsvetaeva is a poet of exceptionally bright talent, even for the poetically fruitful era of the Silver Age. Brought up in the family of the famous art professor I.V. Tsvetaeva, the girl received not only a very good education, but from an early age she discovered in herself an irresistible craving for creativity.

Poetry M.I. Tsvetaeva is distinguished by internal integrity and a special, unique, expressive stylistic manner. Whatever this talented daughter of the Russian muse wrote about, she did it with such piercing sincerity, with such truly unearthly power that it was obvious to everyone that she had talent from God.

M.I. Tsvetaeva realized her poetic talent so early that it seemed to her that she was already born with him.

The small poem "If the soul was born winged ..." contains only six lines, but it expresses the whole mentality of Tsvetaeva's lyrical heroine.

The first lines of the work emphasize the primacy of the theme of creativity for her personality and destiny. The spiritual plane of existence is opposed to the material one. Poetic consciousness solves this problem of choice unambiguously: no everyday problems frighten it. The poet exists only in the world of ideas, in the endless struggle for truth and justice.

The poem was written in 1918. For Russia, this is a time of global historical upheaval: behind three revolutions, a bloody civil war.

Tsvetaeva laconically, but at the same time voluminously conveys the public confrontation of that time:

Two twins - inextricably merged:

The hunger of the hungry - and the satiety of the well-fed!

Feeling the inner irreconcilability of these two images, at the same time Tsvetaeva sees their similarities, even calls them twins, because the armed protest of both is equally terrible and merciless, cruel and wild for a subtle poetic worldview.

The poem "If the soul was born winged ..." was born from contradictions, inconsistencies. The famous Tsvetaeva dashes emphasize this fragmentation. Numerous exclamations reveal the vulnerable soul of the lyrical heroine. No matter how much her winged poetic soul would like to hide from the terrible, evil world events, in reality this is still impossible. In the exclamation "What is Genghis Khan to her and what is the horde!" more pain than bravado.

The real world, which dictates to a person certain laws of being, comes into collision with the subtle world of the soul of an artistic warehouse. Tsvetaeva's lyrical heroine does not just speak, she screams about it.

The poem "If the soul was born winged ..." was written by M.I. Tsvetaeva at a rather young age. It seems to anticipate a series of trials that will later fall to the lot of the poet.

M. Tsvetaeva believed that she would die at dawn. The theme of the flight of the soul in her work is closely connected with the image of the bird, into which this soul incarnates after death:

At dawn - the slowest blood,

At dawn - the most quiet.

The spirit from inert flesh takes a divorce,

Bird cage bone gives a divorce

("At dawn…").

In the thirties M.I. Tsvetaeva increasingly thinks about death. However, if in her youth these thoughts were perceived as a natural life stage, now in the lyrics of Tsvetaeva one can hear the rejection of life as such, the bestial essence of which appeared before her in all its unsightly essence.

I refuse to be.

In the bedlam of nonhumans

I refuse to live

With the wolves of the squares, -

Her lyrical heroine exclaims.

The winged soul of the poet soared into the sky ahead of schedule, but the poetic creations of Marina Ivanovna are high-flying birds, examples of fine artistic taste and extraordinary talent. The expressiveness of her works, when the verse sometimes exists on the verge of crying and screaming, cannot leave anyone indifferent, indifferent. Her work gave rise to a whole literary tradition, in line with which beautiful poems by B. Akhmadulin, V. Dolina and other beautiful modern poetesses are written.

