Work program on literature on the topic: actual_problems_of_modern_poetry_literature_lesson_in_11_class. Philosophical problems of poetry B

The theme of the poet and poetry attracted many creators.

However, the significance of the poet in the world of art was not the same at all times. For example, in Ancient Russia it was very small: a person was considered a small, humble before God (the true Creator!) being, and in most cases the author's names were not preserved.

In the Age of Enlightenment, poets began to realize themselves as the chosen ones, the Creators, the idea of the immortality of their own creations and their own became more and more significant for them.

The theme of the poet and his work is firmly entrenched in the space of Russian classical literature. It is multifaceted and presented in various aspects. This is the problem of the purpose of creativity, and the problem of the relationship between the poet and the crowd, the poet and the authorities, the problem of immortality and the greatness of the Word.

One way or another, many poets at least once, but touched on this topic in their work; it is impossible to cover it in full, we will dwell only on more significant names.

The theme of the poet and poetry is reflected in the work of A.S. Pushkin. The poem "The Prophet" is named so for a reason, because in it Pushkin writes about the poet as a prophet, who is led by the Lord himself, he fulfills the will of the Creator, this is his destiny. From above, the poet was given the power to “burn the hearts of people with a verb,” in other words, to boldly tell people the bitter truth. In the work “The Poet”, Alexander Sergeyevich affirms the idea of the insignificance of the poet’s life in the absence of inspiration (“Among the children of the insignificant world, perhaps he is the most insignificant of all ...”), but as soon as “the divine verb touches the sensitive ear”, the poet rises above the crowd , over black. In the poem "The Poet and the Crowd", Pushkin, in relation to the townsfolk, allows such expressions as "stupid mob", "senseless people" and "worm of the earth", thereby even more exalting the image of the poet-creator. The Creator, as it were, is separated from the people, he is alone because of his chosen one.

Another poet who also addressed the theme of the poet and poetry was M.Yu. Lermontov. His "Prophet" is, as it were, a continuation of Pushkin's "Prophet". However, if in the last poem the poet-prophet is lonely because of the greatness of his wisdom and the mission of being chosen, then the loneliness of the Lermontov prophet is explained by his pride and contempt for others. The poet became not the chosen one, but an outcast in society ("Look how naked and poor he is, how everyone despise him!"). In Pushkin, the prophet “dragged in the gloomy desert”, and, having gained a gift, he went to do the will of God, while in Lermontov, the prophet runs back “through the noisy city” to this desert of the inner world - the world of resentment and contempt.

N.A. Nekrasov in the poem "Elegy" (1876) also considers the problem of the relationship between the poet and the people, but if Pushkin and Lermontov contrasted the creator with the crowd, then Nikolai Alekseevich writes that the poet has one goal - serving the people ("I dedicated the lyre to his people…”). And until the people are happy, the poet will pursue this goal. Nekrasov affirms the values of civic poetry, he writes about the union of the people and the poet, about the theme of the civic service of art (“You may not be a poet, but you must be a citizen” (“Poet and Citizen”)).

Another poet, in whose verses the theme of the poet and poetry is revealed, was A.A. Fet. In his work “With one push to drive the living boat ...” he writes about the poet as a chosen one with a gift that distinguishes him from other people. However, in Fet's poem there is no opposition of the poet to the crowd, as in Pushkin, there are no words about the unification of the poet and the people, as in Nekrasov, and the poet is not at all proud and lonely because of his chosenness, as in Lermontov. Fet writes only about poetry as a gift given from above, he depicts the moment of the descent of this gift to the poet and describes what the creator himself feels at this moment - the unheard-of power of the word that affects the human soul:

Whisper about what the tongue goes numb to,
Strengthen the fight of fearless hearts -
That's what the singer only the chosen one owns,
That is his sign and crown.

In Fet's work, the poet enjoys the ability to feel life in its entirety thanks to his gift.

Vorokhobko Varvara, 11th grade, 2013

(5.1 Kb, 638 hits)

C4, C5. The theme of the poet and poetry in the work of A.A. Blok and M.I. Tsvetaeva (essay)

Comprehending his destiny, the poet reflects on himself and his destiny, on the power and meaning of the word in the context of not only his own life, but also - at least - the literary process of his time or even culture as a whole.

"The poet goes far away..."

Meanings fill the consciousness, and many poets decide for themselves what will become their dominant theme, trying to determine the path of their development, the notorious creative evolution.

"The poet - far leads the speech ..."

Positions converge and diverge, literary criticism develops along with literature itself, and the problematic of the relationship between the poet and the crowd, the poet and criticism is exacerbated.

The 20th century opened up a new, qualitatively different understanding of poetry: Nekrasov's postulate "You may not be a poet, but you must be a citizen" is rejected, like many trends of the 19th century. “A poet in exile and doubt at the crossroads of two roads,” writes Blok. The fate of the new prophet is unknown - "what do you want, where to go?". Rhetorical questions and lexical repetition (“in exile and in doubt”) emphasize the intensity of the search for an answer to the question about the path of the poet, which follows: but - “he will see the distance”. What is it? To create - for the sake of the word itself, which becomes a symbol and, therefore, meaning, to create, connecting oneself with the heavenly world, the world of the great Creator and its laws - this is a new, but in fact an old idea that has a long tradition in culture.

