Eternal themes in Nekrasov's lyrics. Works by Nekrasov N

Ministry of Education of the Russian Federation

on the topic "The main themes and ideas of the lyrics of N.A. Nekrasov."

Completed: student gr.PVK-127

GOU SPO TGUK Salavatova E. T.

Checked by: Evdokimova O.G.

Tuimazy 2009.

Introduction………………………………………………………………….2

1. The main themes and ideas of the lyrics of N.A. Nekrasov…………………….3

2. "Lyrical epic" as a phenomenon of Nekrasov's lyrics………...6

3. “Prose of love” in the lyrics of N. A. Nekrasov…………………………….12

4. The originality of N.A. Nekrasov………………...15

Conclusion………………………………………………………………18

Bibliography................................................ ...................................nineteen

Introduction

Let him tell us changeable fashion,

That the theme is the old "suffering of the people"

And that poetry must forget it,

Don't believe me guys! she doesn't age...

I dedicated the lyre to my people.

Perhaps I will die unknown to him,

But I served him - and my heart is calm ...

Let not every warrior harm the enemy,

But everyone go to battle! And fate will decide the battle ...

(Elegy 1874)

Nikolai Alekseevich Nekrasov entered the history of Russian literature as a great poet, whose work is rooted in deep layers. folk life, as a poet - a citizen, who devoted all his life, all his enormous talent to serving the people. With with good reason the poet at the end of his life could say: "I dedicated the lyre to my people."

1. The main themes and ideas of the lyrics of N.A. Nekrasov

Nekrasov is the successor and continuer of the best traditions of Russian poetry - its patriotism, citizenship and humanity.

The theme of the purpose of poetry is one of the main ones in Nekrasov's lyrics. The poem "The Poet and the Citizen" is a poet's dramatic reflection on the relationship of high citizenship with poetic art.

Before us is a hero who is at a crossroads and, as it were, personifies different trends in the development of Russian poetry of those years, feeling the emerging disharmony between “civil poetry” and “pure art”.

The Poet's feelings change from irony towards the Citizen, from a feeling of superiority over him to irony, resentment against himself, then to a feeling of irreversible loss of human and creative values, and then (in the last monologue) to gloomy anger. The movement of feelings in the Citizen: from the demand to “smash” the vices boldly, “expose evil” to the understanding of the active struggle and civic position necessary for real poetry. In essence, we are not faced with a duel between two opponents, but a mutual search for a true answer to the question of the role of the poet and the purpose of poetry in public life. It's most likely a collision. different thoughts and feelings in the human soul. There is no winner in the dispute, but there is a general, only true conclusion: the role of the artist in the life of society is so significant that it requires from him not only artistic talent, but also civic convictions.

Muse Nekrasov entered the literature of the 19th century - the sister of the suffering, tormented, oppressed people

(“Yesterday, at six o’clock…”). Muse Nekrasov not only sympathizes, she protests and calls to fight.

To remind the crowd that the people are in poverty,

While she rejoices and sings

To excite the attention of the mighty of the world to the people -

What more worthy could the lyre serve?...

The theme of the people is traditionally considered Nekrasov theme. Ap.Grigoriev called him "a man with a people's heart." According to Dostoevsky, the poet "loved all those who suffered from violence."

The poem "Troika" was written in Nekrasov's favorite genre of song. The rhythmic-stylistic structure of the poem is characterized by a special melodiousness, repetitions inherent in a folk song.

In the center of the poem is the image of a peasant girl, on whom “it is not surprising to look at”. The poem has two time layers: the present and the future. In the present, the girl lives in anticipation of love: “to know, her heart sounded alarm.” But in the future, a difficult fate awaits her, which is usual for a peasant woman: “a picky husband will beat you and your mother-in-law will bend you to death.” The end of the poem is full of sadness (“and they will bury you in a damp grave, as you go through your difficult path”). A troika is an image-symbol that often appears in folk songs (“Here a postal troika rushes”), it is always an image of freedom, will, a symbol of movement, a dream of happiness. In the last stanza, the motive clearly sounds: happiness is only a dream: “you can’t catch up with the crazy three”.