The name of Marina Tsvetaeva, along with the names of Vladimir Mayakovsky, Anna Akhmatova, Sergei Yesenin, Boris Pasternak, defines an entire era of Russian poetry in the first third of the 20th century. Now their names cease to be only the proper names of real people, but become the names of poetic worlds. The individuality of Marina Tsvetaeva is many-sided, her attitude is contradictory, her fate is deeply tragic, and the poetic world is whole and united. He existed, exists and will exist under the sign of a special “wingedness”, which is felt in all the works of the poetess. What is included in this concept?
In my opinion, the image of the "winged" soul of the lyrical heroine Tsvetaeva can be interpreted in two directions. Firstly, if the soul is given wings, then it is able to rise to the world, society and, accordingly, change its idea of the reality surrounding it. This is followed by a special reflection of her, in this case, in the work of the poetess. Her soul, perhaps, is looking for the wings of Pegasus, a symbol of poetry, and they, raising her above the ordinary, allow her to feel everything much more sharply than ordinary people who were born without wings. It seemed possible to me to draw such a conclusion after reading Tsvetaeva's “Foreword”, placed in the collection “From Two Books”, related to her early work. There she writes: “The color of your eyes and your lampshade, the cutting knife and the pattern on the wallpaper, the precious stone on your favorite ring - all this will be the body of your poor, poor soul left in the vast world.”
Thus, one can feel, without even referring directly to the lyrics of the poetess, the “wingedness” of her soul, the originality of her worldview, which makes it possible to declare with such confidence the isolation of her work. I also believe that the "winged" soul of Tsvetaeva is a free soul, and this freedom is felt not only in all her poetry, but also in life. The very fact that the poetess never belonged to any literary movement and did not strive to create her own school speaks of her love of freedom, since the subordination of the poetic element to the power of any direction in literature would mean for her the loss of individuality and liveliness of poetry. Already in the “Magic Lantern” a poem “To V.Ya. Bryusov” appears, in which Tsvetaeva resolutely rejects the symbolist perception of life as an occasion for literary exercises and affirms the life, and not the literary nature of her poetry, which has become for her a lyrical diary that cannot be changed according to the verdict of the "literary prosecutors". In the poem, the poet writes:
It is necessary to sing that everything is dark, That dreams hang over the world.
That's how it's done now. -
These feelings and these thoughts
I was not given by God!
The attitude of the heroine Tsvetaeva is akin to something gypsy, manifested in the desire to live and breathe to the fullest, not constraining herself with all sorts of conditions. In the 1909 poem "Prayer" she writes:
I want everything: with the soul of a gypsy
Go to the songs for robbery,
For all to suffer to the sound of the organ
And an Amazon to rush into battle ...
The lyrical heroine Tsvetaeva strives for freedom in everything: in love for a person, for the Motherland, and even in loneliness, which brought her suffering. She sees positive aspects in the latter, since loneliness makes it possible to withdraw into oneself and find freedom there, inside:
Solitude: in the chest Seek and find freedom...
For a person who is keenly aware of his alienation in the world around him, simple human love is necessary to warm the suffering soul. She was necessary for Tsvetaeva, and the poetess knew how to appreciate her, but still the poetic nature took its toll and gravitated more to the misfortune of freedom, and not to the happiness of subjugating love. Freedom gave her a different love, to which she aspired all her life, and nothing could replace this for her:
We are adjacent blissfully and warmly,
Like right and left wings.
But the whirlwind rises - and the abyss lies
From right to left wing!
A "winged", free soul, according to Tsvetaeva, can only exist in a free country. This is how the poetess sees Russia. Personal freedom for her is inseparable from the freedom of the Motherland, and she writes about this in the poem “If the soul was born winged”:
If the soul was born winged - What are her mansions - and what are her huts! What is Genghis Khan to her and what is the Horde!
So, through all the work of Marina Ivanovna Tsvetaeva, the thought of her “wingedness” - inspired by poetry and freedom runs like a red thread. These two elements, without which the poetess could not imagine her existence, have to this day a tremendous power of influence on the spiritual life of people.

If the soul was born winged (according to the lyrics by M. Tsvetaeva)

One of the most significant figures in Russian poetry of the 20th century is Marina Ivanovna Tsvetaeva. The poetess very early, at the age of six, began to write poetry. Of course, in these children's plugs of the pen of a girl who grew up in a cozy Moscow mansion and in a poetic but provincial Tarusa, it was difficult to find a wealth of life observations or experiences. However, already in these experiments, a rare poetic talent was noticeable.

In the years 1917-1922, Marina Tsvetaeva is looking for her way in poetry and inquisitively peers into the new reality, which was changing so dramatically before her eyes. The poetess is struck and oppressed by the reigning chaos, plunges into confusion the collapse of the established, established and familiar world. Tsvetaeva remains completely alone and perceives this loneliness sharply dramatically: “like the moon alone, in the eye of the window”, “I, winged, was cursed.”

The "winged soul" of the poet Marina Tsvetaeva is clearly manifested in poems dedicated to the theme of the Motherland. Whatever changes take place in Russia, no matter how Tsvetaeva treats them, the leitmotif of her work was an immense love for the Motherland.

The most poignant work about Russia can be called the poem "Longing for the Motherland! ...". The internal state of the lyrical heroine, it would seem, does not depend in any way on the fact that she is far from the Motherland. The heroine is tormented by loneliness, she suffers from hostility and lack of understanding of the world around her "I" is opposed to the "human environment", and it does not matter where this separation from the world occurs: at home or in a foreign land. The whole poem is an attempt by the lyrical heroine to convince herself that her soul is “born somewhere”.

A difficult life and harsh circumstances left their mark on the appearance of M.I. Tsvetaeva (“I’m silvering”) and her state of mind (“constantly developed”). And yet it remains a winged bird, "in flight", "cheerful foam", "mortal" and invariably "high".

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3. “We all look at Napoleons ...” (based on the novel “Crime and Punishment” by F. Dostoevsky).

We all look at the Napoleons,
There are millions of bipedal creatures
For us, one tool ...
A. S. Pushkin

The novel "Crime and Punishment" was created during the period of fascination of Russian social thought with various social economic and philosophical theories of F.M. Dostoevsky was interested in these theories, since he always asked himself the question: does a person have the right to commit violence against his own kind?

Each century in the history of mankind is associated with some person who expressed his time with the greatest completeness. Such a person, such a person is called great, genius and similar words.

The century of bourgeois revolutions has long been associated in the minds of readers with the phenomenon of Napoleon - a little Corsican with a lock of hair that fell on his forehead. He began by taking part in the great revolution, which revealed his talent and the talents of his kind, then he shrunk this revolution, and in the end he crowned himself.

