Traditions of folk poetry in M. Yu. Lermontov's poem "Song about Tsar Ivan Vasilyevich, a young guardsman and a daring merchant Kalashnikov"

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In these lines, the situation at the royal feast is allegorically conveyed. The month symbolizes Ivan Vasilyevich himself, the stars are his surroundings. If the king is having fun, then those close to him should be having fun, otherwise they cannot escape the royal disfavor. “The tsar asks about the cause of sadness,” writes Belinsky, “and his questions are the pearls of our folk poetry, the fullest expression of the spirit and forms of Russian life of that time. Such is the answer, or, better, the answers of the guardsman, because, in the spirit of Russian national poetry, he answers almost verse for verse.

To create vivid pictures and images, Lermontov uses the artistic means of folk poetry. The author appeals to images that have been created in the human mind over many centuries, using numerous constant epithets (“daring fighter”, “good fellow”, “beautiful girl”, “red sun”, “strong mind”) and constant comparisons (“Walks smoothly - like a swan", "Looks sweetly like a dove", "Speaks a word - the nightingale sings"). Hyperbole also serves more figuratively (“Here the king hit the ground with a stick, // And the oak floor half a quarter // He broke through with an iron window ...”) and techniques of negative parallelism (“The red sun does not shine in the sky, // Not blue clouds admire him. // Then he sits at a meal in a golden crown, // The formidable Tsar Ivan Vasilyevich sits ...").

The creation of pictures of nature is helped by the use of the impersonation technique (“Clouds run into the sky, - // The snowstorm drives them chanting”, “Playfully along the boarded roofs, // Gray clouds disperse, // Scarlet dawn rises; // Swept golden curls, // Washes crumbly snows, // Like a beauty, looking in a mirror, // Looks at the clear sky, smiles ...”). This allows the author to draw parallels between natural phenomena and what happens between people. So, for example, the clouds that roll into the sky at the beginning of the second chapter portend something bad for Kalashnikov. Adopting a folk tradition, Lermontov compares the look of the tsar with the look of a hawk, Kiribeevich with a blue-winged dove, Alena Dmitrievna with a swan, and Kalashnikov with a falcon.

The syntax of Lermontov's poem also stylizes it as a folk song. Verbal repetitions, passing from line to line, add a special melody to the “Song about ... merchant Kalashnikov”:

He fell on the cold snow

On the cold snow, like a pine,

Like a pine, in a damp forest ...

Techniques of syntactic parallelism are used (“Strong hands fall, // Lively eyes darken ...”), anaphoras (“I did not dishonor someone else's wife, // I did not rob a dark night, // I did not hide from the light of heaven ...”), inversion (the position of the adjective after the word being defined is characteristic: “Moscow soldiers”, “wonderful marvelous”, “German castle”).

In his poem, Lermontov pays great attention to the numerical symbolism characteristic of folklore. So, most often, the number “3” is mentioned: “for three days and three nights” the boyar and boyar treated the gusliers, the king performs three actions before Kiribeevich notices his displeasure (“Here the king frowned his black eyebrows // And pointed at him vigilant eyes ... "(1)," Here the king hit the ground with a stick ... "(2)," Here the king said a formidable word .... "(3))," they cursed the loud cry three times, "before someone decided to fight with a young guardsman, Kalashnikov makes three bows (“to the terrible tsar”, “to the white Kremlin and holy churches” and “to all the Russian people”), finally, they buried the daring merchant “between three roads”.

The whole poem of Lermontov is permeated with traditional motifs of folk poetry. The main ones are the motif of the feast and the motif of the duel, without which the picture of history, recreated with the greatest accuracy by the author, would be incomplete.

The undoubted influence on Lermontov's "Song ..." had a historical song - the ballad "Mastryuk Temryukovich", published in the folklore collection "Ancient Russian poems collected by Kirshe Danilov". Perhaps it is thanks to this ballad in Lermontov's poem that the image of the tsar, in addition to negative qualities (cruelty, ruthlessness), also has positive ones (kindness to Kiribeevich, mercy to the Kalashnikov family).

All the heroes of the poem seem to have come out of folk songs and fairy tales: Kiribeevich is a villain who encroaches on the honor of Alena Dmitrievna, Alena Dmitrievna herself is a fabulous beauty, Kalashnikov is a Russian hero who defends the honor of his wife.

Traditional epithets, comparisons, numerous cases of syntactic repetitions and parallelisms, inversions, detailed speeches of the characters - these and other features of the poetics of "Songs about ... the merchant Kalashnikov" reproduce the features of ancient literature. “... Our poet entered the realm of the people as its complete master, and, imbued with its spirit, merging with it, he showed only his kinship with her, and not identity,” Belinsky wrote. Indeed, the introduction of elements of folk poetry into the poem did not in the least prevent it from becoming a vividly individual work of art, but only emphasized the originality and richness of the author's poetry.

Pages:(the essay is divided into pages)

The time of creation of "Songs ...", its subject matter. The meaning of the poet's appeal to the past of Russia

M.Yu. Lermontov’s poem “The Song about Tsar Ivan Vasilievich, a young guardsman and a daring merchant Kalashnikov” was written in 1837 year.

The past is the most important sphere of embodiment of the romantic ideal of the poet. In his work, Lermontov sought to escape from contemporary life, which did not correspond to his ideas about the true existence of a person, into the historical past of his native country, which seemed to him bright and full of poetry. As Belinsky noted, “here the poet was transported from the real world of Russian life that did not satisfy him into its historical past.”

In "The Song..." Lermontov paints colorful pictures life and customs of Russia in the era of Ivan the Terrible. In the first part of the work, the reader is presented with a picture royal feast, which contains boyars, princes and guardsmen. Malyuta Skuratov, a cruel associate of the sovereign, is also mentioned here (the tsar, turning to Kiribeevich, reminds him that he comes from this family).

The second part of the "Song ..." tells about the life merchants. Lermontov describes trade merchant Kalashnikov at Gostiny Dvor near the Kremlin. The following is about family life merchant. Lermontov reproduces exactly domostroevsky way of life family life. The husband was considered the head of the family. The wife had to obey him in everything. The main purpose of a woman was to keep a home, run a household, and raise children. The only place a wife could visit without her husband was the church.

Lermontov revealed the meaning family relations in that era. Family honor was guarded by centuries of tradition. By insulting Kalashnikov, Kiribeevich insulted his entire family. This is the meaning of the conversation between Kalashnikov and his brothers.

In the third part of the poem, valiant fun is drawn - fisticuffs on the Moscow River, which were extremely popular during the time of Ivan the Terrible.

The main problems of "Songs ..." Two points of view on the main conflict

People problem- central in the "Song ..." This problem was of particular interest to Russian writers in the 1830s - in the era of reaction that followed the defeat of the Decembrist uprising. The results of this uprising revealed tragic gap between the educated part of the nobility and the people. So search for the true path to the people,study of its history, its spiritual values becomes the most important task of Russian literature. It is no coincidence that the problem of the people comes to the fore in Pushkin’s late works (“The Captain’s Daughter”), in Gogol’s early prose (“Evenings on a Farm near Dikanka”, “Mirgorod”), and in the writings of other authors. For Lermontov, the milestone work in understanding this problem, along with the poem "Borodino", is the "Song about ... the merchant Kalashnikov."