The opposition "poet - crowd" is presented in Blok's poem "Poets" (1908), which deals with the opposition of the world of the artist, the poet to the values of the philistine. On the "sorrowful earth" it is dreary for everyone, and "wine and passion" are the realities of both worlds. However - "at least, the poet has both braids, and clouds, and a golden meadow, but all this is inaccessible to you!"

The sarcastic address "dear reader" allows us to draw a parallel with the "newspaper reader" Tsvetaeva. “Void swallowers, newspaper readers” is another appeal to the crowd.

Tsvetaeva devoted many poems to the relationship between the poet and the crowd. In the poem "The Pied Piper", based on a German legend, the conflict between the poet and the bourgeoisie is revealed. In her we will also meet the theme of the fate of the poet and his chosenness - "poetic eclipses are not foreseen by the calendar", . Her attitude to fame was in a short “Why do I need this?”. However, the fate of poetry is more important, dearer, more significant, and therefore, back in 1913, she writes: “My poems, like precious wines, will have their turn,” referring to another traditional theme - the immortality of the poetic word.

Tsvetaeva wrote more than once that poems come true - terrible, portending evil symbols. And yet - "God preserves everything, especially the words of forgiveness and love, as his own voice."

Inspiration is “breathing in a moment with a dumb soul”, “a path not foreseen by the calendar”, thirst, “dependence”, as Brodsky wrote in the Nobel lecture. The theme of inspiration - a mysterious moment, irrationally incomprehensible in the process of creativity, attracted these poets.

Where in its "production of meanings" will the speech of today's young poets lead, how the word will be refracted in the understanding of poets - God knows ...

Because - "The poet - far leads the speech ..."

Pashina Olga Grade 11, 2013

Zadumina Nadezhda Anatolievna

Keywords

PHILOSOPHICAL PROBLEMS / DEPTH AND DYNAMICS OF THOUGHT/ THE PROBLEM OF BEING / AWESOME FOR LIFE / LOVE IS THE FOUNDATION OF LIFE/ HYMN TO DETAILS / YOUR VISION OF THE WORLD / LIFE-SUPPORTING AND OPTIMISTIC

annotation scientific article on literature, literary criticism and oral folk art, author of scientific work - Zadumina Nadezhda Anatolyevna

The poetry of Boris Pasternak is not easy to understand. The point here is not only in the complexity of his poetics, but also in depth and dynamics of thought. The originality of most of Pasternak's poems is determined by the solution of global philosophical, worldview issues. The idea of the unity of man with nature, of merging with the universe represents Pasternak's concept of life. B. Pasternak's poetry is a reflection on the mystery of love, on life and death, on the miracle of human communication, on the future, on the nature of art. She is overflowing with bright love for people, light. The main philosophical problem is the problem of being. The existence of the world is affirmed by all of Pasternak's poetry. She herself is an invariable expression of surprise and reverence for the miracle of life. The hero of Pasternak's poetry accepts being as it is; its perfection and expediency are beyond doubt. Reverence for life extends to all its forms, without degrading its great spirit of division into the eternal and the transient, the sublime and the mundane. Reflecting on the foundations of life, Pasternak puts love in the first place. Love is not just a human feeling, but the principle of life, its fundamental principle. It has a correspondence in the natural world - this is the universal connection of all phenomena and things. All of Pasternak's poetry is a kind of hymn to details, details. He has his own understanding of the world and his own way of expressing it: expressive, dynamic, metaphorized. Philosophy of Pasternak uplifting and optimistic. Bibliography 3.

The text of the scientific work on the topic "Philosophical problems of Boris Pasternak's poetry"

BBK 83.3(2 Rus=Rus)6-8

N. A. Zadumina

PHILOSOPHICAL PROBLEMS OF BORIS PASTERNAK'S POETRY

B. L. Pasternak is one of the greatest Russian poets and writers of the 20th century, an artist of deep spiritual tension, living with great cultural interests. He let the world into his books with all its everyday realities, with its joys and sorrows, let in and captured life itself forever. Listen to his conversation with us:

I'm near Moscow this winter

But in the cold, snow and storm Always, when necessary,

I have been in the city on business.

I went out at a time like this

When there is no noise on the street,

And scattered the forest dark His creaky steps.<.. .>

Through the vicissitudes of the past And the years of wars and poverty I silently recognized Russia Unique features.

("On the early trains")

Even at the dawn of B. Pasternak's poetic activity, O. E. Mandelstam gave a wonderful and correct assessment of his poetry: “Read Pasternak's poems - clear your throat, strengthen your breath. We don't have healthier poetry now."

The poetry of Boris Pasternak is not easy to understand. The point here is not only in the complexity of his poetics, but also in the depth and dynamics of thought. Once the poet remarked that philosophy is the foliage of poetry; reading his poems, you are convinced of this again and again. The philosophical tradition in Russian lyrics is represented by such names as E. A. Baratynsky, A. S. Pushkin, M. Yu. Lermontov, F. I. Tyutchev. In their work, they reflected on the issues of being, life and death, human destiny and spirituality, the relationship between man and the world, man and nature. The ideals of Truth, Goodness and Beauty find their expression in the works of all great artists, regardless of the place and time of their existence, because it is these values that determine human life as a whole: they are its essence, the fundamental principle.