The epic beginning prevails in the poem “Thinking at the front door”: a generalized description of the “front door” and a description of the peasant petitioners. The poet does not endow each of the peasants with any specific, individual traits. The details of the portrait merge this group of people into a single poetic image: “village people”, “thin Armenian on the shoulders”, “cross on the neck and blood on the legs”. In the second part, a lyrical note appears. This is the author’s appeal to the “owner of luxurious chambers”, which sounds either excitedly pathetic (“Wake up ... Turn them back! Their salvation is in you!”), then mournfully and angrily (“What is this crying sorrow to you, what is this poor people to you?” ), then evil and ironic (“and you will go down to the grave a hero”).

In the final, third part, the epic and the lyrical merge into one. The story of the peasants receives a concrete conclusion (“Beyond the outpost, in the wretched tavern, the peasants will drink everything to the ruble and go, begging along the road ...”). The poem ends with a question to which the poet does not have a definite answer:

Will you wake up full of strength?

The so-called “repentant lyrics” - “I will die soon”, “Knight for an hour”, “I deeply despise myself for that” are very important for understanding the features of Nekrasov’s poetry. It was the Nekrasov hero who showed an example of courage and an attempt to overcome the tragic discord with himself, because it seemed to him that he did not correspond to the high ideal of a poet and a person.

I'll die soon ... a miserable legacy,

O motherland, I will leave you ...

Special place in the “repentant lyrics” the theme of a moral ideal is occupied, in search of which the lyrical hero turns primarily to those who carried pain about a person, pain about Russia (“On the Death of Shevchenko”, “In Memory of Dobrolyubov”, “Prophet”). The people's protector is a sufferer who makes a sacrifice. Characteristic is the motif of the chosenness, the exclusivity of great people, who are carried by the “falling star”, but without which “the field of life would have died out”. The image of the “people's defenders” reveals their deep democratism, an organic connection with folk culture.

No worse than us, he sees the impossibility

Serve good, but sacrificing yourself.

But he loves higher and wider,

There are no worldly thoughts in his soul.

Nekrasov wrote about love in a new way. Poetizing the ups and downs of love, he did not ignore the "prose" that "is inevitable in love." In his poems, the image of an independent heroine appeared, sometimes wayward and impregnable (“I don’t like your irony ...”). Relations between lovers have become more complex in Nekrasov's lyrics: spiritual intimacy is replaced by disagreements and quarrels, the characters often do not understand each other, and this misunderstanding overshadows their love.

You and I are stupid people:

What a minute, the flash is ready!

Relief, agitated chest,

An unreasonable, harsh word.

The tragic perception of life, compassion for one's neighbor, merciless reflection and at the same time an unbridled thirst for happiness - these are the hallmarks of Nekrasov's poetry.

2. "Lyrical epic" as a phenomenon of Nekrasov's lyrics.

One of the phenomena of N. A. Nekrasov’s poetry is the phenomenon of “lyrical epicness”. This phenomenon runs directly through all the work of the poet, originating in the early collection Dreams and Sounds.

Turning to the tradition of research poetic creativity Nekrasov,

it should be said that the main outline of most of the works is

biographical and socio-ideological, political issues

the work of the poet. The tradition of special attention to the "ideological" basis

the poet's work has been firmly entrenched since the period of "populist criticism" 19

century. At the same time, lyrical, confessional, spiritual problems, their

interaction in Nekrasov's poetry has been studied quite a bit.