Some identified him with the hydra of revolution, others with the hydra of counter-revolution. Both of them were right.

Many tried to imitate him, for many he was an idol.

Dostoevsky's hero also imitates his idol, Napoleon, but such as he was later. No desire for a revolution of "little people". Full of disdain for them, Rodion Romanovich calls such people trembling creatures. He trembles at the mere suggestion that he may be somewhat similar to them - to you and me, in other words. It is difficult to talk about what Raskolnikov really thinks about life and man, because he never expressed his ideas himself. When others retell his article, Rodion notices that this is not exactly what he wrote, that it only looks like.

However, the retired student does not renounce something. In his opinion, every great man is a criminal, because he violates and cancels the laws established before him. And if he does not obey the laws and stands above them, then for him there are no laws at all. In his opinion, a great man is generally arranged differently than a “trembling creature,” and Raskolnikov plans his crime precisely as a test, an exam for a superman. If, after the murder of the old pawnbroker, he does not feel remorse, then he is a superman, "having the right." Raskolnikov says something about charity or even about the reorganization of society, but his psychological "double" Svidrigailov is proof that superman will never take care of people, because he is no longer a person. And over - or under - - it's all the same.

It seems to me that Dostoyevsky's novel "Crime and Punishment" should be read by every person. Its action takes place in the 19th century, but even now many people are trying to solve the problem that Rodion Raskolnikov set for himself. This novel is useful to all people. Those who have not yet encountered such a problem will see the consequences of the act of the protagonist of the novel and will try not to make such a mistake. And those people who find themselves in a similar situation will find a way out of this situation in the novel.

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5. My friend, let us dedicate our souls to the homeland with wonderful impulses! (A.S. Pushkin to Chaadaev)

To write about Pushkin means to write about the whole of Russian literature.

V. G. Belinsky

A.S. Pushkin grew up and matured creatively in the period between A.N. Radishchev and the performance of the Decembrists on December 14, 1825.

All researchers of the poet's work argue that if he was not a direct participant in the uprising on December 14, it was only because at that time he was in exile with Mikhailovsky. All the Decembrists said that there was not a person among them who did not have or did not know their poems.

Pushkin is one of the first Russian poets who began to think about the need not only for the formal liberation of the people, but also for their spiritual emancipation. Pushkin, a playwright and prose writer, a poet and just a “Russian tradesman”, is dear to us. His poems and poems, letters and dramas are a great and necessary textbook. But the subject to which it is dedicated is not in the matriculation certificate as such: it is too difficult for the school curriculum. It is difficult because the Poet teaches to be a Man, and this course is designed for a lifetime.
The fate of people has always worried Pushkin. At the center of the poet's work is the life of his contemporaries, the suffering that befell those who selflessly fought for freedom. He knew how to help people gain faith in the future at the right time. For Pushkin, the idea of freedom is inseparable from the Fatherland, from the idea of patriotism. He believes that this is precisely what his gift as a poet and citizen to the Motherland consists of. He writes about this in the poem “To Chaadaev” (1818), which turns from a friendly message into a political one:
While we burn with freedom
As long as hearts are alive for honor,
My friend, we will devote to the fatherland
Souls wonderful impulses!
The poet shares his thoughts with a friend and like-minded person, a comrade-in-arms in the struggle. He speaks of disappointment in the "quiet, peaceful" ideas of romanticism and the acquisition of a new ideal of "liberty of the saint", which is sure to come. Pushkin says that youthful dreams and hopes did not come true, "youthful amusements disappeared, like a dream, like a morning mist." But the desire for a new life did not die in the soul of the poet. He calls for Chaadaev not to lose heart, to dedicate to the Fatherland “the souls of the beautiful impulses”:
The poem "To Chaadaev" combines revolutionary spirit and fiery patriotism. It expresses an optimistic mood. Pushkin wants his life, his poems to benefit his homeland. He is ready to direct all his forces to the renewal of Russia. The poet is against tsarism, calling it "autocracy". He is absolutely sure that the autocracy will fall, that justice will prevail.

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6). In life there is always a place for exploits. (M. Gorky)

Actions are needed! Need words like this
which, like a tocsin bell,
alarmed everyone and, shaking, pushed forward.
M. Gorky