The originality of most of Pasternak's poems is determined by the solution of global philosophical, worldview issues. The idea of the unity of man with nature, of merging with the Universe represents Pasternak's concept of life. “All his life, nature was his only full-fledged Muse, his secret interlocutor, his Bride and Beloved, his Wife and Widow - she was to him the same as Russia was to Blok. He remained faithful to her to the end, and she royally rewarded him, ”Anna Akhmatova rightly notes about the poet’s fusion with the world in her reflections on contemporary poets.

The philosophical orientation of Pasternak's lyrics is largely due to biographical factors. Music, painting and literature determined the atmosphere in the poet's childhood. His father was a famous artist, his mother was a gifted pianist; the guests of the house were Valentin Serov, Mikhail Vrubel, Alexander Scriabin, Sergei Rachmaninov, Leo Tolstoy. The future poet intensely absorbs everything new, comprehends the general nature of all art and, ultimately, any spirituality. All manifestations of the human spirit result in a generalized philosophical system of views; to study it, the young Pasternak decides to become a professional philosopher, enters the philosophical department of the Faculty of History and Philology, then continues his studies in Marburg (Germany). And although his final choice fell on poetry, the poet remains “attached” to philosophical topics for the rest of his life, which organically enters into his poetry, without suppressing or weakening it. Rather, on the contrary, Pasternak's lyrics only benefit from such a rapprochement, acquiring an unheard-of depth and force of influence.

B. Pasternak's poetry is a reflection on the mystery of love, on life and death, on the miracle of human communication, on the future, on the nature of art. She is overflowing with bright love for people, light.

In the biographical essay “People and Positions” (1956, 1957), B. Pasternak writes: “My constant concern was directed to the content, my constant dream was that the poem itself should contain something, that it should contain a new thought or a new picture. So that with all its features it would be engraved inside the book and speak from its pages with all its silence and all the colors of its black, colorless printing.

The peculiarity of Pasternak's philosophical thought, or, more precisely, the way it is expressed, is that it is nowhere given explicitly, openly. In general, this is not typical of poetry, but in Pasternak the deep subtext of the verse is encrypted, hidden especially sophisticatedly, on the verge of risk that a lazy and inquisitive reader will not be able to catch it. A person reading Pasternak must himself go from a poetic image to a philosophical generalization: the author never clearly presents the “final conclusion of earthly wisdom”, clear to himself. He provides the source material for intense mental searches, however, scattering hints here and there, milestones to indicate the path. And the main philosophical position of the poet remains, as it were, “behind the scenes”.

Without claiming to be complete and unequivocal correctness of interpretation, we will try to describe the basic principles of Pasternak's worldview.

The main philosophical problem is the problem of being. In a sense, for Pasternak it does not exist. The world exists for him - that's all. Without any "why" and "why":

No need to interpret

Why is the foliage so ceremoniously sprinkled with Madder and lemon.

("Let's drop the words")

The existence of the world is affirmed by all of Pasternak's poetry. She herself is an invariable expression of surprise and reverence for the miracle of life. Because life in all its diverse manifestations is an enduring miracle, whose extraordinaryness is so great that it can heal any pain:

There is no such sadness in the world,

Which the snow wouldn't heal.1

("January 1919")

The hero of Pasternak's poetry accepts being as it is; its perfection and expediency are beyond doubt. “My sister is life,” he says. And life enters into his poems as into his own house: the poet is with her on “you”, there is no distance between them, as evidenced by these lines:

With me, with my candle flush Worlds blossomed hang.

(“Like a brazier with bronze ash ...”)

The hero accepts the world, and life in it seems to him simple and not burdened with wisdom created artificially:

Easy to wake up and see

Shake verbal rubbish from the heart And live without clogging in the future.

All this is not a big trick.1

(“To love others is a heavy cross.”)

Reverence for life extends to all its forms, without dividing its great spirit into the eternal and the transient, the sublime and the mundane:

Oh Lord, how perfect are your deeds, thought the sick man, Bed, and people, and walls,

Night of death and the city at night.1

("In the hospital")

As a rule, in the works of Pasternak, the theme of death is almost absent in its pure form. Death does not violate the laws and flow of life, it is also part of being. Death is, rather, a transition to a different stage of existence. The hero does not experience fear of non-existence, because non-existence does not exist. About this - the poem "English Lessons". The title seems strange: there is nothing English in the poem itself (except perhaps the implied name of Shakespeare), and as for the lessons, by whom and to whom are they given, and what kind of lessons are they? Desdemona, dying, weeps over the willow; Ophelia passes away "with an armful of willows and celandine." What are the final lines of the poem about, which should reveal its essence? Here they are:

Having let the passions lie off the shoulders, like sackcloth,

They entered, with a sinking heart,

Into the pool of the universe, stand your loving one, Pour over and stun with worlds.1

("English Lessons")

The heroines, having rejected the "bitterness of dreams", open themselves towards the world, nature, eternity. Before us is not the tragic end of life, but its new discovery, insight, liberation from the burden of "human passions."

Reflecting on the foundations of life, Pasternak puts love in the first place. Love is not just a human feeling, but the principle of life, its fundamental principle. It has a correspondence in the natural world - this is the universal connection of all phenomena and things. In one of the poems, the poet draws a parallel between the love of the hero and the life of the sea element: the hero is tied to his beloved, like the sea to the shore. In the poem "Let's drop words." to the question of who rules the world, "who commands", the answer is given: "The almighty god of love, Yagailov and Jadwig". These names were not chosen by chance - it was once a marriage, a combination of the Polish queen Jadwiga and the Lithuanian prince Jagiello, that gave rise to a new state.

