Poetry of Kondraty Ryleev.

In Ryleev's small creative heritage, the attitudes of civil romanticism, its tendentiousness, agitation, and educational impact on a generation are clearly manifested. It is Ryleev who creates, begins in Russian poetry the theme of the poet-citizen (the thought “Derzhavin”, the dedication of the poem “Voynarovsky”). For Kondraty Fedorovich Ryleev (1795-1826) himself, the concepts “Poet” and “Citizen” have always been synonymous. From a young age, the future Decembrist was distinguished by independence, a bold and rebellious spirit, a sense of camaraderie, and an early awakened penchant for poetry. The Patriotic War inflamed Ryleev's patriotism. In his early poems, he admires the power of Russia, sings of Kutuzov. At first, Ryleev stood on the positions of constitutionalism, but after meeting with Pestel in 1824, he realized the need for a republican system. Immediately after the uprising, he was arrested and imprisoned in the Peter and Paul Fortress. He was one of the five executed Decembrists. Continuing, together with other Decembrist poets, the traditions dating back to Radishchev, Ryleev looks at art as at the platform of an agitator and at the poet as a fighter. He continues to insist that he is first and foremost a citizen. Ryleev appreciated in his works their citizenship, fighting character, revolutionary spirit.

In his poems, Ryleev draws the image of a true poet. What is he? This is a fiery lover of the Fatherland, an inspired tribune and a tireless preacher of good, a fearless public fighter, a people's leader. His eternal destiny is “fighting with a crowd of enemies and with prejudices and annoying envy” (“Message to N. I. Gnedich”). A true poet is called upon to sing of the great “deeds of the ancestors” (“Rogneda”), to glorify heroic deeds in the name of the fatherland, causing delight and awe of grandchildren (“Civic Courage”). A true poet is a prophetic seer of the future ("Boyan"). The true poet spurns lies and chooses deprivation in the name of truth. For the first time, Ryleev's civic patriotism manifested itself in his poem "To the temporary worker" (1820). It was directed against the temporary worker Arakcheev, the royal favorite, the organizer of military settlements. Making a merciless condemnation of the despotic favorite, the poet turns to the harshest epithets: "arrogant", "mean and treacherous" temporary worker, "violent" tyrant, "cunning flatterer", and finally - a scoundrel. But next to the image of a temporary worker in the poem, the image of the Poet, the Citizen, a proud, independent personality appears. Ryleev's civic position is clearly manifested in the poem - to evaluate a statesman not by the rank he occupies, but by the benefit that he brought to the Fatherland, by what he did for the people:

When there are no direct virtues in me, What is the use of my rank and my honors? Not a dignity, not a family - only dignity is respectable; Seyan! and the very kings without them are contemptible, And in Cicero I am not a consul - he himself is honored For the fact that he saved Rome from Catalina ...

The most significant of Ryleev's works, in which the citizenship of his poetic position was manifested, is the poem "Citizen", written in 1824, on the eve of the Decembrist uprising. the work is an appeal to the heart, mind, conscience of the young contemporaries of the poet. This is a socio-political speech of a public tribune, built on the opposition of a pampered, reborn tribe with a "cold soul" and a "cold look" to a citizen with a "boiling soul". It is directed against the vacillating cowardly youth, indifferent to the inevitable impending events. Ryleev believes that a true Citizen cannot remain indifferent to the fate of the Fatherland in a difficult time for the country:

Will I, in a fateful time, Disgrace a citizen of dignity And imitate you, pampered tribe of Reborn Slavs? No, I am incapable in the arms of voluptuousness, In shameful idleness, drag out my youthful life And languish with a seething soul Under the heavy yoke of autocracy. the poem "Citizen" is Ryleev's poetic manifesto, in which he defines his task as a poet and citizen - to fight "for the oppressed freedom of man." This is the pinnacle of the Decembrist lyrics.