Today I want to tell you about the exploits. As Maxim Gorky said, "In life there is always a place for exploits." And so, to begin with, we will find out what a feat is. A feat is a bold, sometimes desperate act, which is directed against some life injustice. Often the one who accomplishes the feat either dies or gets injured.
Almost all the works of A.M. Gorky - "Makar Chudra", "The Girl and Death", "The Old Woman Izergil", "Chelkash" - attract attention not only with romantic pathos, the image of proud and courageous people, but also with the glorification of feats. In the mouth of the main character of the story “Old Woman Izergil”, Gorky puts a very important and necessary, in my opinion, phrase: “In life, you know, there is always a place for exploits. And those who do not find them for themselves are not just lazy or cowards, or do not understand life, because if people understood life, everyone would want to leave their shadow in it after themselves. "This statement, perhaps, is the main in the stories "Old Woman Izergil", "Makar Chudra", in the play "At the Bottom". In each of these works (somewhere, perhaps not clearly expressed), there are calls for heroic deeds. In "Old Woman Izergil" the legend is told about Larra condemns selfishness and individualism. Larra "was dexterous, predatory, strong, cruel", he despised people and thought that he could do without them. But even for him, loneliness turned out to be unbearable: rejected by everyone, he began to seek death and dreamed of it , as about deliverance from torment. Loneliness is worse than death, this is the most terrible punishment for a person, because life outside human society is meaningless. In service to society is the true meaning of life, to give life for people is the greatest happiness available to man. This idea is confirmed by the legend of burning heart Danko. Danko sacrificed himself to light the way for people and lead them out of darkness and death to a happy life. The main idea of the story lies in the opposition of Larra and Danko. Gorky showed two heroes outstanding in their personal qualities. Both of them are proud, brave, strong and beautiful.
In the image of Danko, Gorky expressed his dream of a person closely connected with the people, able to lead their struggle for freedom and happiness.
Thus, we see that Gorky calls for feats in his works; to deeds for the sake of other people. Yes, you can die for the good of others, you can do good deeds every day, help those in need in word or deed. The main thing is not to consider a feat as something exceptional and inherent only to strong people. Each of us is capable of a feat, and not tomorrow or in a month, but here and now.

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17. Is the image of the “Beautiful Lady” by A. Blok modern?
The whole horizon is on fire, and the appearance is near,

But I'm scared - you will change your appearance,

And daringly arouse suspicion,

Replacing the usual features at the end.

The cycle "Poems about the Beautiful Lady" became central in the first volume of A. Blok's lyrical trilogy. In it, the poet was guided by the "new poetry", which reflected the philosophical teachings of Vl. Solovyov about Eternal Femininity, or about the Soul of the world. “Poems about the Beautiful Lady” were associated for Blok with his youthful love for his future wife, L. D. Mendeleeva, and therefore were dear to him all his life. Vl. Solovyov, in his teaching, argued that only through love can one comprehend the truth, unite with the world in harmony, defeat selfishness and evil in oneself. He believed that everything feminine carries a life-giving principle. Mother, wife, lover - they are the ones who save the cruel world from death. “High” love for a woman can reveal the hidden secrets of the world, connect a person with heaven.

The entire cycle of poems about the Beautiful Lady is permeated with the pathos of chaste love for a woman, chivalrous service to her and admiration for him as the personification of the ideal of spiritual beauty, a symbol of everything sublimely beautiful. The heroine of Blok's poetry is seen by the hero not as an earthly woman, but as a deity. She has several names: Beautiful Lady, Eternally Young, Holy Virgin, Lady of the Universe. She is heavenly, mysterious, inaccessible, estranged from earthly troubles: Transparent, unknown shadows Swim to you, and with them You swim, Into the arms of azure dreams, Incomprehensible to us, You give Yourself.

In this cycle, the lyrical hero of Blok no longer experiences longing, loneliness, as in early poems, the perception of the world and the emotional tone of the poems change. They acquire an elegiac connotation and mystical content. At that time, the poet was intensely waiting for a revelation, calling on the Beautiful Lady.

The images of the Beautiful Lady and the lyrical hero, her knight, are dual. Poems that deal with "earthly" love for a real woman belong to intimate lyrics. The hero is waiting for his Lady, gives her description:

She is slim and tall

Always haughty and harsh.

For the hero, she is a deity whom he worships, although he sees her only from afar or in the evening "at sunset." Each meeting with her is a joyful and long-awaited event. Either she is dressed in "silver fur", then in a "white dress", she goes "into the dark gate". These features of a real woman suddenly disappear, and the poet already sees the mystical image of the “Virgin of the Rainbow Gates”, calls her “Clear”, “Incomprehensible”.

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23. Love - "romanticism, nonsense, rot, art"? (based on the novel "Fathers and Sons" by I.S. Turgenev)

M. E. Saltykov-Shchedrin wrote: “... What can be said about all the works of Turgenev in general? Is it that after reading them it is easy to breathe, easy to believe, warmly felt? What do you clearly feel, how the moral level in you rises, that you mentally bless and love the author?.. This, this is the impression left behind by these transparent images, as if woven from air, this is the beginning of love and light, in every line beating with a living key. ..” These words are the best fit when we talk about the hero of the novel I.S. Turgenev "Fathers and Sons" by Evgenia Bazarov.

The difficult internal process of knowing true love makes Bazarov feel nature in a new way.

Turgenev shows that love broke Bazarov, unsettled him, in the last chapters of the novel he is no longer the same as he was at the beginning. Unhappy love leads Bazarov to a severe mental crisis, everything falls out of his hands, and his infection itself seems not accidental: a person in a depressed state of mind becomes careless. But Bazarov did not give up the fight against his pain and did not humiliate himself in front of Odintsova, he tried with all his might to overcome despair in himself and was angry at his pain.