Closely connected with the problem of the people the problem of the Russian national character. Lermontov embodied his ideas about the best features of the Russian people, about the Russian national character in the image of the merchant Kalashnikov. In the poem, Kalashnikov is opposed by Kiribeevich, trampling on people's shrines, challenging the moral foundations of society.

occupies a special place in the poem. the problem of the relationship between the tsarist government and the people. Related to this problem is the question of main conflict in "Song..." Known here two points of view. Some critics of the Soviet period believed that "Song ..." is an anti-monarchist work. The main conflict here, from their point of view, between the government and the people- in the person of Ivan the Terrible and the merchant Kalashnikov. Another point of view is that there is such a conflict in the work, but it is not the main one. Underlying conflict in "Song..." between Kalashnikov and Kiribeevich. The protagonist expresses the idea of ​​justice, mother truth. His opponent embodies extreme selfishness, lawlessness, trampling on the moral foundations of Orthodoxy. As for Ivan the Terrible, he is depicted in the popular sense. This king is harsh, even cruel, but fair.

Genre and compositional features

In his poem, Lermontov followed the traditions of one of the genres of Russian folklore - historical song. At the same time, relying on folklore sources, the poet creates original work.

The genre specificity of "Songs ..." is manifested in its compositions. "The song ..." is distinguished traditional elements characteristic of folklore. The main text of "Songs ..." is preceded by beginning: “Oh, you are a goy, Tsar Ivan Vasilievich! ..” After the first and second parts follow repeats: “Ay, guys, sing - just build a harp! ..” “The song ...” completes ending:

Gay you guys are remote,

In "Song..." three parts. In the center of each of them are the most important, key episodes in the development of action. This is also in the tradition of folk historical songs.

The feast scene in the first part of the poem can be seen as exposureimages of the king, Kiribeevich and Alena Dmitrevna, as well as how exposition of the main action: it is here that we learn about the sinful passion of Kiribeevich for Alena Dmitrevna.

Plot plot happens "behind the scenes": we learn about the unworthy act of the guardsman from Alena Dmitrievna's conversation with her husband. Another key scene second part works - conversation between Kalashnikov and his brothers. In these two scenes, the patriarchal foundations Russian life of that time, is revealed moral position Main character.

In the third part of the poem there are climax(duel Kalashnikov with Kiribeevich, which ended with the death of the guardsman) and denouement(royal court over the merchant and execution Main character). Here is placed a kind epilogue–the story of the grave merchant Kalashnikov.

Main characters

Merchant Kalashnikov

Stepan Paramonovich Kalashnikov- the main character of "Songs ...". In his image united specific historical characteristics of the merchant times of Ivan the Terrible with the features of a mighty hero from the Russian epic epic.

Kalashnikov is distinguished by such qualities as deep faith in God, fidelity to family traditions and kindred customs, courage and courage in the struggle for mother truth.

At the same time, the main character of "Songs ...", like many other Lermontov's heroes, is inherent in rebellious spirit.

All these features of the hero are revealed mainly through plot works, his key episodes; through character system(Kalashnikov - Kiribeevich). When creating the image of the hero, the author also uses artistic means associated with folk poetic traditions(For example, permanent epithets:"stately fellow", "valiant heart", "falcon's eyes").

Kiribeevich

Kiribeevich- one of the main characters of "Songs ..."; in relation to the merchant Kalashnikov, this antagonist hero.

Like Kalashnikov, Kiribeevich - outstanding personality, bright; he is endowed mighty force and youthful prowess.

However, if the poet’s ideas about the high moral qualities of a fighter for mother truth were embodied in Kalashnikov, then Kiribeevich personifies the extreme selfishness, unbridled power of sinful passion, contempt for the moral foundations of people's life. It is not for nothing that Kalashnikov calls Kiribeevich "the Busurman son." In a conversation with the king in the first part of the poem, the hero shows craftiness, hiding from the sovereign the fact of the marriage of Alena Dmitrievna; during the duel he is overcome first bragging, and then fear in front of the enemy.

It is characteristic that Lermontov, being a romantic, poeticizes not only the merchant Kalashnikov, but also his opponent Kiribeevich, who is also a romantic hero. Hence the clear definitions permanent epithets, characterizing the oprichnik ("daring fighter", "violent fellow"), comparisons(the king “like a hawk looked from the height of heaven at a young gray-winged dove”; at the time of death, the guardsman is compared to a cut down pine). Interestingly, the author poetizes not only the hero himself, but also his passion for Alena Dmitrevna. When describing the passionate feeling that gripped the hero, the poet uses the technique of repetition. For example, the oprichnik says to the king:

Horses made me sick of lungs,

Brocade outfits are disgusting ...

Alena Dmitrevna

Alena Dmitrevna- the central female character of "Songs ...". The image of the heroine is given in the work in the popular sense: it is Russian beauty and at the same time perfect a Christian woman of pre-Petrine times. She is distinguished true piety, selfless devotion to husband and family, strict obedience to spouse.

Tsar Ivan the Terrible

In the image Ivan the Terrible Lermontov sought to embody folk ideas about the stern but fair tsar-priest.

Ivan the Terrible, as shown in the "Song ...", retained, despite his cruelty, adherence to Orthodox principles: having learned about Kiribeevich's love for Alena Dmitrievna and not suspecting that she was married, the tsar advises the guardsman to woo the heroine, excluding even the very thought of forcing her to marry.

In the third part of the "Song ..." the king appears as severe, but fair judge. Having found out that Kalashnikov committed a deliberate murder and refuses to name the reason for it, the tsar, in accordance with the law of that time, sends the merchant to execution, while showing mercy to his family.

It is clear that such an image of the autocrat corresponded to the popular ideal of a just tsar and did not reflect the real actions of Ivan the Terrible. .

Analysis of episodes and other elements of the composition of the work

As mentioned above, "Song ..." begins with conception- appeals of the guslars to the tsar and boyars, and the name of the sovereign is mentioned first, as it was supposed to be - in accordance with a strict hierarchy:

Oh, you are a goy, Tsar Ivan Vasilyevich!

We composed our song about you ...

First part"Songs ..." containing exposure images of Ivan the Terrible, Kiribeevich, Alena Dmitrevna and the entire action of the poem, opens with a scene royal feast. Talking about him, the author reproduces the alignment of political forces during the time of Ivan the Terrible:

Behind him are the attendants,

Opposite him are all boyars and princes,

On the sides of him are all guardsmen.

The boyars and princes were in opposition to the royal power, while the guardsmen were called upon to strictly implement the cruel royal policy.

Already at the very beginning of "Songs ..." Ivan the Terrible speaks to the audience as harsh but fair Orthodox tsar, faithful to ancient customs, Christian foundations:

And the king feasts to the glory of God,

For your pleasure and fun.

folk poetic the language, artistic means and techniques characteristic of folklore are used by the author of the "Song ..." in order to shade the people's view of the king. Lermontov refers to such a technique, for example, as figurative parallelism(negative parallelism):

The red sun does not shine in the sky,

Blue clouds do not admire them:

Then at the meal he sits in a golden crown,

The formidable Tsar Ivan Vasilyevich is sitting ...

Here the king frowned black eyebrows

And he fixed his eyes on him,

Like a hawk looked down from heaven

On a young gray-winged dove.

In the first part of the "Song ..." for the first time appears before us and Kiribeevich. “A daring fighter, a violent fellow,” according to the tsar’s assumption, “he harbored an unholy thought”: as it turns out, Kiribeevich is indeed obsessed sinful passion to the merchant's wife Alena Dmitrevna. Passion struck the hero so much that he does not control himself and asks the tsar to let him go “to live in freedom in the Cossack”, where he will find death: “I’ll lay down a violent little head, / And I’ll lay down a Busurman spear ...”

At the same time, talking about his passion to Ivan the Terrible, the hero shows craftiness: he does not dare to admit to the sovereign that Alena Dmitrevna is married, and this is not accidental: the Orthodox tsar could not bless Kiribeevich for marriage with a married woman. In addition, according to the sovereign, any coercion in relation to the bride is unacceptable.