The feeling of love unites man and the world:

And gardens, and ponds, and fences,

And the Universe, boiling with white cries, is only discharges of passion,

accumulated by the human heart.1

("Let's drop the words.")

It is love that gives a person the opportunity to understand the world. The problem of understanding the world is very important for Pasternak, and its only solution in the author's poetry is the complete acceptance of all forms of life.

Pasternak's amazing attitude towards women is striking. This theme runs like a red thread in many of his poems. The female image of the poet is devoid of the extremes of other authors. This is not a "genius of pure beauty", not the embodiment of deceit and volatility, not a suffering victim of male superiority, not a symbol of Eternal Femininity. One can feel some kind of elusive reverence “before the miracle of women's hands”, endowing a woman with some wonderful quality. This is her original closeness to nature, her naturalness, persuasiveness and assertiveness, worthy of being sung:

My beauty, all become,

All your essence is to my heart,

Everything is eager to become music,

And everything is asking for rhymes.2

(“My beauty, all become.”)

Describing the wonderful moments of life, the poet usually does not get tired of detailing them. All his poetry is a kind of hymn to details, details. The poetic declaration of this approach to the world and creativity is the poem “Let's drop words. ". For a real creator, “nothing is small”: he

Immersed in a Maple Leaf finish.

("February. Get ink and cry!")

Life exists in details, in details - this is the key to its mystery. To describe means to show the connections between objects, their "relationships", in a sense, their love. So, in one of Pasternak's first poems, spring is “black”. Spring? It's time for love, hope, and suddenly. However, the poet wanted to show something else: after a snowy, white winter, black soil is exposed, which precedes and nourishes the greenery of summer. A hymn to details - sometimes unusual - becomes a hymn to life itself.

The poet formulated his definition of the meaning of human life in a poem that can be called a program for his work - “I want to reach everything.”. A person must live, comprehending the laws of this world - the laws of love of everything for everything. In accordance with them, his life should be built:

But we must live without imposture,

To live in such a way that in the end To attract the love of space,

Hear the future call.1

("Being famous is ugly")

At the same time, labor acts as the goal of being and its form: the hero speaks of the bliss of "occupations", that "idleness is a curse."

The cycle “Engaging in Philosophy” of the book “My Sister is Life” consists of mediative poems with the same type of headings: “Definition of Poetry”, “Definition of the Soul”, “Definition of Creativity”. In the context of these poems, art is eternal, it reflects life with its many voices, with its age-old moral values:

This is a cool pouring whistle,

This is the clicking of crushed ice floes,

This is the night chilling the leaf

This is a duel between two nightingales.2

("Defining Poetry")

The cycle expresses all the pain of the poet for the imperfection of life (“the storm burned our homeland”; “the universe is a deaf place”). The motifs of "storm", "chaos", "disease" developed in the book include it in the context of Pasternak's artistic world. In the novel "Doctor Zhivago" the image of the motherland, burned by a storm, develops into a detailed metaphor: "The roof has been blown off Russia." The motive of "sickness of the earth", correlated with the motive of "high illness" in the poem of the same name, speaks of the torment, suffering of the earth during periods of social cataclysms:

Here is the downpour. Glitter of hydrophobia,

Whirlwind, scraps of rabid saliva.

But where? From the cloud, from the field, from the Klyazma, or from the sardonic pine?

("Sickness of the Earth")

The question of time is correlated by the poet with his own views on the world, with ideas about life, death and immortality. The artist, according to Pasternak, is closely connected with his time, but he is also a representative of eternity, because through creativity he achieves immortality.

1 Cited. by: Pasternak B. L. Sobr. cit.: in 5 volumes - T. 2. - M .: Khudozh. lit., 1989.

2 Quot. by: Pasternak B. L. Selected .: in 2 volumes - T. 1. - M .: Khudozh. lit., 1985.

In the poem "Night" (1956), reflecting the ideas of the French writer Anguan de Saint-Exupery about the responsibility of man for everything that happens on the "planet of people", Pasternak speaks of overcoming time and death as the artist's task. The poet is likened in the poem to a pilot who has risen above the earth like a star, surveying the sky and feeling responsible for world life.

He looks at the planet

As if the firmament Refers to the subject of His nightly cares.

Don't sleep, don't sleep, work

Don't stop working

Do not sleep, fight drowsiness

Like a pilot, like a star.1

Pasternak introduced his vision of the world into his poems: “meadows, sedges, hayfields, thunderstorms” in their uniqueness and life-giving power. He has his own understanding of the world and his own way of expressing it: expressive, dynamic, metaphorized. The essence of his method, as well as the right to it, the poet defined in his notes as follows: “Genius is the vitally tangible right to measure everything in the world in its own way, a sense of shortness with the universe, the availability of all living things.”

Pasternak's philosophy is life-affirming and optimistic. There are many tragedies and hardships in this world, but they lead us to new heights of understanding life. The world is not perfect, but it exists, and it's wonderful.

BIBLIOGRAPHY

1. Mandelstam O. E. Notes on poetry // Collection. cit.: in 4 volumes - M .: Art-Business Center, 1993. - T. 2. - S. 556.