The origins of the tragedy of Bazarov's love are in the character of Odintsova, a pampered lady, an aristocrat who is unable to respond to the feeling of the hero, timid and succumbing to him. But Odintsova wants and cannot fall in love with Bazarov, not only because she is an aristocrat, but also because this democrat, having fallen in love, does not want love, is afraid of it and runs away from it. "Incomprehensible fright" seized Odintsova at the time of Bazarov's love confession. And Bazarov “suffocated; his whole body seemed to tremble. But it was not the fluttering of youthful timidity, not the sweet horror of the first confession that seized him; it was a passion that beat in him, strong and heavy - a passion similar to malice and, perhaps, akin to it. The element of a cruelly suppressed feeling broke through in the hero with a destructive force in relation to this feeling.

So, you can answer the question in different ways how successfully the hero passed the “test of love”. On the one hand, the spiritual crisis that occurred in Bazarov's mind speaks of the inferiority and instability of his worldview positions, of the hero's uncertainty about his own rightness. On the other hand, in love, Bazarov turned out to be much stronger and more sincere than the rest of the characters in the novel. The power of love and romanticism of the hero was such that it destroyed him morally and physically and led to death.

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My favourite poet

Anna Akhmatova... Most recently, I first read her poems, got a grasp of them. From the first lines, the bewitching music of her lyrics carried me away. I touched the spiritual world that her poems reflected. And I realized that Anna Akhmatova was an outstanding person, with a big soul. She was extremely true to herself, although how unfairly often she felt bad, hurt, bitter. She lived a difficult life full of hardships, trials and bitterness of disappointment.

Anna Akhmatova loved life. She loved her homeland - Russia, she was ready to give everything in order for "the cloud over dark Russia to become a cloud in the glory of the rays."
Everything was significant in her - both the external appearance and the spiritual world. She devoted most of her work to the pure, beautiful and at the same time painful feeling of love. And a lot about this is written with inexpressibly deep sadness, longing, fatigue;
Heart to heart is not riveted
If you want, leave.
Much happiness is in store
For those who are free on the way ...
These verses are not to be confused with others. They are not like anyone else, Akhmatova's unique poetry resonates deeply in the heart. And at the same time, Akhmatova's poetry is sunny, simple and free. She lived with great earthly love and sang about it, and this was the meaning of her life, her natural state. All her life, Anna Andreevna shared the treasures of her soul with the world, which did not always understand her and often simply rejected her. She has endured a lot. Often "fell" down from the top of poetry and again got up unconquered thanks to the desire to live and love. She didn't chase fame.
A poet must be sincere, and perhaps it is precisely with its truthfulness that Akhmatova's poetry attracts me:

From under what ruins I say
From under which I scream collapse,
As I burn in quicklime
Under the vaults of a fetid basement.
I read Akhmatova as a revelation of the human soul, ennobling with its example the lives of those people who bow their heads before her song, before the majestic music of truth, love, and trust. I am grateful to Anna Akhmatova for giving me the miracle of meeting a Man and a Poet. For her poems, reading which you begin to think about things that were simply not noticed before. I thank her for leaving an indelible mark on my soul.

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27. Why M.Yu. Lermontov calls his love for the motherland strange?

Love for the motherland is a special feeling, it is inherent in every person, but at the same time it is very individual. Is it possible to consider it "weird"? It seems to me that here it is rather about how the poet, who spoke about the “unusualness” of his love for his homeland, perceives “ordinary” patriotism, that is, the desire to see the virtues, positive features inherent in his country and people.

Many works of M. Yu. Lermontov are also filled with love for the Motherland. His feeling for the Motherland is ambiguous and even painful, since there are things that contradict his human nature. Lermontov's love is sincere, but at the same time contradictory. So, in the poem "Motherland", written in 1841, he admits: "I love my homeland, but with a strange love!" What is this "strangeness"? The poet coldly speaks of royal glory, bought with the blood of the people. He loves in his homeland its nature, its breadth and boundlessness. He loves the village of his day, because it still has a patriarchal nature that is dear to his heart, which has been preserved, perhaps at the cost of poverty. And if there is prosperity (“full threshing floor”, “hut covered with straw”), then this causes a feeling of joy in the poet. Simple hard-working people live here, not indifferent to beauty (“windows with carved shutters”), who know how not only to work, but also to have fun. Ordinary people know how to give themselves entirely to work and the holiday. The poet loves the countryside, because in it people live in harmony with nature, with each other and with God. This way of life has almost disappeared from urban life, where there are so few real people who know how to work and enjoy life.

Lermontov conveys his love for the Motherland with epithets:

... But I love - for what, I don’t know myself -

Her steppes are cold silence,

Her boundless forests sway,

The floods of her rivers, like the seas,

On a country road I like to ride in a cart

And, with a slow gaze piercing the shadow of the night.

Meet around, sighing about an overnight stay,

The trembling lights of sad villages...

These epithets are discreet and simple, but how much deep feeling and meaning are in them, how much figurativeness. This landscape, given at the beginning of the poem, appears as if from a bird's eye view. Such is the power of Lermontov's creative imagination.