As you fall in love - celebrate the wedding,

Do not fall in love - do not be angry -

says the tsar to Kiribeevich.

The guslyar tells the listeners about the cunning of the guardsman:

Oh, you are a goy, Tsar Ivan Vasilyevich!

Your crafty servant deceived you,

Didn't tell you the truth

I did not tell you that the beauty

In the Church of God remarried,

Married to a young merchant

According to our Christian law.

Finally, in the first part, exposition of the image of Alena Dmitrievna. Kiribeevich tells about her; it is through the perception of the guardsman that the appearance of the heroine is given, outlined in folk poetic traditions.

Walks smoothly - like a swan;

Looks sweet - like a dove;

He says a word - the nightingale sings;

Her cheeks are rosy,

Like the dawn in God's heaven.

In this example, we see that when creating the image of the heroine, Lermontov uses comparisons, words with diminutive suffixes.

Second part poems contains exposition of the image of the merchant Kalashnikov:

Behind the counter sits a young merchant,

Stately fellow Stepan Paramonovich,

Nicknamed Kalashnikov...

Featured external attractiveness merchant, his youth and strength. Already here the features are guessed mighty hero ready to take on the enemies.

As already noted, the plot plot remains "behind the scenes": we learn about the misfortune that happened to Alena Dmitrievna only from her words addressed to her husband.

The appearance of the heroine, described in the second part, conveys a feeling misfortune:

Pale, fair-haired,

Braids blond untwisted

Sprinkled with snow and hoarfrost;

Cloudy eyes look like crazy;

Mouths whisper incomprehensible words.

Contrast in the depiction of the heroine in the first and second parts, it emphasizes the severity of the experiences of a young woman who involuntarily found herself in such a dramatic situation.

In the scene conversation between Kalashnikov and Alena Dmitrevna reveals the true piety hero, his fidelity to the foundations of Christian marriage. In angry speeches addressed to his wife, one can hear not only personal resentment, but also firm confidence in inadmissibility of violating the sacred foundations of marriage.

Not for that before the holy icons

You and I, wife, got engaged,

They exchanged golden rings! .. -

the merchant exclaims in anger.

It is important here and the answer word Alena Dmitrevna, her monologue. The heroine addresses her husband in a folk-poetic vein:

You are our sovereign, red sun,

Or kill me, or listen!

Husband appears here as almighty ruler who can execute and pardon his wife. Alena Dmitrievna thinks with horror not so much about her outraged honor, but about the disfavor of her husband. At the same time, she has the right to expect intercession with his hand.

The scene of his talking to brothers.

The hero sees the crime of Kiribeevich in the fact that the oprichnik trampled on the honor of the family and the whole family of Kalashnikovs. The merchant says, addressing the brothers:

Disgraced our honest family

Evil oprichnik Tsar Kiribeevich ...

In the words of the merchant, one can also feel the bitterness from insulting his own personality. The hero confesses to his brothers:

And such an insult can not endure the soul

Yes, a brave heart cannot bear it.

At the same time, it is important to emphasize that Kalashnikov's indignation can be explained by no means not only a personal insult and not only the need to protect the honor of the family. The meaning of his forthcoming battle with Kiribeevich is to strive standfor the holy truth-mother. The merchant addresses the brothers:

I will fight to the death, to the last strength;

And he will beat me - you go out

For the holy truth-mother.

Do not be afraid, dear brothers!

You are younger than me, with fresh strength,

Less sins have accumulated on you,

So maybe the Lord will have mercy on you!

In the words of a merchant no pride. He is by no means sure that the outcome of the fight will be in his favor. With great humility before the willGod's he realizes that he can be defeated because of the accumulated sins. Advantage their brothers the hero sees not only in their youth and freshness of strength, but also less sinful.

At the same time, it is necessary to emphasize the fact that Kalashnikov intends to defend the honor of his family with the help of duel. He is going to kill Kiribeevich during a fistfight. As you know, the protection of the honor of a family, clan with the help of a duel is a pre-Christian, pagan custom that has been preserved in Christian times. The hero sees no other way to stand up for the honor of the family.

The third part works, as already noted, contains climax plot, his interchange, as well as a peculiar epilogue.

The third part opens with a famous description of the dawn. Lermontov resorts here to such an artistic technique as personification: "scarlet dawn" is likened to a beautiful girl:

Over the great Moscow, golden-domed,

Above the wall of the Kremlin white stone

Because of the distant forests, because of the blue mountains,

Effortlessly on boarded roofs,

Gray clouds are dispersing,

The scarlet dawn rises;

She swept her golden curls,

Washed by crumbly snows,

Like a beauty looking in the mirror

The sky looks clean, smiles.

Why did you, scarlet dawn, wake up?

What joy did you play?

battle scene Kalashnikov with Kiribeevich - the climax of the poem. It most clearly reveals the moral character of opponents.

Before the fight Kiribeevich shows arrogance,vanity, self-confidence. The oprichnik bows at the waist to the king alone, expresses contempt for the opponent. He boldly says to Kalashnikov:

And tell me, good fellow,

What tribe are you?

What name are you called?

To know for whom to serve a memorial service,

To have something to brag about.

Unlike Kiribeevich, Kalashnikov

He bowed first to the terrible king,

After the white Kremlin and the holy churches,

And then to all the Russian people.

In this way, he expressed respect not only to the tsar, but also to the Orthodox faith (“holy churches”), and to the Russian people.

In the angry words of Kalashnikov addressed to Kiribeevich, it is clearly expressed merchant's commitment to Christian principles of life:

And my name is Stepan Kalashnikov,

And I was born from an honest father,

And I lived according to the Law of the Lord:

I did not dishonor someone else's wife,

Did not rob at dark night,

Not hiding from the light of heaven ...

Kalashnikov's response words evoke in Kiribeevich's soul confusion and fear:

And having heard that, Kiribeevich

Turned pale in the face, like autumn snow;

His eyes were cloudy,

Frost ran between strong shoulders,

On open lips, the word froze ...

Fear- a consequence of the moral wrongness of Kiribeevich. Obviously, the truth was on the side of the merchant Kalashnikov; this ultimately decided the fate of the fight.

In the scene heroic battle Kalashnikov acts as defender of the orthodox faith. On his side is Power of the Godmother: the merchant is providentially protected by a “copper cross / With holy relics from Kyiv”; the cross takes on the full power of the crushing blow of the enemy:

And the cross bent, and pressed into the chest;

Like dew from under him, blood dripped ...

The merchant is not guided by revenge, preparing to strike the guardsman to death, but by the desire to stand up “for the truth until the last day”, completely trusting in the will of God:

What is destined to be, will come true;

I will stand for the truth until the last day!

The most difficult place to understand "Songs ..." - interrogation of Kalashnikov by Ivan the Terrible, opening the scene royal court. In response to the tsar's demand to answer "in truth, in conscience" about the reasons for the murder of the guardsman, Kalashnikov says:

I'll tell you, Orthodox Tsar:

I killed him at will

And for what, about what - I will not tell you,

I will only tell God.

The merchant knowingly hides from the king the reason for the deliberate murder of the guardsman, thereby dooming yourself to death, which was supposed in such a case according to the law, by no means being a consequence of the arbitrariness of the autocrat.