2. Akhmatova A. A. The path of Pasternak // Meeting with the past. - M.: Sov. Russia, 1978. Issue. 3.

3. Pasternak B. L. People and positions: Tales. Articles. Dramatic works. - M.: Eksmo, 2008. - 634 p.

The article was received by the editors on 06/29/2010

PHILOSOPHICAL CONCEPTION OF BORIS PASTERNAK'S POETRY

The poetry of B. Pasternak is not easy to understand. The matter is that it is not only difficult for perception but it is deep and dynamic. The main characteristic of his poems are defined by solving global philosophical problems. His concept of life represents the connection of a man and nature, a man and the Universe. His poetry is full of thoughts about mystery of love, about life and death, about the miracle of human community and future. We find the same intensity of his feelings when he speaks about the nature of art. The problem of existence is the fundamental philosophical problem. It is reflected and confirmed by all Pasternak's poetry. The existence of the world is confirmed by all his poetic work. His poetry is the reflection of astonishment and awe of the miracle of love. His poetry is increasingly absorbed by this motive. The Pasternak's main hero takes the existence as it is. He has no doubt in the perfection and advisability of the existence. The awe of life spreads to all its forms. There is no division into internal and ordinary things in his poetry. Thinking about the ground of the human existence Pasternak gives the first place to love. According to him love is not only the simple human feeling but it is the main principle of life. He was keener to represent love as its fundamental principle. He finds the same principal in nature - it is the universal connection of all phenomena and things. All his poetry is the sort of the hymn to details and particularities. He has his own understanding of the world and he has his own dynamic, expressive and metaphorical way of his expression. Pasternak's philosophy is life-asserting and optimistic.

Key words: philosophical problems, depth and dynamics of thought, the problem of existence, awe of life, love is the fundamental principle of life, hymn to details, his own vision of the world, life-asserting and optimistic.

To the essence of past days,

Until their reason

Down to the roots, down to the roots

To the core.

B. Pasternak

The poetry of Boris Pasternak is not easy to understand. The point here is not only in the complexity of his poetics, but also in the depth and dynamics of thought. Once the poet remarked that philosophy is the foliage of poetry; reading his poems, you are convinced of this again and again. The philosophical tradition in Russian lyrics is represented by such names as Baratynsky, Pushkin, Lermontov, Tyutchev. In their work, they reflected on the issues of being, life and death, human destiny and spirituality, the relationship between man and the world, man and nature. The ideals of Truth, Goodness and Beauty find their expression in the works of all great artists, regardless of the place and time of their existence, because it is these values that determine human life as a whole: they are its essence, the fundamental principle.

The philosophical orientation of Pasternak's lyrics is largely due to biographical factors. Music, painting and literature determined the atmosphere in the poet's childhood. His father was a famous artist, his mother was a gifted pianist; the guests of the house were Serov, Vrubel, Scriabin, Rachmaninoff, Leo Tolstoy. The future poet intensely absorbs everything new, comprehends the general nature of all art and, ultimately, any spirituality. All manifestations of the human spirit result in a generalized philosophical system of views; to study it, the young Pasternak decides to become a professional philosopher, enters the philosophical department of the Faculty of History and Philology, then continues his studies in Marburg. And although his final choice fell on poetry (which, in my opinion, one should only rejoice), the poet remains “attached” to philosophical topics for life, which organically enters into his poetry, without suppressing or weakening it. Rather, on the contrary, Pasternak's lyrics only benefit from such a rapprochement, acquiring an unheard-of depth and force of influence.

The peculiarity of Pasternak's philosophical thought, or, more precisely, the way it is expressed, is that it is nowhere given explicitly, openly. In general, this is not typical of poetry, but in Pasternak the deep subtext of the verse is encrypted, hidden especially sophisticatedly, on the verge of risk that a lazy and inquisitive reader will not be able to catch it. Well, then, poetry does not need such a reader. A person reading Pasternak must himself go from a poetic image to a philosophical generalization: the author never clearly presents the "final conclusion of earthly wisdom", clear to himself. He provides the source material for intense mental searches, however, scattering hints here and there, milestones to indicate the path. And the main philosophical position of the poet remains, as it were, "behind the scenes."

Without claiming to be complete and unequivocal correctness of interpretation, we will try to describe the basic principles of Pasternak's worldview.

The main philosophical problem is the problem of being. In a sense, for Pasternak it does not exist. The world exists for him - that's all. Without any "why" and "why":

No need to interpret

Why so ceremoniously

Madder and lemon

Foliage shattered.

There is no such sadness in the world,

Which the snow wouldn't heal.

The hero of Pasternak's poetry accepts being as it is; its perfection and expediency are beyond doubt. "My sister is life," he says. And life enters into his poems as into his own house: the poet is with her on "you", there is no distance between them, as evidenced by these lines:

With me, with my candle flush

Blooming worlds hang.

The hero accepts the world, and life in it seems to him simple and not burdened with wisdom created artificially:

Easy to wake up and see

Shake out verbal rubbish from the heart

And live without clogging in the future.

All this is not a big trick.

Reverence for life extends to all its forms, without dividing its great spirit into the eternal and the transient, the sublime and the mundane:

"O Lord, how perfect

Your deeds, - thought the patient, -

Beds and people and walls

The night of death and the city at night..."