Of course, Lermontov creates his own image of the motherland. In his poems, she appears both in her heroic past, and in the grandeur of her boundless expanses, and in the poet's bitter thoughts about lawlessness and spiritual slavery.

Lermontov's love for the Motherland can be expressed in one line: "But I love - for what, I don't know myself." Yes, his love and deep affection for his homeland is "strange". Being a secular man and for the most part communicating with people from the highest circle, he, nevertheless, aspired with his soul to Russia of the people, he saw in it mighty forces, a moral basis.

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29. “It’s a shame to me, since the word“ honor ”is forgotten ...” (V. Vysotsky)

The lines written by V. Vysotsky "It's a pity ... the word" honor "is forgotten ..." today, more than ever, relevant. The concept of "honor" has lost its meaning for modern man.

Starting from afar, people first came up with the exchange of goods, thus making up for the lack of what they needed to lead a normal life. The XVIII century was marked by the fact that the process of destruction of the walls between the estates began.

The amount of money began to increase, and gradually everything began to turn into a commodity, on which, as a result, the world closed.

In society, leading positions were assigned to merchants of all types and formats. As a result of the "innocent" replacement, the overwhelming majority of the members of the new society began to change their moral attitude. As an example, consider a certain Ivanov in the old days, who was publicly rude to Petrov, who, in turn, had to challenge the offender to a duel, or else pass for a coward, dressed in a stupid cap.

Today things are different. Nothing prevents the conditional Sidorov from insulting the conditional Petrov, since there will be no duel guaranteed. What is generally amazing is that tomorrow it is not necessary for Sidorov and Petrov to wake up as enemies! The same Sidorov in the morning will most likely be offered a mutually beneficial deal. So they turn from potential enemies into partners! Business interest today is put at the forefront. Such concepts as honor and dignity automatically turn into atavism, and they are replaced by a sense of economic expediency.

But, returning to the topic of duels, let's take Pushkin and Dantes as an example. It would look wildly like a situation in which Alexander Sergeyevich in court demands to compensate him for moral damage with money. This means that he evaluates his own honor and dignity in monetary terms. This is how modern citizens of a democratic society act.

The world has changed and this must be acknowledged. This happens regardless of human will. Human relationships today are built on the basis of criteria - goods and money. You need to live in this world, adhering to its laws, in order to become successful.

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32. Is nature a workshop or a "temple"? (based on the novel "Fathers and Sons" by I. S. Turgenev)

“Nature is not a temple, but a workshop, and man is a worker in it.” Is it so?

Without any introduction, I say in response to this tirade of Bazarov, the hero of the novel "Fathers and Sons" by I. S. Turgenev: no, no, and again no! What did this nihilist who lived in the 19th century think of! These words of his could be followed by others, which until recently were almost our slogan: "We cannot wait for favors from nature, it is our task to take them from her."

Here are the ideological origins of what our planet has now come to. And our country as well. They took from nature, thinking that its reserves are inexhaustible. They built, erected, changed the course of rivers, cut down forests, not thinking about the consequences. They did not understand that nature is just a temple, where there are no unnecessary details, where everything is interconnected. Forests were cut down - rivers dried up, cascades of dams with artificial seas were created - villages and sources of water contamination - cattle burial grounds were under water. Infected rivers and seas with industrial plums - fish stocks have decreased. Chernobyl has become a big environmental disaster. This is what people have come to, considering nature not as a temple, but as a workshop. But all this was built, created, mined in the name of man, his well-being.

Of course, I understand perfectly well that humanity cannot live and feed itself without using natural resources. Yes, but only when trouble struck, they thought of it and learned how to use nature without harming it, or to reduce this harm to a minimum. I do not believe that half a century ago our scientists could not solve these problems. They put satellites into orbit, they were the first to send a man into space, but they did not think about reasonable relations with nature, did not consider it necessary to calculate them for many years to come. Now they have learned everything: both to restore the "lungs of the planet", that is, forests, and to purify the waters discharged into the seas and rivers. We even thought about alternative energy sources. Just don't expect quick results. Another popular wisdom says: "To break is not to build." Now the main thing is not to inflict new wounds on nature.

Nature is precisely a temple, a beautiful, miraculous temple, which should be protected by everyone, young and old. Do not break bushes, do not hurt the cat, do not leave garbage in the forest or on the shore - all this must be taught from childhood. These are the first lessons in nature conservation. Do not pick wild flowers for no reason, put out the fire to the last spark - this should become a law for campers..

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Is the classic outdated?

If we talk about literary works, then we can safely say that the book will then become obsolete when it ceases to teach its reader, or be useful to him. Whether it's classical or modern, it doesn't matter. In my opinion, at the moment when none of the people opens the book, reads this or that page, is not surprised at the simplicity and sparkle of the thought expressed by this work, then it will become obsolete. But how often it was the classics that provided the basis for one or another concept. It opened the horizons for a simple, not sanctimonious presentation of an innovative thought that began to fascinate a traveler in a country called "life", but an advanced idea for any millennium. For me, the classics will always be relevant as long as they talk about the same things that modern people think about.