8. Comedy A. S. Griboyedov "Woe from Wit." Poetics, a combination of tradition and innovation.

A. S. Griboedov’s comedy “Woe from Wit”, written between 1815 and 1820 and published in 1824, remains the greatest monument in Russian literature. Griboyedov also said that he was striving to portray the "nature of events", which for him was both a source and an object of art. But at the same time, he did not aim to copy reality, he called naturalistic images caricatures: “I hate caricatures, you won’t find a single one in my picture. Here is my poetry. It was the poetics of a realist artist, who, by the power of art, transforms the "nature of events", being able to single out the most essential and typical in it. The same realist artist and innovator was Griboedov in the field of literary language. Griboyedov was the true creator of our literary language. On the one hand, he sought to get away from the smooth, impersonal language of secular love comedies, which were written by playwrights who were fashionable at that time. On the other hand, he tried to rid his verse of the ponderous methods of old bookish speech. Griboedov considered his artistic task to be the enrichment of the literary language by the practice of live colloquial speech. Therefore, in Woe from Wit, he made extensive use of colloquial language and, in addition, endowed each of his characters with his own special speech characteristic. So, Skalozub’s speech is full of military terms, phrases similar to military orders, rude military expressions: “you won’t fool me with learning”, “teach in our way: one, two”. Chatsky's speech is very diverse, rich in shades. It sounds either romantic sensitivity, fiery passion, or harsh satire, denouncing the vices of Famus society. At the same time, he is able to accurately and expressively expose the low essence of the representatives of this society with only two or three words. The hero subtly feels the originality and richness of his native language. Being a man of high culture, he rarely resorts to foreign words, consciously making it his principle: "so that our smart, peppy people, although in language we are not considered Germans." You can’t say the same about the speech of lordly Moscow, in which a monstrous mixture of French and Nizhny Novgorod comes through. Griboyedov subtly and maliciously ridicules in his comedy the fact that for the most part representatives of the nobility do not speak their native language. The verse of the comedy, as well as its language, struck contemporaries with its ease and naturalness. Using the usual six-foot iambic, he at the same time alternates it with other sizes - from one-foot to five-foot. Thanks to this, his verse becomes light, colorful and diverse. The poetic form itself in Woe from Wit carries a lot of new things. Here the author has achieved an amazing lightness of verse, which is almost imperceptible in dialogue and at the same time is unusually clear and expressive. Griboyedov's free manner of writing prepared the transition of Russian drama, in particular comedy, to prose language. Combination of tradition and innovation.

The play clearly traces the traditions of classicism., but at the same time, the author, as it were, makes fun of these strict canons, one feels a slight irony. The comedy is written in verse, which is very typical for the works of classicism, but already here there is a difference in the use of meter: Griboedov's comedy is written in multi-foot iambic. Also fulfilled the main rule of classicism - the unity of place, time and action. The action of the comedy takes place in Moscow, in Famusov's house, and the duration of the action is one day. We can also talk about the unity of action: the plot of the comedy is built on the basis of one conflict, the participants of which are Chatsky and the Famus society. But there is reason to talk about another conflict: Chatsky's love drama and Sophia's disappointment in Molchalin, but this is already Griboyedov's innovation, because both of these personal dramas are closely intertwined with the main conflict of comedy. A. S. Griboyedov in comedy continues the tradition D. Fonvizina - he uses "speaking" surnames. Colonel Skalozub; quiet, modest, pleasing to everyone Molchalin; Tugoukhovsky, deaf to someone else's grief; Repetilov, a man who does not live, but only rehearses his life, -. Here are some examples of such heroes. The plot of the comedy also resembles typical classic works. A wandering hero returning to the house where he grew up; youthful love, preserved after three years of separation; a maid to whom Sophia entrusts her secrets of the heart; the strict father of Sophia, a marriageable girl, who is concerned about finding a worthy groom (“What a commission, creator, to be a father to an adult daughter!”), And, finally, a love triangle in which six people are actually involved: Sofya, Molchalin, Chatsky , Famusov, Lisa and Petrusha are all fairly common plot elements for a classic work. On the other hand, Griboyedov brings a lot of new things, creating works of mixed style. He introduces a romantic hero into the comedy, “an exceptional person in exceptional circumstances” (this is typical for romanticism. The opposition of Chatsky, an educated, progressive person, and the patriarchal Moscow society that does not accept anything new is the conflict of the work, which is only aggravated by a love drama. Bitterness and annoyance because Sophia chose another , less worthy for the role of the groom - Silent, embitter Chatsky and set him against the entire Famus society. Griboyedov's innovation lies in the peculiarity of the conflict. Chatsky opens a gallery of “superfluous” people in Russian literature: Onegin, Pechorin, Bazarov. All of them stand, as it were, outside of society, they cannot find application for their forces, they experience a love drama and oppose a society that does not understand them. In Chatsky, of course, all the qualities of “extra” people are less pronounced, which is understandable, because Griboedov was the first to raise this problem, and his successors developed and supplemented the image of an “extra” person according to time and era. Another innovation A. S. Griboedov, which allowed him to expand the time frame of the work and indicate the characteristic features of an entire era, to even affect the reign of Catherine II, is off-stage characters. The most notable of them is Maxim Petrovich, Catherine's nobleman, who knew how to please everyone and smooth over any situation.