As a rule, in the works of Pasternak, the theme of death is almost absent in its pure form. Death does not violate the laws and flow of life, it is also part of being. Death is rather a transition to another stage of existence. The hero does not experience fear of non-existence, because non-existence does not exist. About this - the poem "English Lessons". Turning to the heroines of Shakespeare, the poet tells how their death becomes the discovery of new worlds, not the end, but the beginning of life in the universe.

the poet draws a parallel between the love of the hero and the life of the sea element: the hero is tied to his beloved, like the sea to the shore. In the poem "Let's drop words ..." to the question of who rules the world, "who commands", the answer is given: "The almighty god of love, Yagailov and Jadwig". These names were not chosen by chance - it was once a marriage, a combination of the Polish queen Jadwiga and the Lithuanian prince Jagiello, that gave rise to a new state.

The feeling of love unites man and the world:

And gardens, and ponds, and fences,

And seething with white screams

The universe is only passion ranks,

accumulated by the human heart.

The poet formulated his definition of the meaning of human life in a poem that can be called a program for his work - "I want to reach everything ..." A person must live, comprehending the laws of this world - the laws of love of everything for everything. In accordance with them, his life should be built:

But we must live without imposture,

So live so that in the end

Attract the love of space

Hear the call of the future.

At the same time, labor acts as the goal of being and its form: the hero speaks of the bliss of "occupations", that "idleness is a curse." Such for Pasternak is "the final conclusion of earthly wisdom."

Pasternak's philosophy is life-affirming and optimistic. There are many tragedies and hardships in this world, but they lead us to new heights of understanding life, serve as a kind of soul-cleansing catharsis. You can't say - "The world is beautiful", but you need - "The world exists, and it's beautiful."

They are governed by the law of love. A person must accept all this, accept and work.

The writing

Mayakovsky is a poet of great public, social temperament. Now sing about the new - sing - the Demon... V. Mayakovsky The first acquaintance with the work of Vladimir Mayakovsky is always stormy, with the emergence of many questions, even with some indignation. Why? It is difficult to find an answer to this question. Suffering and lonely, Vladimir Mayakovsky came to Russian poetry. The active position of the fighter, taken by the poet, comes into irreconcilable contradiction with the alienation of the human personality in society. A free, uninhibited person appears in Mayakovsky's poetry as the highest measure of beauty on earth. The poem "A Cloud in Pants" is a vivid example of the expression of the kinship of a lyrical hero with the masses: Veins and muscles - the motive is more true. Should we beg for favors of time! We - each - keep drive belts in our five worlds! A poet of great public, social temperament, Mayakovsky had an extremely developed sense of personal responsibility for everything that happens in the "storm-world". Here lay the inner nerve of his work, from here originate these unusual scales, proportions ("Me and Napoleon", "Mayakovsky for centuries"), constant anxiety for the fate of people, readiness to be their herald. In the poem "Spring Question" Mayakovsky admitted: For example, I am considered a good poet. Well, let's say, I can prove: "moonshine is a great evil." What about it? What about this? Well, there are absolutely no words. Reading the first pages of "About this", one cannot but feel the author's special passion. Mayakovsky is clearly arguing - about what and with whom? The content of the poem leaves no doubt that the fight against "curly-haired lyricists" was still relevant. Mayakovsky cannot be imagined without a commitment to the “topics of the day”. He possessed, as it were, double vision and, constantly soaring upwards, talking about the fate of all mankind, freely talking "through the ridges of centuries" with distant descendants, did not lose sight of current everyday life from his field of observation. In the poem "A Cloud in Pants" Mayakovsky successfully realized the idea formulated in one of his articles: you can not write about the war, but you must write about the war. His strength as a poet lies in the fact that he managed to single out in life the sprouts of the new and affirmative, looked at the present day from the "third reality". With the advent of Mayakovsky in poetry, indeed, "something huge happened." Not just another gifted poet came - an artist of a great historical mission, of a special "turning point" significance, appeared. Everything in it was striking: the "language of the street", the rapid flow of metaphors, the daring breadth of ideas, the unusually active role of the personal principle. What determines the depth and integrity of Mayakovsky's poetry, what gives it durability? I think that she owes this primarily to the height and significance of those ideals that the poet defended throughout his life. Love and hate, lyrics and satire in his work are generated by the same feeling - the belief that the future of mankind is beautiful, and the passionate desire to bring it closer. Mayakovsky never separated himself from the people building a new society. Stepping through the "lyrical volumes", he addressed millions of readers. As alive with the living, he speaks today with "comrade descendants" throughout the world. There is no other poet in the poetry of the 20th century who would have called upon himself such streams of praise and abuse. Swearing accompanied him throughout his almost twenty-year career, but already during his lifetime, the younger generation saw Mayakovsky as their trumpeter and singer. He remained that way for the rest of his life. He enters our lives quickly ignited, unstoppable in passion, delicate, helpful, touching and tender in caring for others. Coming people! Who you are? Here I am, all pain and bruise. I bequeath to you the orchard of my great soul! - young Vladimir Mayakovsky addresses us. To understand the life and personality of the poet, let us listen to his word.

"Ideality" and "earthliness" - that's the problem facing the new poetry. There were Nekrasov poets who almost bypassed her. These include Pleshcheev: his love poems are very traditional, often written under the direct influence of the love lyrics of Pushkin and Lermontov. Dobrolyubov, in any case, felt new problems here, and thus his search for love lyrics does not lie aside from Nekrasov's search.

Particular attention of the poets of the Nekrasov school was paid to a humiliated, insulted, fallen woman. But the contradiction between "ideal" and "earthly" here turned out to be even greater and more difficult to resolve.