Everyone strives for the same good and happiness that was desired many centuries ago when Shakespeare and Voltaire, Lermontov and Tolstoy wrote their works. Nothing in human nature has changed. Both ends and means remain the same. Then they wanted promotion and happiness in the family, and now they write and talk about it.

Studying classical works at school, you understand that such an opportunity is a huge gift for every person. After all, becoming adults and respectable people, rarely anyone manages to return to these masterpieces and re-read them. And if in childhood you think that this creativity has already become obsolete, the meaning of humanitarian education is lost. Thus, the connection with past centuries, their experience and knowledge, a lot of things you will have to learn from your mistakes, instead of wasting time on stuffing cones, reading instructive and often funny books of past years, may be lost.

Speaking of the classics, one cannot help but recall the music of those ancient years. She still gives emotions to every listener. Only positive and deep feelings give rise to the lightness of Vivaldi and Mozart in me, the special richness of the melodies of Beethoven and Rachmaninoff give reflections that allow me to look into myself and see the secret that is in my heart. It seems that I am not yet ready to part with the classics that I like so much.

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Does literature straighten the soul?

Every person has a soul. When thinking about this, Nikolai Zabolotsky's poem “The Ugly Girl” comes to mind, where the poet compares a person with a vessel in which there may be emptiness, or fire may burn. It depends on the person himself what his soul will be like. If he strives for spiritual growth, for harmony with himself and the world around him, if his thoughts are pure and his deeds are useful, then his soul will be easy and calm.
Another means of educating the soul is art, music. Talented artists and musicians have created so many great works that it’s even impossible to remember everything, but looking at the pictures, listening to musical works, one cannot help but think that there are much more important things in life than a simple mortal existence. Literature also helps a person develop spiritually. On the example of the heroes of works of art, we get to know life, sympathize with them or admire them, and this also contains a deep educational moment for our soul. Finally, another, perhaps the most important educational tool through which the soul is able to develop, is nature. Admiring the beautiful, admiring nature, we fill our inner world with new content, make it interesting and rich.
We must not forget about our soul, it plays a much more important role in a person's life than the body. Only that person can be happy who lives in harmony with himself and thinks about his soul.

Thus, the role of literature at all times and in modern times is to help a person comprehend himself and the world around him, to awaken in him the desire for truth, happiness, to teach respect for the past, for knowledge and moral principles that are passed down from generation to generation. To take advantage of this opportunity that books provide, or not, is the personal choice of each person.

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The tragedy of E. Onegin

The novel by A.S. Pushkin "Eugene Onegin" reflects the twenties of the 19th century. This is a famous time in the life of Russia. Dissatisfaction with the regime of slavery and despotism is brewing in the advanced circles of society. Under the influence of the war of 1812, the convictions of the advanced nobles were formed. In his work, Pushkin portrays a typical representative of most of the Russian intelligentsia, critical of secular society. Onegin is not an exceptional person who accidentally appeared in this society. Pushkin created a typical hero of this era.

The uselessness of Onegin develops throughout the novel; the poet himself consistently proves it to us. It starts in childhood. Onegin, who was born among the nobility of the capital, grows up under the supervision of foreign tutors, who educate him in a foreign way, out of touch with Russian reality:

“At first Madame followed him,
Then Monsieur replaced her.
The child was sharp, but sweet.
Monsieur l'Abbe, poor Frenchman,
So that the child is not exhausted,
I taught him everything jokingly ... "

As a result, Onegin grows into a man with versatile abilities, with broad, but not deep knowledge. He is erudite, so, for example, he reads the English economist Adam Smith. This suggests that Onegin is a very smart person, but his mind cannot be applied anywhere.

At first, Onegin leads the life of a secular rake in St. Petersburg, full of fun, entertainment, and luxury. Left to himself, he matures early:

"How early could he be hypocritical,
Hold hope, be jealous
disbelieve, make believe
To seem gloomy, to languish,
Be proud and obedient
Attentive or indifferent!

And Onegin inevitably cools down - a consequence of a stupid life, inability to apply his abilities to anything:

“No: early the feelings in him cooled down;
He was tired of the noise of the world.
But he fell out of love at last
And abuse, and a saber, and lead.

As a smart person, Onegin understands the worthlessness of his existence and seeks to engage in useful activities. A life of "no purpose, no work" led him to

“I wanted to write - but hard work
He was sick; nothing
It did not come out of his pen…”

The tragedy of Onegin lies in the uselessness of his abilities and knowledge, in his disappointment in life, in human relations (friendship, love). A man endowed with intelligence, capable of feeling subtly, he could not appreciate Tatyana's love and passed by a pure, beautiful feeling. Onegin sought to get away from secular amusements: he left for the village, traveled, but even there he did not find any use for himself.

Everything quickly bored him. Disappointed, cooled to life, he goes to travel around Russia.

The theme of the tragedy of an intelligent secular person is not new. She went through the work of outstanding Russian poets of that time. We met with Chatsky in Griboyedov's comedy Woe from Wit, and we will meet with Pechorin in Lermontov's novel A Hero of Our Time.