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Biography, life story of Ryleev Kondraty Fedorovich

Kondraty Fedorovich Ryleev, Russian poet and Decembrist, was born on September 18 (29), 1795 in the small estate of his father Batovo in the St. Petersburg province. Father was a nobleman, served as the manager of the Golitsyn estate. Kondraty Ryleev entered the First Petersburg Cadet Corps at the insistence of his mother in 1801. He was released from the corps in 1814.

Military service

Ryleev K.F. left the corps as an artillery officer and was sent to the army, which was on a foreign campaign. Ryleev visited Switzerland, Germany and France. In 1817 he was transferred to serve in Russia, in the Voronezh province. The Arakcheev order in Russia began to weigh him down.

Retirement and civil service

Ryleev K.F. He retired in 1818 with the rank of second lieutenant. He married for love and began to live with his family in St. Petersburg since 1820, having entered the service of an assessor of the St. Petersburg Criminal Chamber. Wife Natalya Mikhailovna, nee Tevyasheva, was the daughter of a Voronezh landowner. The family had two children - a daughter and a son, who died in infancy. After the first job, Ryleev got a job as the head of the office of a Russian-American company. Civil service was not popular among the nobility, so Ryleev tried to ennoble his service by fighting for justice and humane deeds. According to his political views, Ryleev was a romantic utopian, a fiery patriot. According to contemporaries, it was an obsession with free thought and equality.

Literary activity

A penchant for writing led Ryleev to the Free Society. Ryleev began to write as a translator. He translated the poem "Duma" by the Polish poet Glinsky. The translation was published by the printing house of the Imperial Educational House. In 1820 Ryleev wrote a satirical ode "To the temporary worker". His poem "The Death of Yermak" became famous. Part of this poem was set to music, becoming a popular song. During his lifetime, only two books were published: the poem "Voynarovsky" and the book "Duma". Ryleev considered his literary works as a civic duty, and not as artistic creativity, which distinguished him from all other poets of that time. All the heroes of his works were freedom fighters.

CONTINUED BELOW

Correspondence with and Bestuzhev

Friendly correspondence with and Bestuzhev was about literary creativity and was not of a political nature. A.A. Bestuzhev, also a Decembrist, together with Ryleev published a literary almanac called "Polar Star". In this almanac, they published works by Vyazemsky, Delvig and other writers. The Almanac was published in the period 1823-1825.

Masonic lodge

Ryleev was a member of the Masonic Lodge, called "To the flaming star."

Activities in the society of the Decembrists

Ryleev joined the "Northern Society" of the Decembrists in 1823, he was received by Pushchin I.I. Kondraty Ryleev was in its most radical wing and actually headed the society. The first mass performance of the Decembrists' society was the funeral of Chernov, which resulted in a mass demonstration. Chernov was killed in a duel with the aristocrat Novosiltsev. The conflict occurred due to the social inequality of the duel participants. Chernov acted as a defender of his sister's honor. Novosiltsev promised to marry her, but refused to marry at the insistence of his relatives, since Chernova was not his equal in origin. Both participants in the duel were mortally wounded. They died from their wounds a few days later.