In the position of Kalashnikov, obviously unwillingness to open family disgrace before the king,upholdingpersonal right to revenge on the offender and at the same time pride, flashed in the mind of the merchant. The hero undoubtedly understands that according to the Law of the Lord, which the hero defended at the time of the duel, one should show humility before the earthly Orthodox king. Meanwhile, the merchant reveals his shame only to his brothers and hides it from the king-father. In this act of Kalashnikov, his personal courage, and rebellious spirit. Here we see clearly confrontationnot only between Kalashnikov and Kiribeevich- carriers of "truth-mother" and "busurman", godless wickedness, but also between Kalashnikov and the tsar, between the representative of the people and the tsarist government.

Thus, Kalashnikov performs in the "Song ..." and as a fighter for the Orthodox foundations of Holy Russia, and as"big head", i.e rebel hero.

Tsar in the third part of the "Song ..." appears before us as harsh, but fair and even merciful judge. Having ordered the execution of Kalashnikov, the tsar shows mercy to his family:

Your young wife and your orphans

From my treasury I'll take

I command your brothers from this very day

Throughout the Russian kingdom wide

Trade without knowing, duty-free.

However, by sending Kalashnikov himself to execution, the tsar does not refrain from evil irony:

I order the ax to sharpen, sharpen,

I order the executioner to dress up, dress up,

I will order you to ring the big bell,

So that all the people of Moscow know,

That you are not abandoned by my mercy ...

Thus, cruelty and mercy the Orthodox Tsar are in the popular imagination inextricably linked.

Ideologically ambiguous and the story about merchant's execution:

And they executed Stepan Kalashnikov

A cruel, shameful death ...

The merchant's execution came fairfrom the position of the king from the standpoint of the state. However the justice of the execution is questioned in the eyes of the people, whose point of view is conveyed by guslar singers. The people reacted with sympathy to the merchant,the opinion of the people does not coincide here with the point of view of the king.

Particularly characteristic in this respect description of the grave of Kalashnikov- peculiar epilogue"Songs…". The hero was buried not in a cemetery, but "in an open field between three roads." His grave is unnamed. It is clear that the authorities sought to consign the memory of the hero to oblivion. However, the story of the guslars about the grave testifies about the heartfelt affection of the people to such good fellows as the merchant Kalashnikov:

And good people pass by:

An old man will pass - cross himself,

A good fellow will pass - he will sit down,

A girl will pass - she will grieve,

And the harpists will pass - they will sing a song.

It is clear that passers-by cannot know who exactly rests in the “nameless grave”. Meanwhile, it is obvious that people sympathize"violent little head" who did not deserve to lie on the churchyard.

Artistic techniques

In his poem, Lermontov uses artistic means and techniques borrowed from folk art.

We note first of all figurative parallelism. The images of nature correspond to the phenomena of human life:

When the moon rises, the stars rejoice

What is brighter for them to walk in the sky,

And which is hiding in a cloud,

She falls headlong to the ground...

It's indecent to you, Kiribeevich,

To abhor royal joy...

Here we see that the tsar is likened to the moon, the guardsmen are like the stars rejoicing in its light, and the crafty Kiribeevich is like a star hiding behind a cloud and risking falling to the ground.

Let's take another example. The brothers turn to Kalashnikov, expressing their complete devotion to him:

Where does the wind blow in the sky,

obedient clouds rush there,

To the bloody valley of the slaughter,

He calls for a feast, to clean up the dead,

Small eaglets flock to him.

You are our older brother, our second father ...

As we can see, the elder brother and younger brothers are likened here to the wind and clouds, the eagle and the eagles.

The poet also uses such a kind of figurative parallelism as negative parallelism. As an example, the lines that open the picture of the feast of Ivan the Terrible have already been cited:

The red sun does not shine in the sky,

Blue clouds do not admire him,

Then at the meal he sits in a golden crown,

The formidable Tsar Ivan Vasilyevich is sitting ...

The poet also resorts to personifications. A vivid example is the description of the dawn we have already noted at the beginning of the third part of the “Song…”.

In Lermontov's poem there are many comparisons. Let's add the following to the examples already given. Alena Dmitrievna speaks of her husband’s angry words addressed to her: “Your speeches are like a sharp knife ...”

There are many in the poem constant epithets: “red sun”, “blue clouds”, “good fellow”, “red girls”, “damp earth”, “black thought”, “dark night”, “clear field”.

Lermontov also uses such a technique as poetic appeals. For example, the tsar says to Kiribeevich: “Hey you, our faithful servant Kiribeevich!” Kiribeevich addresses the tsar: “You are our sovereign, Ivan Vasilyevich!” Alena Dmitrevna addresses her husband:

You are our sovereign, red sun,

Or kill me, or listen!

In addition, the poet uses words with diminutive suffixes, which is also characteristic of folklore works: “mother”, “little head”, “swan”, “dove”, “little children”, “ring”, “aspen leaf”, “pine”.

Verse in the poem tonic,unrhymed characteristic of folk poetry.

Questions and tasks

1. In what year was the “Song about Tsar Ivan Vasilievich, a young guardsman and a daring merchant Kalashnikov” written? What is interesting about this year in the poet's life?

2. What is the meaning of Lermontov's appeal to the era of Ivan the Terrible? What did Belinsky write about this? Mark the most vivid pictures of the life and customs of Moscow during the time of Ivan the Terrible, recreated in the "Song ...", comment on them.

3. Name the central problem of "Songs ...". Why did this problem become so relevant in Russian literature of the 1830s? In what other works of the 1830s, including the poetry of Lermontov himself, is this problem one of the main ones?

4. How is the problem of the Russian national character comprehended in the "Song ..."? Which characters are especially important to her understanding?

5. Is the problem of the relationship between the royal power and the people the main one in the work? What points of view regarding the main conflict in the "Song ..." do you know? What is the essence of each of them?

6. Briefly describe the genre features of the poem. Is it possible to call "Song ..." a work of folklore? What elements of the composition of Lermontov's poem remind us of folklore works?

7. Describe the merchant Kalashnikov. What specific historical and legendary features are combined in his appearance? What qualities does Lermontov's hero have? List the main artistic means of creating his image, give examples of these means.

8. What features make Kiribeevich the antipode of Kalashnikov? Why does Lermontov poeticize Kiribeevich, although he is a negative character? What means does the author use to do this?

9. What qualities make Alena Dmitrievna the ideal of a Russian woman in pre-Petrine Russia? Name and comment on them, based on the text of the work.

10. Why can we say that the image of Ivan the Terrible in the poem is the most idealized? Argument your point of view.

11. Comment on the main scenes, episodes of "Songs ...". What elements of exposition do we find in the first part of the poem? What do we learn about the heroes? What episodes make up the exposition of the plot?

12. In what part of the poem do we see the exposition of the image of Kalashnikov? What features of the hero appear already in his first description?

13. At what point does the action begin? How do we learn about this event?

14. Name the most important scenes of the second part of the work. How does the principle of contrast manifest itself in the description of the heroine? Analyze the conversation between Kalashnikov and his wife. What features of the worldview of the hero and heroine are revealed in this scene? Consider in detail the position of Kalashnikov in his conversation with the brothers. What does the hero see as the meaning of the upcoming duel with Kiribeevich?

15. What description opens the third part of the "Song ..."? What technique does Lermontov use here? What plot elements does the final part of the work contain?

16. Analyze in detail the scene of the heroic battle. What qualities of Kiribeevich and Kalashnikov are revealed in the words of the heroes preceding the duel? How does the poet make it clear to the reader that Kalashnikov wins the battle with the help of God?

17. Consider in detail the episode of the royal trial of Kalashnikov. How can one explain the fact that the merchant hides from the sovereign the true reason for the murder of the guardsman? Is the tsar's position fair with respect to Kalashnikov and his family?

18. What is the function of the description of Kalashnikov's grave in the poem? Is it possible to say that the position of the people in relation to the hero differs from the position of the king? Justify your point of view based on the text.