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42. “And the smoke of the Fatherland is sweet and pleasant for us” (based on the comedy “Woe from Wit” by A. Griboyedov) A.S. Griboedov brought to the stage two opposing camps, the camp of young Russia and the camp of the serf-owners. Their struggle was a phenomenon of Russian life in the tenth and twenties of the XIX century. At this time, revolutionary nobles stood out from the general mass of the nobility - supporters of the fight against everything obsolete in the social and political system, supporters of the fight for the new for the country's movement forward. Alexander Andreyevich Chatsky, in his social position, belongs to the noble class, but his way of thinking and behavior are in sharp contradiction with the environment. He spent his childhood in Moscow, he often visited Famusov's house, studied with the same tutors as Sophia, loved Sophia To complete his education, he went abroad. He is not rich, does not care about his small estate, manages it "blunder", served for some time, having contact with ministers, was in the army home, he promptly appears in Famusov's house and expresses his ardent love to Sofya. This already characterizes him as a passionate person. Neither separation nor wanderings cooled his feelings, which he poetically expresses passionately. Chatsky speaks literary language, to express love for the motherland he quotes Derzhavin: And the smoke of the Fatherland is sweet and pleasant to us. "Mind and heart are not in harmony." And many aphorisms sound like epigrams:
There is still a mixture of languages
French with Nizhny Novgorod
His epigrams denounce the defenders of serfdom and autocracy. Chatsky is a speaker, a figure of that period in the history of Russian society when the views of the Decembrists were formed, when the best people from the nobility fought with a word against the old world. Already in the first speech of Chatsky in Famusov's living room one can hear indignation, a sharp scourging mockery. He demands service "to the bottom, not to persons" and declares: "I would be glad to serve, it is sickening to be served." Careerism and servility are hateful to him, he speaks with contempt of those “who, not in war, but in peace, were taken head on; knocked on the floor, not sparing "and" flattery wove like lace.

The mind of Chatsky is, first of all, advanced views, freedom-loving ideas, independent convictions. Chatsky is kept in a society alien to him in spirit only by love for Sophia. However, it turned out that Sophia had betrayed her former feelings and it was she who started gossip about Chatsky's madness. Woe from wit is the tragedy of an intelligent, private, proud person who is a stranger to the world in which he lives.
The views of Chatsky are close to the ideas of the Decembrists. His image is full of deep universal meanings. The writer Goncharov spoke about this. “The Chatskys are inevitable with each change of one century to another .. The Chatskys live and are not transferred in a society where the struggle of the fresh with the obsolete, the sick with the healthy continues ... with him and the whole comedy.

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If the soul was born winged...

red brush

The rowan lit up.

Leaves were falling.

I was born.

M. Tsvetaeva

In the early poems of Marina Ivanovna, the beginning of the song dominates, sonority and complete freedom of poetic breathing.

Like right and left hand

Your soul is close to my soul.

We are adjacent, blissfully and warmly,

Like right and left wings.

But the whirlwind rises - and the abyss lies

From right to left wing!

The first grandmother has four sons,

Four sons - one torch ...

And the other - on a different charter! -

At that, all the gentry are yearning at their feet.

I left both grandmothers - granddaughter:

A laborer - and a white hand!

Others - with eyes and a bright face,

And at night I talk with the wind

Not with that - Italian

Zephyr young, -

With good, with wide,

Russian, through ...

I wrote on the slate board

And on the leaves of faded fans,

Both on river and sea sand.

Skates on the ice and a ring on the windows,

And on the trunks, which are hundreds of winters,

And finally - for everyone to know! -

What do you love! love! love! - love! -

Signed - a rainbow of heaven.

You! I will lose this hand of mine, - At least two!

I will sign with my lips On the chopping block: strife of my land -

Pride, my Motherland!

The first four years after October, Tsvetaeva lived in Moscow. She wrote a lot, but little was printed, and she was known only in a narrow circle of inveterate lovers of poetry.

Yesterday I looked into your eyes

And now - everything is squinting to the side!

Yesterday, before the birds sat, -

All larks today are crows! ..

I'm stupid and you're smart

Alive and I'm dumbfounded.

O cry of women of all times:

“My dear, what have I done to you?!”

Itself - what a tree to shake! -

In time, the ripe apple falls ...

For everything, for everything, forgive me

My dear, what have I done to you?!

To the Eiffel - at hand!

Come on and get down. But each of us is

Ripe, see, I say, and today.

What is boring and ugly

We think yours. Paris.

“My Russia, Russia, Why are you burning so brightly?”

Our conscience is not your conscience!

Full! - At ease! - forget about everything.

Children, write your own story

Their days and their passions.

In 1939, Tsvetaeva returns to Russia, but life does not get easier; loneliness, melancholy, war broke Marina Ivanovna, she voluntarily passed away.

Homesickness! For a long time

Exposed haze!

I don't care at all -

Where all alone...

Years passed - and Tsvetaeva's poetry reached readers. The best of what she wrote, “the time has come” - because the real in art is not lost and does not die.