The essence of Ryleev's idea was that the Decembrists were to convene a Constituent Assembly and elect a new government in Russia. He did not attach importance to the disputes of the Decembrists about the constitutional monarchy. As for the fate of the monarchy, Ryleev proposed to bring the royal family abroad. To decide the fate of the royal family, Ryleev tried to organize in Kronstadt the council of the "Northern Society" among naval officers, but he failed to do this.

The role of Ryleev at the time of the Decembrist uprising

Ryleev became the main organizer of the Decembrist uprising. Before the day of the uprising, during the interregnum, the Decembrists gathered on the Moika embankment, where the Ryleev family lived. It was a convenient method of conspiracy, since Ryleev was sick with a sore throat and people came to visit him. Being under investigation, he took all the blame on himself, tried to justify his comrades. Ryleyev was not a military man, so he could not be an active participant in the uprising, although he arrived in the morning on Senate Square. Then he spent the whole day in search of help to the rebels, went around the regiments. On the evening of the same day, he was arrested.

Ryleyev's execution

According to the laws of the state, the Decembrists, who attempted on the life of the tsar, were to be executed by quartering. This method of execution was replaced by hanging. The execution took place on July 13, 1826 in the Peter and Paul Fortress. Ryleev was among those hanged a second time when the rope broke. He made a short speech before the second hanging: cursed, they say, is the land where they don’t know how to make a conspiracy, or judge, or even hang. It is known that all the Decembrists are buried on Goldai Island.

The fate of the Ryleev family after his execution

The wife received a pension until her marriage after the execution of her husband. Ryleev's daughter also received a pension until she came of age.

The fate of Ryleev's works

There was a ban on Ryleev's books, so the publications were distributed by Russian emigration abroad. Some books were illegally distributed on the territory of the Republic of Ingushetia. In 1860, the works were distributed in exile by Herzen and Ogaryov. The books were published in London, Leipzig and Berlin.

Ryleev Kondraty Fedorovich (1795-1826), Decembrist poet.

Born on September 29, 1795 in the village of Batovo, Petersburg province. He came from a poor noble family. Mother, protecting her son from a despotic father, in 1801 sent him to study in the 1st Cadet Corps. He was released from the corps in January 1814 as an artillery officer, took part in the foreign campaigns of the Russian army in 1813-1814. and in 1818 he retired with the rank of second lieutenant.

In 1819, Ryleev moved to St. Petersburg, where he became close to the enlightened metropolitan circle and became a member of the Flaming Star Masonic Lodge. In 1821, he entered the service of the Criminal Court Chamber and soon gained a reputation for incorruptibility. In 1824 he moved to the office of the Russian-American Company.

In St. Petersburg, Ryleev began his literary activity by publishing his articles and poems in magazines. Fame brought him the poem "To the temporary worker", denouncing the all-powerful royal favorite A. A. Arakcheev.

In 1821-1823. Ryleev created a cycle of historical songs "Duma" ("Oleg the Prophet", "Mstislav the Udaly", "Death of Yermak", "Ivan Susanin", etc.); in 1823-1825 published the literary almanac "Polar Star". Regarding his talent, he did not flatter himself, declaring: "I am not a poet, I am a citizen." In 1823, Ryleev was admitted to the secret Northern Society, and was immediately ranked among the "convinced"; from the end of 1824 he was a member of the directory of this organization and actually headed it.

According to his views, he was a republican, he proposed to solve the issue of the fate of the imperial family in a compromise - to take it abroad.