19. Name the artistic means, techniques that Lermontov uses in his work. Give examples. What can you say about the features of the verse "Songs ..."?

20. Write a detailed outline plan and prepare an oral presentation on the topic: "The image of the merchant Kalashnikov and the means of creating it."

21. Write an essay on the topic: “The artistic originality of the “Song ...””

The methods of portrait characterization in the "Song" are extremely interesting. Lermontov's early works are characterized by a "costume" portrait. We also find elements of such a portrait in the Song. But here the task of creating color is subordinated to the task of creating an image.

Yet in the poem we have one "costume" portrait. This is a description of Kiribeevich. He talks about himself, enthusiastically describing the details of his rich costume (a silk sash, a velvet hat trimmed with black sable). The attributes of this “costume”, with a purely decorative function, are both the steppe argamak and the sharp saber, burning like glass. But the fundamental novelty of this portrait is that this description is put into the mouth of the hero himself and makes it possible to show certain traits of his character (except for prowess and youthfulness - narcissism, boastfulness). In the battle scene, the author's mention of the "scarlet hat" and the velvet coat that Kiribeevich throws off his shoulders serves the same purpose. The details of the costume, which Alena Dmitrevna mentions in her complaint, "lost their decorative function, they acquired dynamism, becoming the object of the struggle."

In Kiribeevich's speech we find a detailed description of the beautiful Alena Dmitrevna. The portrait again, as it were, plays a dual role: given through the prism of perception of a young man in love, it simultaneously serves to characterize him, showing the strength of his passion. Therefore, there are unusually many metaphors and comparisons here. All epithets are color:

Walks smoothly - like a swan,

Looks sweet - like a dove,

Says the word - the nightingale sings,

Her rosy cheeks are burning

Like the dawn in God's heaven;

Braids are blond, golden,

In bright braided ribbons,

Running over the shoulders, squirming,

They kiss with white breasts.

The portrait of Alena Dmitrevna, who returned home, contrasts with this description:

... pale, fair-haired,

Braids blond untwisted

Sprinkled with snow and hoarfrost;

Cloudy eyes look like crazy;

Mouths whisper incomprehensible words.

Particularly important in Lermontov's poem is the pose, the gesture of the hero (see above).

There is also another approach. The portraits of Lermontov's heroes are supplemented and enriched throughout the entire poem. Here and there we find a small touch - some kind of epithet, comparison, attribute, even the nature of the movement (Kalashnikov's slowness before the battle and Kiribeevich's impetuous movements: he runs, catching up with Alena Dmitrevna, grabs her hands strongly, etc.) . The portrait of Ivan Vasilievich is drawn with the words: “vigorous eyes”, “black eyebrows”, usually frowning; angry, he looks at Kiribeevich “as if a hawk looked from the height of heaven at a young gray-winged dove”; his attribute is a rod with a sharp tip, with which he pierces the floor "half a quarter". Kiribeevich has "dark eyes", "curly head". In the fight scene we find a comparison:

He fell on the cold snow

On the cold snow, like a pine,

Like a pine, in a damp forest

Under resinous under the root hemmed;

this comparison depicts to us the harmony, grace of Kiribeevich and arouses our sympathy for him: this young man, for all his negative qualities, is a deeply feeling nature, passionate, courageous, not to mention external attractiveness. In the portrait of Kalashnikov, “falcon eyes”, “mighty shoulders”, “curly beard”, which he strokes, are noted. One must think that the "copper cross with holy relics from Kyiv" is not accidental in this zealot of antiquity and nepotism.

In his work, Lermontov masterfully uses the wealth of artistic means and techniques that folk poetry has developed. We have seen that the composition of "Songs" has much in common with the epic. However, Lermontov largely follows both lyrical and historical song, the poetics and style of which is fundamentally different from the poetics and style of the epic. “One of the main methods of artistic expressiveness of folk lyrics (including all types of it, including wedding and funeral lamentations), writes prof. V. Ya. Propp, - consists in metaphor ____ The language of the epic is almost completely devoid of metaphor. V. Ya. Propp considers metaphor as one of the types of allegory, as a replacement of one visual image with another in order to poetize it. A comparison is close to metaphor, where "the original image is preserved, but approaches the other in similarity."

We have already had to talk about the comparison of the oprichnik with the pine tree in the scene of his death. This comparison here is combined with the technique of retardation and with the magnificently expressive epithet "cold snow". Retardation is used here surprisingly skillfully: the image of a pine tree is repeated (which then develops: “chopped in a damp forest under a resinous root) and the same epithet - “cold snow”. The role of the epithet here is extremely interesting.

Kiribeevich does not feel the cold: he is dead. The narrator mentions the "cold snow" (the author is the harpist). We can say a priori that snow is cold; this is its permanent quality. Nevertheless, it is mentioned, it is also distinguished by retardation. So the epithet acquires an emotional load and a symbolic meaning: coldness, alienation, even hidden hostility of the surrounding world, nature to the young man, just full of strength, and now lying on the cold snow, not feeling this cold.

We find typical folk comparisons in the description of Alena Dmitrevna in the speeches of Kiribeevich (see above).

In the "Song" we also find negative comparisons characteristic of the epic:

The red sun does not shine in the sky,

Blue clouds do not admire them:

Then at the meal he sits in a golden crown,

The formidable Tsar Ivan Vasilyevich is sitting.

There is also a metaphor here: "The blue clouds do not admire him." Other metaphors: "The stars rejoice that it is brighter for them to walk in the heavens"; “The blizzard drives them singing,” etc. We also find an extended metaphor:

... The scarlet dawn rises;

She swept her golden curls,

Washed by crumbly snows;

Like a beauty looking in the mirror

The sky looks clean, smiles.

A significant number of metaphors refer to nature. Nature in Lermontov seems to be humanized. This is anthropomorphism in the depiction of nature, characteristic of folk poetry, noted prof. M. P. Shtokmar.

Lermontov masterfully uses the epithet. Part of Lermontov's epithets are constant epithets of folk poetry (damp earth, red girls, golden treasury); the majority - "epithets close in combination with folk songs, of the same type in content": "red beauty" (red maiden - in folk poetry); “White-stone Kremlin wall” (white-stone chamber), etc. As in the epic, the epithet here is one of the main means of creating a visual image. Therefore, epithets that determine the color or material of an object are of great importance (as in the epic): silk veil, yakhont ring, pearl necklace, blond braids, golden, resinous root (pines), black eyebrows, etc. Along with this, we meet and the emotional epithets “miserable dust”, “orphaned bones”, which are not typical for the epic. We find these epithets in Kiribeevich's speech. They perform their function, making the oprichnik's speech individual and perfectly in harmony with the properties of his nature (see above about metaphors, comparisons in Kiribeevich's speeches). At the same time, the author's epithets often also get emotional coloring (see above about the epithet "cold snow"); among them we also find metaphorical ones (“obedient clouds”, “a mournful buzzes - the bell howls”, etc.).

I would like to draw attention to the place in the "Song" where it is described how Kalashnikov locks the shop. For this purpose, he uses a "German lock with a spring." Such a castle is news for the narrator-guslar. Definitions appear: not a simple lock, but “German” (that is, foreign, outlandish), with a spring. Such a detailed description indicates the wealth of a merchant who has such curiosities, and at the same time reminds of narrators-guslars. For us, this detail has yet another meaning: it shows us how organically Lermontov could perceive the point of view of the narrator, literally transform into him.