Dobrolyubov’s poems “It’s not a wonderfully good attraction ...” (1857), “Not in the brilliance and warmth of renewed nature ...” (1860 or 1861), which are closest to Nekrasov’s or written under their direct influence (“When out of the darkness of delusion .. . ”,“ Am I driving along a dark street at night ... ”), they especially clearly show the drama of Dobrolyubov’s lyrics, which did not overcome this contradiction, and all the more emphasize the essence of Nekrasov’s artistic discovery, which resolved this contradiction.

In complex interactions with the satirical poetry of the era, Nekrasov's satire was born. These interactions were varied - for example, the joint work of Nekrasov and Dobrolyubov in The Whistle, which often turned into co-authorship.

Of course, even within the framework of democratic poetry, we do not find a poet approaching Nekrasov in terms of the scope of satirical talent, but almost all the best that is in the satirical poetry of the era was born in the bowels of the Nekrasov "school": N. Dobrolyubov, V. Kurochkin, D Minaev and other Iskra poets, L. Trefolev.

In the democratic poetry of the 60s, which developed under the influence of Nekrasov, a whole special direction was formed that developed everyday satire, conventionally called humorous poetry.

D. Minaev in an article about V. Kurochkin, emphasizing the originality and originality of this poetry, even contrasts it with Nekrasov's. “Today, Nekrasov, a lyricist par excellence, tried to write humorous songs, but he never succeeded in this kind.”

Minaev is hardly right in contrasting such "humorous" poetry with Nekrasov's poetry, for many impulses for its development were also given by Nekrasov earlier, almost 10 years before. But in any case, here Minaev very accurately expressed the feeling of his place in history and in poetry, his individuality.

Being excited by today's, "now", the great poet sees in it and through it yesterday and tomorrow and the day after tomorrow. The lesser poet is smaller not because he is more topical, but he is more enclosed in topicality, more limited by it.

It has its own selflessness, a taste for rough work, the work of the rank and file, not just following the great, but also accompanying, and clearing the soil, and affirming the new by everyday work.

So, V. S. Kurochkin (1831-1875) and Minaev are more limited than Nekrasov in their themes, in the poetic development of being, but this comparative limitation, the locality of the poetic platform, at the same time implies the thoroughness of developing their theme, the possibility of identifying and statements of one's poetic self, one's own poetic discoveries.

For Minaev, Kurochkin and other Iskra poets, direct everyday social, political and everyday life became their sphere within the framework of the Nekrasov trend, and humorous poetry became the method of its poetic development.

The very poetic activity of this kind could not but be connected with the newspaper, with the magazine. Iskra became such a magazine, which, together with Whistle, proved by its colossal popularity the historical necessity of its appearance.

The need for such poetry was caused by social life itself.

Realization, however, turned out to be possible through the fertilization of Russian poetry with a special kind of democratic poetry, namely the poetry of Beranger. “It is in this sympathy for the people,” Dobrolyubov wrote, “that the reason for the extraordinary popularity of Beranger lies, this is what distinguishes him from the ephemeral pamphleteers who compose incendiary political poems, caused by the need of the moment and the interest of the party.”

This arose already in the 50s. the need for his own "Russian Beranger" and brought to life, in a certain sense, a unique phenomenon - the so-called translations of Kurochkin from Beranger.

“The so-called,” because since the time of Zhukovsky, the need for the appearance of certain forms in art and the impossibility of their appearance has never been so clearly revealed in Russia. This gives rise to an original fusion of native and borrowed in the amazing art of the "poet-translator", as Kurochkin himself called himself.

However, the possibility of the appearance of Kurochkin’s translations was prepared by Nekrasov, the “Russian Beranger” could arise only within the framework of the democratic Nekrasov direction, and not only because its representatives were close to the socio-political pathos and democracy of the great French poet, but also as a result of the artistic discoveries of Nekrasov’s poetry, displaced the usual ideas about the poetic. "This is<...>the verse of Mr. Nekrasov, - B. Almazov wrote about such poetry, - ... in Russia there is a whole school of this kind of poetry; a distinctive feature of the poets of this school is the ability to put ordinary colloquial speech into verse. Kurochkin was able to perceive and convey to Beranger only as a Nekrasovite.

In connection with Minaev, the very term "Nekrasov school" was used. The reviewer of "Illustration" wrote: "If we begin to read the thoughts and songs of Mr. Minaev, we will see that in every line of them the muse of Mr. Nekrasov<...>Mr. Minaev, belonging to the Nekrasov school, although he cannot rise to the best works of Mr. Nekrasov, is nevertheless fully aware of its essence and significance, its difference from the old lyric school, which is what distinguishes him from Mr. Rosenheim, who, limiting himself to one appearance, to only phrases, he does not penetrate beyond these phrases, and from that, under the phrase-mongering of Mr. Rosenheim, a bottomless emptiness seems to be.

N. K. Krupskaya wrote about the satire of Iskra: “It was a kind of folklore of the then raznochintsy intelligentsia: the authors were not known, but the poems were known. Lenin knew a lot of them. These verses somehow entered everyday life.

Minaev's poems (and not only Minaev's - he is only the most characteristic), all his activities grew out of everyday life, in some respects liberated and liberated after the Nikolaev reaction, these poems themselves "entered everyday life", becoming its element.