Participation in the conspiracy combined with a turbulent life in the capital: in 1824, defending the honor of his sister, he was wounded in a duel, in 1825 he participated in another duel as a second. On the eve of the uprising on December 14, 1825, the apartment of Ryleev, who fell ill with tonsillitis, on the Moika became the headquarters of the rebels; on the day of the uprising, he went to Senate Square, but, being a civilian, he could not influence its course. That same night, Ryleev was arrested and placed in Alekseevsky ravelin, where he continued to write poetry, piercing letters with a needle on maple leaves.

Among the five most active conspirators, Ryleev was sentenced to death; after an unsuccessful first attempt, he was hanged a second time on July 25, 1826 in St. Petersburg.

RYLEEV Kondraty Fedorovich was born into the family of a poor landowner - a Decembrist poet.

Kondraty Fedorovich's father was a retired lieutenant colonel who managed the estates of Prince Golitsyn.

Six years was given to the 1st Cadet Corps in St. Petersburg, which he graduated in early 1814, having received the rank of ensign.

From 1814-15 he was abroad as part of an artillery brigade. Subsequently, in his testimony at the trial, Kondraty Fedorovich testified that "he initially became infected with free-thinking ... during campaigns in France in 1814 and 1815." Of decisive importance here was the stay in the army, which liberated Europe from the dictatorship of Napoleon, the connection with the heroic Russian people.

From 1819-1819 Ryleev served in the Horse Artillery Company, stationed in the Voronezh province, in Ostrogozhsk. The formation of Ryleev's views here proceeded under the influence of the progressive Ostrogozh intelligentsia, the worst revelry of the feudal lords and the arbitrariness of the authorities.

In December 1818, Kondraty Fedorovich left the army, not accepting the ever-increasing Arakcheev regime.

In early January 1819, Ryleev married the daughter of an Ostrogozhsk landowner, Natalya Mikhailovna Tevyasheva.

In 1820 he moved to Petersburg.

In January 1821 he was elected an assessor of the St. Petersburg Criminal Chamber, where he tried his best to defend the interests of the oppressed (for example, in the case of the Razumovsky peasants who protested against the brutal exploitation of their landowner).

In October 1823, he was admitted to the Northern Secret Society on the recommendation of I. I. Pushchin, a colleague in the criminal chamber.

In 1824, Ryleev joined the Russian-American Trading Company as the head of its office. Working in this, no longer a state institution, Kondraty Fedorovich energetically advocated in favor of the economic interests of Russia. Along with official affairs, he was also engaged in publishing activities.

In 1822-24, Ryleev annually published, together with A. Bestuzhev, the almanac "Polar Star".

In 1825 - the collection "Asterisk". These publications, very successfully implemented, served to disseminate progressive ideas and at the same time meant to financially support needy authors. These collections published works by Zhukovsky and Pushkin, Griboedov and Krylov, Baratynsky and Ryleev himself, Vyazemsky, Davydov, Yazykov, A. Bestuzhev, Gnedich and others.

Based on observations of Russian reality, as a result of studying the works of French encyclopedists, the works of Bentham, Montesquieu, Benjamin Constant, as well as Russian historians - Karamzin, Stroev, Kornilovich, Kondraty Fedorovich developed as an active public figure and revolutionary. He fought for a republican form of government, for the liberation of the peasants, freedom of printing, open judiciary, and personal security.

In Northern society, he took a leading role and led the uprising of 1825. Ryleyev courageously spent the last seven months of his life in the Alekseevskaya ravelin of the Peter and Paul Fortress. On a tin plate, he, according to legend, wrote a quatrain in prison, testifying to the stamina of a freedom fighter:

“Prison is in honor of me, not in reproach,

For a just cause, I'm in it,

And am I ashamed of these chains,

When do I wear them for my homeland?

Hanged among the five leaders of the uprising.

Literature occupied a significant place in Ryleev's activities, to which he, like other Decembrists, attached great social importance, seeing in literature the most important means of involving educated people in the circle of his ideas.