Very often, Lermontov's epithets appear in combination with each other. Already in the beginning of the "Song" we find a mention of "sweet wine, overseas." We find a similar phenomenon in folk poetry. "Often, permanent epithets are combined with more mobile ones, and this proximity makes permanent epithets semantically full." Indeed, "Overseas wine" is now a stable combination that simply indicates the high quality of the wine. A more "mobile" epithet attached to this combination, as it were, breaks this latter. The permanent epithet now acts as an ordinary definition, equal to the new one, acquiring its original meaning. “Sweet wine, overseas” is already sweet wine brought from overseas.

Amazingly beautiful combination of color epithets. The palette of the "Song" knows only "clear, definite tones: white, black, blue, red, scarlet - completely in the spirit of folk poetry, which does not like halftones and half-shadows." The red color of the sun is combined with the blue color of the clouds; dawn scarlet over Moscow golden-domed, above the Kremlin wall white stone rises from behind blue mountains, accelerates gray clouds. Color epithets can be combined with denoting material: the oak table is covered with a white tablecloth; the epithet "white stone" (wall) immediately means both material and color (such epithets are also used in folk poetry). Often two epithets are combined, denoting the material: "... an oak floor half a quarter / He struck with an iron tip" (2: 31); “How will I lock you behind an iron lock, / Behind an oak door bound ...” (2:36).

This combination, creating a sensation of material, in the first case makes us hear the sound of a blow and see how sharp iron pierces wood; in the second case, it gives a visual representation of the impenetrability, inaccessibility of the doors of the deaf closet, where Kalashnikov is going to put his wife.

These vivid visual pictures in Lermontov are sometimes preceded by an image of the phenomenon from its sound side:

So he hears, in the hallway they slammed the door,

Then he hears hurried steps;

He turned around, looking - the power of the godmother! -

Before him stands a young wife,

Pale, fair-haired...

... and I heard that the snow crunches,

I looked back - a man was running.

As in folk poetry, in Lermontov's "Song" one can clearly feel the craving for parallelism. The latter is emphasized by the anaphoric repetition of conjunctions, verbs:

I'm not afraid of cruel death,

I'm not afraid of human rumor

And I'm afraid of your disgrace;

An old man will pass - cross himself,

A good fellow will pass - he will sit down,

A girl will pass - she will grieve,

And the harpists will pass - they will sing a song.

"The law of symmetry is one of the laws of folk art... One can speak of the symmetry of speech as one of the artistic devices of folk verse." This artistic technique by Lermontov often aims to emphasize, highlight some thought, word, quality (in the last example, the selection of gusli from all the others passing by the grave of Kalashnikov, which is also emphasized by the union "a"; in the first case, the sentence "I'm afraid your disgrace" stands out also through the denial of the opposite).

We find in Lermontov parallelisms of different nature: from complete morphological identity (as in the above examples) to incomplete and approximate ones. Often there are three repetitions.

The same purpose of emphasizing and clarifying is served by tautological repetitions and the use of synonymous groups of words:

Where are you wife, wife, staggering?

On what courtyard, on the square ...

Researchers paid attention to the characteristic syntactic feature of the "Song" - the predominance of composing connections and compound sentences. This feature, as well as the folklore system of using conjunctions, gives the story an extraordinary smoothness and regularity, and at the same time simplicity. The feeling of smoothness, slowness is also created by detailed descriptions.

V. Istomin points to Lermontov's use of idioms (“I am not myself”, “he had a bad day”, “power of the cross”, “for what, about what”, etc.) and descriptive expressions (“you kept the answer according to conscience”, “did not wet his mustache”, etc.), which brings the speech of the “Song” even closer to the folk colloquial. At the same time, the abundance of interrogative sentences gives the "Song" an emotional character.

In the poem, purely folk lexical and morphological features can be distinguished. There are a huge number of them. Only occasionally come across individual words that are not characteristic of folk speech (Church Slavonicisms: mouth, eyes, meal, golden). A large number of diminutive-affectionate nouns (little head, swan, dove). There are also adjectives with a diminutive suffix, which, giving an emotional coloring to the word, at the same time indicates the highest degree of quality (alone - all alone; dark - very dark).

Many words are colloquial; one can find dialectisms, but their dialectal nature is manifested only in their morphological features. We will not find a single word that would belong entirely to the dialect - cf. frightened, throws off, exclaimed, order (in the sense of ordering); tvovo; under heaven, swindlers; mighty, smaller, older; nonice, right now; ali (conjunction). There are a lot of prefix formations, especially in verbs (including those with double prefixes): they heard enough, brought it up, wept, put on airs, etc. There are often gerunds on - teach, yuchi: playfully, overclocking, feasting, etc.

We note the most characteristic morphological features. In verbs:

1) in the infinitive - be instead of - ti(bring up) and vice versa (roll, snuggle - in reflexive verbs with constant stress);

2) endings - ut, - ut in the 3rd person plural of the present and future tense in verbs of the II conjugation (walk, share);

3) - Xia instead of - with in such verbs as pull up, converged;

4) kissing instead of kissing;

In adjectives:

1) old pronominal endings - divine, tesovyh;

2) short (but not truncated) forms: young wife, wide chest;

3) eastern saber (extension in before the initial about).

In pronouns - contracted forms in give birth, singular case: tvovo, movo.

All these features are specific to folk speech.

The question of the rhythm of the verse in "Songs" is the topic of a special study. We will touch on this issue only in the most general terms.

The verse of the "Song" is a folk verse, which differs significantly from the verse of works of written literature. Folk poetic speech has a different accent system than literary and colloquial. Here, one stress accounts for not 2.8, but 3.8 syllables. This is an extremely significant difference. In this regard, proclitics and enclitics, which increase the number of unstressed syllables, are of great importance. Various parts of speech (“stolne-Kyiv-grad”, “Vladimir-prince”, “walked-walked”, “white-flammable-stone”) can act as proclitic and enclitic. For the same reason, the old forms of adjectives with a pronominal ending and the new forms created by analogy (knyazhenets) are preserved, a large number of suffix formations, unstressed particles are used; frequent verbs with infinitive - ti instead of - sh, the return particle appears in the form - xia, and not - camping, etc. We saw all this with Lermontov.

Examples of Lermontov proclitics and enclitics:

on a wide chest

in a golden crown

sharp eyes,

On sky; without a trace,

three days, three nights,

share now

In folk verse, the end of the verse is the most stable. The last stress is a constant. The ordering of stresses is more and more disturbed as you move away from the constant.

The length of the verse is from 7 to 14 syllables (the bulk is from 9 to 13 syllables). The clauses are mostly dactylic (87.9%), then go peonic (stretches), feminine (red and finish), hyperpeonic (boyars and princes) - 3 cases. All these clauses are found in folk poetry, with dactylic clauses clearly predominating.

The rhythmic pattern of the "Song" is sharply broken by the first lines of the ending refrains ("Hey guys, sing" ...). They represent a six-foot trochee and contrast sharply with the slow, smooth speech of the Song. Such a contrast is due to the function of these choruses (see above). The final verses (exodus) are built on the model of a raeshnik (rhyming, a sharp fluctuation in the length of the lines, triple “glory”).

The rhyme in the "Song" appears sporadically. Here we meet with another principle of organization of poetic speech: not sound, but morphological coincidence (stressed vowels do not coincide, the suffixes and endings following them coincide):

They ran, they played

went to bed early;

She lays out silk goods,

With an affectionate speech, he lures guests,

Gold, silver counts;

Cloudy eyes look like crazy

Mouths whisper incomprehensible words.

Parallelism in morphological identity naturally develops into rhyme:

Whoever beats whom, the king will reward him;

And whoever is beaten, God will forgive him;

I order the ax to sharpen, sharpen,

I order the executioner to dress up, dress up,

I will order to ring the big bell ...