Speaking about the history of researchers' attention to this problem, first of all,

of all, it should be noted the activities of D. S. Merezhkovsky at the end of the 19th century.

hallmark works of this researcher is an absolute

renunciation of the idea of "Nekrasov is a citizen". He was one of the first to single out

"eternal side" in the work of the poet. Speaking of previous

studies, he noted: “They completely lost sight of what is

the other Nekrasov is a great and free poet who, against his will,

he created "not for worldly excitement, not for self-interest, not for battles." Nekrasov is an idealist, ... a believer in a divine and suffering image ... a holy embodiment of the spirit of the people. Merezhkovsky for the first time pointed to this side of Nekrasov's work, which was so successfully passed by "populist criticism", for which the poet's works were only a collection of socio-political ideas. Merezhkovsky's special vision of the problem determined his special poetic, "symbolic" worldview. Merezhkovsky subtly felt the specific, uniquely personal nature of Nekrasov's lyrical perception, a special attempt to master the world.

Speaking about the phenomenon of "lyrical epic" Nekrasov should

compare his work with the work of other poets, who are both

predecessors as well as contemporaries. Nekrasov combines in his

creativity, aloof, fatal intonation of broadcasting world truths

inherited from Tyutchev with a shocked intonation beyond sensuality,

the inexpressibility of Fet's sensations. Turning to the difference between Nekrasov's poetry and the poetry of contemporaries and predecessors, it seems possible for us to note the "special position of the subject" in Nekrasov's poems.

Turning to the poet's poems, one can note the absence of artificiality and artificiality in them. A characteristic phenomenon for the lyrics of the 19th century, especially the period preceding the work of Nekrasov, is artificial creation roles, problems, themes of poems. Many authors acted according to the model, according to tradition, according to a certain fixed scenario.

Turning to the work of Nekrasov from these positions, it seems necessary to us to highlight the fundamental difference between his poems and this phenomenon. Nekrasov's poems are not far-fetched, artificial, which was the sin of most of his predecessors and contemporaries. Beginning with early poetry, Nekrasov's works are filled with extreme subjectivity. Already at an early poetry collection poet "Dreams and Sounds" shows this trend. Despite the apparent "variegation" of this collection, it seems possible to single out special positions of the subject in a number of poems. The manifestation of the subject in the collection is primarily noticed at the level of expression of moods. This fact was first noticed by A. Krasnov. Later this idea was developed by V. Evgeniev-Maksimov. One of the leading subjective principles in this collection is the presence of two moods “contemplative” and “pessimistically accusatory”. According to M. Barro, this fact is a manifestation of what is already in the first

Nekrasov's book "... reflected a gradual change in his ideological and

creative ideas ... during the work there was a certain spiritual turning point, which brought the former dreamer from transcendental heights to the ground.

An important element"lyrical epic" Nekrasov is

a special scope of material coverage in lyrical works. Continuing

comparison of Nekrasov with poets predecessors and contemporaries

it should be noted that, for example, in the work of Fet, the content of the lyrics

closes on the internal state of the subject, and there is no visible

exit to the outside world. Nekrasov takes a fundamentally different position in this regard. His work is not limited to the "external" or "internal" aspect. His position on this issue can be described as "average". Nekrasov lyrics absorbs the entire space of the environment and

inner peace. In his poems are closely intertwined social motives,

internal state, outlook, landscapes and descriptions. Turning to

the poem "Despondency" that interests us, as an example, we can single out

the following lines:

What a delight! For a migratory bird

I'm chasing with a gun, and the free wind of the fields

Sweeps away the rubbish inspired by the capital,

From my soul. I am cheerful and alive in spirit,

I am healthy in body. I think... I dream...

Do not feel over the thought of a hammer

I can't, no matter how much I want to

But if it is raised even slightly,

But if I forget about him

For half an hour - and that's what I value.

I myself, reader, find

And this is all that is needed for a poet.

Continuing to note the facts of a special "lyrical epic" poems

Nekrasov cannot be bypassed and the fact of the special features of Nekrasov's lyrics, Nekrasov's use of a special genre system.