The creative path of Ryleev the poet is characteristic of most of the Decembrist poets. This is the path from the idea of ​​personal freedom to public freedom. On this path, there is also an awareness of the contradictions of the Decembrist ideology, and overcoming them. For all the short duration of Ryleev's literary activity, his work most consistently reveals the internal logic of the development of the Decembrist poet. At the same time, in his work of recent years, Kondraty Fedorovich reveals a distinct originality, an individual characteristic of style. Like other poets, later associated with the liberation movement at its noble stage, he begins with a passion for anacreontics, following Batyushkov, with the approval of the ideals of personal freedom, a life closed in the sphere of intimate relationships.

"To friend" ,

"To Delia",

"Happy Change" - 1820;

"Deception"

"Unexpected Happiness"- 1821, and others.

"To K - mu" - 1821,

"I don't want your love..." - 1824.

Already in 1822, Ryleev affirmed the ideal of a civil poet, first interpreting Derzhavin in this regard (“He set the public good above all goods in the world” - the thought “Derzhavin”), and then declaring in the dedication to the poem “Voynarovsky” (1825). "I'm not a poet, but a citizen." This formula emphasized the subordination of poetic activity to civil, revolutionary goals. Ryleev's formula was then paraphrased by Nekrasov ("You may not be a poet, but you must be a citizen"). In his further activities, Kondraty Fedorovich strictly followed the defined understanding of poetry and the poet.

Turning to the motives of political freedom, the poet, like other poets ideologically close to Decembrism, naturally, first of all used the traditional forms of civil poetry, the forms of classicism, subordinating them to the ideas of love of freedom. The solemn odes of Ryleev are very close to the traditional genre. The idea of ​​Decembrist citizenship is expressed by the message -

"BUT. P. Yermolov" (1821)

"Civic Courage" (1823),

"On the death of Byron" (1824).

Much more significant are the satirical odes of Ryleev - "To the temporary worker" (1820) and the ode "Citizen" (1825) -

"Will I be at the fateful time

To disgrace the Citizen of dignity ... ".

The first of them was directed against the then omnipotent Arakcheev and predicted the inevitability of punishment from the enraged people and the harsh sentence of posterity. The second had in mind a force that was also extremely hostile to the Decembrist movement - the social passivity of the majority of educated society, the "reborn Slavs", those who were not preparing "for the future struggle for the oppressed freedom of man." Both odes were very widespread and were in circulation in a revolutionary environment for many decades.

The initial connection with the tradition of psychological romanticism led to the transformation of the friendly messages of the Anacreontics into political messages in the work of writers, including Ryleev, who became civil poets. Such were Ryleev's messages, in particular to Bestuzhev (1825), where the main motive was unwavering loyalty to "high thoughts", love "for the public good", as well as a message "Vera Nikolaevna Stolypina"(1825), containing a call to raise children in accordance with the ideals of a citizen.

In the literature of psychological romanticism, imitations of folk songs were widespread (Neledinsky-Meletsky, Dmitriev and others). And Ryleev wrote similar songs in his early years. Now Kondraty Fedorovich, together with A. Bestuzhev, writes political propaganda songs, designed to be distributed among the soldiers in order to awaken in them social self-awareness, an understanding of the intolerance of their economic and social position. Seven such songs have come down to us (1823-24).

They are very close to the traditions of Radishchev and oppose songs in the spirit of Karamzin and Zhukovsky.

One of them - "Oh, I'm sick of..." directly opposed to the Neledinsky-Meletsky romance, which begins with the same words. This song along with another - "As the blacksmith goes from the forge..." most consistent in their nationality and revolutionary spirit. The propaganda songs of Ryleev and Bestuzhev became widespread, penetrated the people, became phenomena of folklore, and contributed to the formation of similar works in subsequent decades.

Most clearly, the originality of Ryleev's poetry within the Decembrist literature was reflected in his thoughts and poems. Twenty-five thoughts of Ryleev Kondraty Fedorovich

(1821-23, separate edition - 1825; four were published only in the 2nd half of the 19th century) and his poems:

"Voynarovsky", 1822-24;

unfinished -

"Nalivaiko", 1824-25;

"Gaydamak",

"Paley",

"Partisans" - all three 1825) - works of civil romanticism, imbued with the pathos of revolutionary patriotism. Ryleev created an original form of duma, using Ukrainian folk dumas (collection of N. A. Tsertelev "The experience of collecting old Little Russian songs", 1819), "Spewy Historyczne" by the Polish poet Y. Nemtsevich (1816 and other publications), and also took the influence of Byron's poems and southern poems by Pushkin.