One must think that the transition from morphological to sound coincidence in the examples given is not accidental. The first example is the aphoristic conclusion of the "cry" of heralds; the rhyme further emphasizes its "closing" function; the second example is the irony of Ivan the Terrible, solemnly decorating the execution of a merchant, giving it the character of "royal mercy"; the deliberately bravura tone of the description, contrasting with the gloomy content, enhances the malicious mockery; this bravura tone, in turn, is reinforced by tautological repetitions (of which the first is internal rhyme) and the rhyming of homogeneous verbal forms.

Internal rhyme appears sporadically (as in folk poetry). She reinforces the parallels: "a dashing fighter, a young merchant", "not to joke, not to make people laugh."

The folk verse of the "Song" once again shows how deeply Lermontov penetrated into the treasury of folk poetry, how, in the words of Gogol, he "sounded" with folk speech. The verse of the "Song" puts this work in a completely exceptional position in Russian literature and forces us to talk not about stylization or imitation, but about the creative mastery of the folk poetic method.

We made an attempt to look at the "Song" from different angles and highlight those questions of poetics and style that seemed to us essential and interesting. Let's sum up some results.

1. The appearance of the "Song" is not accidental, but due to the state of Russian literature and science in the 20-30s, as well as the creative interests and moments of the biography of Lermontov himself.

2. "Song" is the result of Lermontov's creative assimilation of the folk poetic method. At the same time, this is not a compilation or a stylization, but a deeply original work.

3. In The Song, Lermontov, dissatisfied with modernity, turns to the historical past in search of despotism, which echoes Lermontov's discrediting of the unbridled, self-willed, selfish hero. (The "Song" is polemically sharpened against Slavophile theories.) It affirms the point of view of the people as the supreme judge of personalities and events.

4. These ideas are carried out with the help of various artistic means, in some cases borrowed from folk poetry. But Lermontov always introduces into them something of his own, qualitatively new, something that folk poetry did not know.

5. The psychologism of the "Song" is extremely important, which draws a sharp line between it and the works of folk poetry. It manifested itself in the gradual psychological preparation of events, and in the interpretation of the images of the characters. Lermontov creates types that bear the features of their era, social belonging, but at the same time are uniquely individual. The character of the characters is revealed not in one aspect, but completely and comprehensively.

Undergraduate work V.E. (1958). - Note. comp.

Mikhail Yurjevich Lermontov

(1814–1841)

Poem "Song about Tsar Ivan Vasilyevich,

young oprichnik and daring merchant Kalashnikov" (1837)

Composition and plot

Heroes

Paramonovich Kalashnikov	"stately fellow" who lives according to the law of God: “And I was born from an honest father, / And I lived according to the law of the Lord ... ". Like a Russian hero, he is ready to fight in an open, equal battle. For him, honor and "holy mother truth" are dearer than life. Kalashnikov does not want to save his life with a lie. Ivan Vasilyevich appreciates this. To the question of the tsar, “by free will or reluctantly” he killed the guardsman, the merchant fearlessly answers: "I killed him at will." He does not explain the reasons, not wanting to dishonor his wife. Saying goodbye to his brothers, Kalashnikov thinks about his family: “Bow from me to Alena Dmitrevna, Tell her to be less sad Don't tell my kids about me." And after death, good people do not forget his grave: "The old man will pass- cross yourself, Well done- pose; The girl will pass- get upset And the goons will pass- sing a song."
Oprichnik Kiribeevich	« A daring fighter, a violent fellow". He is able to love, but he does not live according to moral and spiritual laws. Kiribeevich belongs to the Skuratov family. The name of Malyuta Skuratov, henchman of Ivan the Terrible, went down in history, it terrified the people. Oprichniki - close associates of the king, subordinate only to him. They were ruthless and carried on with impunity.
Tsar Ivan Vasilevich	Dual image. The king is both a cruel, self-willed tyrant and a caring ruler-father. Ivan the Terrible gives his oprichnik a "ring yakhontovy” and “pearl necklace”, promises to take care of the Kalashnikov family: "Young wife and your orphans from my treasury I will please I command your brothers from this very day throughout the Russian kingdom wide Trade without knowing, duty-free. But the king lives according to his own laws, does not keep his word (“ Whoever beats whom, the king will reward him; / And whoever is beaten, God will forgive him"). He allows his oprichniks to act outrageously, and orders the winner in a fair fight to be publicly executed.

Conflict in the poem

Folklore elements in the poem

Permanent	good fellow, the earth is damp, the field is clean
Permanent comparisons	“Walks smoothly - like a swan; Looks sweet - like a dove; He says a word - the nightingale sings ... "
Negative parallelism	"The red sun does not shine in the sky, Blue clouds do not admire them: Then at the meal he sits in a golden crown, The formidable Tsar Ivan Vasilyevich is sitting.
Hyperbolas	“Here the king hit the ground with a stick, And an oak floor half a quarter He struck with an iron tip ... "
Avatars	“The scarlet dawn rises; She swept her golden curls, Washed by crumbly snows, Like a beauty looking in the mirror Looks at the clear sky, smiles
colloquial	vovo, kiss, honest father
on the - teach, -yuchi	playful, singing, feasting
Double titles	sharpen, sharpen, dress, dress up, buzzes-howls
Traditional appeals	"You are our sovereign, Ivan Vasilyevich!", "You are my lord, Stepan Paramonovich..."
	“The horses have grown cold to me, Brocade outfits are disgusted ... "
Beginning of lines with "I", "Ay", "Yes", "Gay"	"Hey you, our faithful servant, Kiribeevich ...", “Ay, guys, sing - just build a harp!”
Syntactic parallelism	“The kite will peck out my tearful eyes, The rain will wash my orphan bones ... "
Inversions	“In the family she was born a merchant ...”
Tiebacks	"In the church of God remarried, Married to a young merchant"
magical	“Three times a loud cry was called ...”

Silently, they both part,

The heroic battle begins.

Then Kiribeevich swung

And hit the first merchant Kalashnikov,

And hit him in the middle of the chest -

Chest of youth cracked,

A copper cross hung on his broad chest.

With holy relics from Kyiv, -

And the cross bent and pressed into the chest;

Like dew, blood dripped from under him;

And Stepan Paramonovich thought:

"What is destined to be, it will come true;

I will stand for the truth until the last day!"

He contrived, prepared,

Gathered with all my might

And hit your hater

Directly to the left temple from the entire shoulder.

And the young oprichnik groaned lightly,

Rocked, dropped dead;

He fell on the cold snow

On the cold snow, like a pine,

Like a pine in a damp forest

Hemmed under the resinous root,

And, seeing that, Tsar Ivan Vasilyevich

Angry with anger, stomped on the ground

And he frowned his black brows;

He commanded to seize the daring merchant

And bring him before your face.

As the Orthodox Tsar said:

"Answer me truthfully, honestly,

Wave of will or reluctance

You killed my faithful servant,

Movo of the best fighter Kiribeevich?

"I'll tell you, Orthodox Tsar:

I killed him at will,

And for what, about what - I will not tell you,

I will only tell God.

Order me to be executed - and carry on the chopping block

I blame the little head;

Do not leave only small children,

Don't leave the young widow

Yes, my two brothers by your grace ... "

IN 1. The duel between Kiribeevich and Kalashnikov is decisive in the plot of the poem. What is the term for the moment of highest tension?

IN 2. With the traditions of what folklore genre is the depiction of a duel as a battle of heroes associated?

IN 3. What is the name of the form of communication between characters based on the exchange of remarks and used in this fragment?