A literary event, an everyday incident, a theatrical premiere and a vernissage immediately found a response in poems, epigrams and reviews, sometimes just in jokes that were immediately picked up, spread around, became the property of everyone, so that sometimes the author was forgotten or simply did not know him, was not seen for a palisade of pseudonyms, masks that Minaev used: "The Dark Man", "The Accusatory Poet", "Mikhail Bourbonov", etc.

The conditions and nature of the activity implied improvisation, ease of handling the word, the possibility of playing with it, verbal focus, unexpected rhyme, and pun.

Of course, such work, growing into everyday life, into the variegation of everyday relations, sometimes led to random themes, to a certain shift in emphasis. In sympathetic reviews of Minaev's works, both Sovremennik and Russkoye Slovo nevertheless point to a certain pointlessness of Minaev's humor, to his vaudeville, and they advise you to be stricter with yourself. But on the whole, Minaev's positions are indisputably clearly democratic.

Brother of you. Kurochkina, also a well-known Iskra-born N. Kurochkin, it was not by chance that the poetry of D. D. Minaev was classified as “a new, practical and humorous trend in our country”. Routine, conservatism, everything inflated and vulgar find in him an irreconcilable enemy. Minaev pursued reactionary literature and the poetry of pure art especially fiercely. Here, parody became a constantly used tool.

It was Dobrolyubov the satirist who was primarily a parodist. And his satirical activity began in the circle of Nekrasov and as part of a satirical supplement to Sovremennik - in Whistle, which, as it were, continued the largely critical section of the magazine, but in a satirical spirit, and Dobrolyubov’s first satirical-parody poems arose directly from his literary and critical work.

In general, in the democratic satirical literature of the 50-60s. parody in various variations is perhaps a favorite genre. Parody turned out to be both an effective tool of ideological criticism and a means of generating a new literary form, or, in any case, a way of freeing oneself from the old one. It was here that Nekrasov played a decisive role.

Back in the mid 40s. Nekrasov published his "Lullaby", calling it an imitation of Lermontov. He found a form, pointed out the principles, gave a signal, which, however, will be accepted by literature only in a few years.

Later, almost all Nekrasovites will return to Nekrasov's "Lullaby" of the 40s. as to the original and will offer their own versions of satirical lullabies. Of course, all these "lullabies" are devoid of the depth and complexity of Nekrasov's work, but it was Nekrasov who discovered the possibility of such imitations, parodies and rehashings.

The very type of parody among the Nekrasovites of the 60s. comes from Nekrasov: not a parody of a work, but only a form of parody of a work, while the content is directed not against the parodied work, but against some ugly act, vice, etc.

It was about this type of parody that Dobrolyubov wrote, calling good parodies addressed to a poem "of great fame." Such are Minaev's "Request", which parodies Lermontov's "Prayer" and "Clouds", the poem "Fathers and Sons", parodying the famous "Borodino". Parodies of Nekrasov himself are also frequent: “Proselkom” (“Vlas”), “From I. Aksakov” (“Schoolboy”) and others.

Widely uses parodies and you. Kurochkin, even more likely not parodies, but rehashings of famous poems. In "Cossack Poems" there are rehashings of Zhukovsky and Pushkin, in "Legends of Kukelvan" - by Pushkin and Lermontov, in the poem "Rods - branches from the tree of knowledge! .." Nekrasov's "Song of Eremushka" is sung. Such parodies-rehashings are also common among other poets of the Nekrasov "school".

Poems, parodies, feuilletons by Minaev and other Iskra-ists in the 1960s were, as a rule, very cheerful and provocative. They have optimism, a sense of participation in ongoing progress. Dobrolyubov confidently wrote: "... for mockery and parody, there is still a lot of work to be done: to accompany Russian life in a new way."

As long as there was a belief that Russian life was taking a "new path," mockery and parody could at least be hilarious. The more disappointments there were, the understanding that this "new path" did not take place, the more bitterness was born in Minaev and other poets related to him. The development of Russian life, Russian society knocked the ground out from under their feet, deprived their poetry of the aesthetic foundations.

Vasily Kurochkin did not escape the crisis, similar to the one experienced by Minaev. “When Iskra began,” he wrote, “there were bright, beautiful days in Russian society. That was the time of the brightest hopes and hopes, the time of hobbies, maybe young, immature, but pure, disinterested, full of selflessness, imbued with one goal - the goal of common good and happiness, and unanimous ... Literature carried a common, dear to all banner ".32

In the inscription to P. A. Efremov on the sixth edition of Beranger’s Songs, Kurochkin jokingly but accurately said about this crisis:

I bring a book published by me to you, friend,

Even if the syllable is not right - think, it could be worse.

Honor ubo without anger, do not curse me:

It is impossible in Russia to be a Beranger

The impossibility of being a Beranger made me look for some new ways in satire.

Kurochkin makes an attempt to turn to folk poetic sources. Apparently, in 1872-1873. he works on original genre dramatic works - puppet comedies. One of these plays, The Prince of Luton, has come down to us. The desire to get closer to the element of folk speech, folk humor, folk verse is clear. The folk puppet drama also influenced Kurochkin.

The satire of the Nekrasov poets is one of the most remarkable pages in the history of Russian satirical poetry. Created to a large extent as literature on the topic of the day, it has managed to preserve a lively social meaning and artistic significance for decades.

That is why later, especially during the years of revolutionary upheavals, advanced Russian journalism and poetry so willingly turned to the traditions of their predecessors, the satirical poets of the middle of the century.

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