The structure of the thoughts of Kondraty Fedorovich and his poems is very similar; they differ only in volume: a thought is a small poem, "Voynarovsky" is an extended thought. Most of the thoughts are a lyrical monologue of the hero, framed by a landscape, revealing his inner world. These are the legendary Boyan, historical figures Dmitry Donskoy, Bogdan Khmelnitsky, Kurbsky, Nalivaiko, Derzhavin, Ivan Susanin and others. The heroes are given in sharp colors, without chiaroscuro, without halftones. Their inner world is revealed in conflict with the environment, in a clash with tyranny. The actions of the heroes illustrate their unchanging appearance. There is no love conflict or only slightly outlined. The heroes are revealed in their selfless service to the cause of the struggle for liberation from tyranny, for the freedom of their homeland, in their devotion to this idea and the people captured by it, in their steadfastness and firmness, in their readiness to sacrifice themselves. The assertion of the unity of interests of the individual and society on the basis of the struggle of the individual for the freedom of the motherland, the struggle in which the individual is ready to sacrifice himself, is characteristic of noble revolutionaries. the nature of his interpretation. The past differed, in Ryleev's understanding, from the present only by "locality", by specific events, but not by the characters of the people who made history, since they were Russian people. The romantic poet was not interested in objective historical truth. The heroes of the thoughts and poems of Kondraty Fedorovich are completely captured by the contemporary poet with the pathos of love of freedom and are relegated to the past only in their outward appearance. His thoughts and poems clearly show the extremely intensive development of his work, which was the result of the deepening of his revolutionary outlook and the growth of talent. The political acuity of his works increased.

First thoughts ( "Boyan", "Oleg the Prophet") are politically rather vague. Subsequent thoughts, and then poems, are typically Decembrist in their content. Dumas, especially early ones, are a very imperfect implementation of the principles of civil romanticism in the genre of the poem. "Voynarovsky" is a much more mature work. The image of the protagonist is much more complicated. The color of the area is more clearly given.

In "Nalivaiko" and "Palea" elements of historicism are even stronger.

The language is being improved, in the latest thoughts, especially in Voinarovsky, speech is largely freed from metaphor, the syntax becomes more concise, the number of Slavicisms decreases, local words are more common. Pushkin reacted negatively to the thoughts, with the exception of Ivan Susanin. But he took Voinarovsky much more favorably.

“Ryleev’s Voinarovsky,” Pushkin wrote, “is incomparably better than all his thoughts,” the poem “is necessary for our literature.” Works by Ryleev K.F. were models for a number of poems of civil romanticism (Yazykov, A. Bestuzhev, F. Glinka Davydov, Yazykov, Vyazemsky), another - returned to the traditions of psychological romanticism (Venevitinov, Baratynsky); if Pushkin shifted his attention as an artist and thinker to understanding the reasons for the social passivity of the majority, Ryleev K.F remained faithful to the idea of ​​\u200b\u200bstruggle in the name of the final victory of freedom, recognizing the inevitability of death at this stage of this struggle. In the poem "Nalivaiko", in the chapter "Confession of Nalivaiko", he wrote:

I know that death awaits

The one who rises first

On the oppressors of the people;

Fate has already doomed me.

But where, tell me when was

Is freedom redeemed without sacrifice?

I will die for my native land, -

I feel it, I know

And joyfully, holy father,

I bless my lot!

Ryleev Kondraty Fedorovich, both in his political activity and in his poetry, was one of those whom V. I. Lenin had in mind when he noted: “The best people from the nobility helped to wake up people"(Soch., v. 19, p. 295).

Died -, Petersburg.