AT 4. What figurative and expressive means, which is an assimilation of one phenomenon to another (for example, “like dew ... dripped blood”, “fell down on cold snow ... like a pine tree”) did the author use?

AT 5. What is the name of the repetition of cognate words justified by expressive purposes in a phrase or in the same sentence (for example, “angry with anger”, “free will”)?

AT 6. What is the name of the stylistic device, which consists in repeating the initial elements of adjacent lines (for example, “and hit the merchant Kalashnikov for the first time, / And hit him in the middle of the chest”)?

C1. Why does Kalashnikov, recognizing that the murder of Kiribeevich was completely deliberate by him, refuses to the tsar his reason?

C2. In what works of Russian literature of the 19th century is the theme of the defense of honor one of the main ones, and what are the similarities and differences in its interpretation with the poem?

OPTIONS OF TASKS С1.

A) What caused the duel between Kiribeevich and Kalashnikov?

B) Why is the death of Kiribeevich, who was initially guilty before Kalashnikov, described in the poem with sympathy and even pity. To the oprichnik?

C) What was the expression of the royal “mercy”, which Ivan Vasilyevich Kalashnikov asked for?

OPTIONS OF TASKS С2.

A) In what works of Russian literature do the authors turn to folklore images, motifs, artistic techniques, and what are the similarities and differences in their use with?

B) In what works of Russian literature do real historical figures enter into the system of characters, and how is their participation in the fate of the fictional heroes of the work manifested?

IN 1. climax

IN 2. Bylina

IN 3. Dialog

AT 4. Comparison

AT 5. Tautology

AT 6. Anaphora

Over the great Moscow, golden-domed,
Above the wall of the Kremlin white stone
Because of the distant forests, because of the blue mountains,
Effortlessly on boarded roofs,
Gray clouds are dispersing,
The scarlet dawn rises;
She swept her golden curls,
Washed by crumbly snows,
Like a beauty looking in the mirror
The sky looks clean, smiles.

How did they get together
Removed Moscow fighters
To the Moscow River, to a fistfight,
Take a walk for the holiday, have fun.
And the king came with his retinue,
With boyars and guardsmen,
And ordered to stretch the silver chain,
Soldered with pure gold in rings.
They cordoned off a place of twenty-five sazhens,
For hunting combat, single.
And then Tsar Ivan Vasilyevich ordered
Call to click in a ringing voice:
"Oh, where are you, good fellows?
You amuse the king of our father!
Come out into a wide circle;
Whoever beats whom, the king will reward him;
And whoever is beaten, God will forgive him!"

And the daring Kiribeevich comes out,
The king bows silently from the waist,
Throws off a velvet coat from mighty shoulders,
Leaning to the side with your right hand,
Adjusts another scarlet hat,
He is waiting for his opponent...
Three times a loud cry was called -
Not a single fighter moved,
They just stand and push each other.

In the open, the oprichnik paces,
He makes fun of bad fighters:
"Calm down, I suppose, thoughtful!
So be it, I promise, for the holiday,
I will release the living with repentance,
I will only amuse our tsar father."

Suddenly the crowd dispersed in both directions -
And Stepan Paramonovich comes out,
A young merchant, a daring fighter,
Nicknamed Kalashnikov.
He bowed first to the terrible king,
After the white Kremlin and the holy churches,
And then to all the Russian people,
His falcon eyes are burning,
He looks at the oprichnik intently.
Opposite him, he becomes
Pulls on combat gloves
Mighty shoulders straightens

Yes, he strokes his curly head.

(“A song about Tsar Ivan Vasilievich, a young guardsman and a daring merchant Kalashnikov”)

IN 1. What Russian tsar, famous for the introduction of the oprichnina, was portrayed by the poet in the “Song about ... the merchant Kalashnikov”?

IN 2. Define the genre "Songs about ... the merchant Kalashnikov"?

IN 3. What artistic technique, based on the humanization of natural phenomena, does the author use when describing the “scarlet dawn”?

AT 4. What term denotes a means of artistic expression, which is a stable figurative definition characteristic of works of oral folk art (“golden curls”, “clear skies”, “good fellows”, “mighty shoulders”, “daring fighter”)?

AT 5. What are the names of the words that the characters use in their speech: “come out”, “I suppose”, “I promise”, etc.?

Why did you, scarlet dawn, wake up?
What joy did you play?

AT 7. The song about ... the merchant Kalashnikov "is written in unrhymed verse. What is this type of verse called?

C1. Do you agree with the opinion that the fist fight between Kiribeevich and Kalashnikov is the personification of the struggle between the permissiveness of the "state" law and the moral "private" person?

C2. In what works of Russian poets and writers of the XIX century. do the heroes resolve the conflict situation with a duel?

IN 1. Ivan the Terrible

IN 3. personification

AT 4. Permanent epithet

AT 5. vernacular

AT 6. Rhetorical question

Lermontov's work, which retains all the main attributes of the song-epic manner, is the rarest example of the author's organic penetration into the spirit and warehouse of oral folk poetry. It opens with a chant ("Oh you goy thou") and the beginning ("The red sun does not shine in the sky"), followed by a narration of the event, and ends with an outcome ("Hey, you daring guys"). It contains ancient forms of folk vocabulary: colloquial words (“tvovo”, “movo”, “cryed”, “against”, “frightened”, “he spoke”); diminutive and affectionate suffixes (“sash”, “head”, “orphan”, “kids”); gerunds with a suffix for "yuchi" ("chanting", "playfully"); a short form of masculine adjectives in the nominative singular ending in "oh" instead of "y" ("gray eagle"); reflexive verbs ending in "sya" ("how they converged, gathered"); prepositions "with", "in" ("with the retinue", "with relatives", "in the dark night"); particles “here” and “already” (“Here silently both disperse”; “You, my brothers”); interjection "ay" ("Ay, guys, sing"); the union “al” - “ali” (“Al did you harbor a dishonest thought”? “Are you jealous of our glory?”), etc.

In the traditions of oral folk art, Lermontov uses constant epithets (“red sun”, “blue clouds”, “sharp saber”). Imitating oral poetic creativity, Lermontov achieves amazing picturesqueness in comparing man with nature: “Walks smoothly - like a swan; Looks sweet - like a dove; He says a word - the nightingale sings.

Unusual beauty tells the poem the image of dawn - the background of ongoing events. In the second chapter, the dawn is running out: "A foggy dawn burns behind the Kremlin." In the third chapter "The scarlet dawn rises". In a clearly folk spirit, the phrase is built in the “Song ...”: by the way of composition, with the help of the unions “and”, “a”, “yes”. With rare art, Lermontov also uses other traditional types of oral poetic syntax: ellipses (“As you fall in love - celebrate the wedding, if you don’t fall in love - don’t be angry”); negative parallelisms (“The red sun does not shine in the sky, the blue clouds do not admire it: Then at the meal he sits in a golden crown, the formidable Tsar Ivan Vasilyevich sits”); phrasal parallels (“I went out to a terrible battle, to the last battle”, “And I hit the merchant Kalashnikov for the first time, And hit him in the middle of the chest”).

In “The Song ...” a large role is assigned to such artistic techniques as repetitions (“we cry”, “bitterly-bitterly”, “to feast”), the game of synonyms (“And they lamented and commanded”, “sharpen, sharpen”, “dress dress up"), repetitions of words, expressions ("on the cold snow, On the cold snow, like a pine tree, like a pine tree in a damp forest"), prepositions "for" (behind the iron lock, behind the oak door"), "pro" (" We composed our song about you, we are about your beloved oprichnik"), particles of "not" ("Have your brocade caftan been rubbed? Has your sable hat been wrinkled?"), etc.