Lyrical works of Nekrasov are diverse, capture the most

various aspects of life. This and responses to political life countries, and themes from the life of the peasantry, and essays on urban reality, and love lyrics, and pictures of nature, and caustic ridicule of the world of the bureaucratic and noble elite. Nekrasov's lyrics, however, like all his work, do not fit into the usual genres and forms. His lyrics tend to be epic, violating the notion of genre isolation. With rare exceptions, his lyrics go beyond not only traditional genres, but also beyond the very concept of lyrics, as it has developed in the usual view, which limited the lyrics to “self-expression”, “self-disclosure” of the poet, his inner world.

In our opinion, Nekrasov not only refused to comply with the genre

differentiation inherited from the poetry of classicism and romanticism, but also from the precise distinction between the lyrical and epic principles of poetry. There is a question of defining the genres of such works by Nekrasov as "Knight for an Hour", "Peasant Children", "Silence", "Despondency". They can be called poems, but they are devoid of a plot; they express, first of all, either the state of mind of the poet himself, or his thoughts, and in "Peasant Children" - a series of meetings and impressions of the author. The combination in one work of lyrical and epic

began - is especially characteristic of Nekrasov. This is the innovative principle of his poetry.

One can, of course, base the distinction between lyric and epic

Nekrasov’s purely quantitative principle: “small poems” and large works - but this will not be a solution to the issue, since in this case the question of the internal, structural principle would be ignored.

In the work of A. Garkavy “The formation of realistic genres in the poetry of N. A.

Nekrasov" rightly noted that "Nekrasov created new genre,

carried out already in the verses of the 40s, which then received further

development".

Using the experience of the “physiological essay” of the prose writers of the “natural

school", Nekrasov created "completely different, new poetic genres, in

works such as "Peasant Children", this is especially evident.

The poem is built on the principle of an essay, in which the actual observations and reasoning of the author occupy the main place, and the author's speech, with the dialogues of the characters included in it, determines the entire verse structure. Nekrasov abandoned the traditional division of genres (although, of course, this does not exclude the division into such "types" of poetry as a poem, a lyric poem). In Nekrasov's poems, satire, love lyrics, journalistic invective, and elegiac meditation merged together. How to determine the "genre" of such poems as "Reflections at the front door", "Knight for an hour", "Beautiful party"? Nekrasov contrasted the genre isolation of the poets of "pure art" with the rejection of genre frameworks, the involvement in poetry of the artistic principles of a different "kind" of art - primarily prose.

Poetry and prose are not at all opposed to each other. In Russian literature

there are many examples of "poetic prose" and "prosaicization" of verse. As an example, we can cite Gogol, who wrote prose, in which the orientation towards poetic, poetic forms is undeniable. Many pages of Turgenev's novels also approach his "poems in prose", and the latter are written not in verse, but in "prose". In turn, Nekrasov transfers the methods of prose into his poems, without reducing or violating their poetry. After all, the very transfer of the principles of prose narration: plot, colloquial phraseology, does not yet make his poems "prosaic", they remain, despite this, genuine poetry, as was the case with Pushkin's "Eugene Onegin", which outlined the development of Russian novel XIX century. Nevertheless, the most artistic method, manner, style acquire in them a different, new

quality. Nekrasov's considerations about the relationship between prose and poetry are extremely important for understanding his artistic method. The "synthesis" of the structural features of prose and poetry, the interpenetration of "image" and "thought" - such is the task of the poet. From "prose" poetry borrows, first of all, thought, the reproduction of life - and at the same time, the poet in one way, in one word is able to convey what a prose writer needs "a whole series of features." This “requirement for the primacy of “thought” in both prose and poetry is especially significant, since it explains the main feature of Nekrasov’s poetry: the invariable fullness of his works with “thought”, the direct and exact correlation of word and meaning.”

This requirement of thought, "content", their significance is constantly

Nekrasov expresses himself when evaluating other people's poems.

The principles of prose are not mechanically transferred to poetry, but are acquired in

it has a special form, a different sound, first of all, since the word itself in

verse carries an immeasurably greater figurative, rhythmic and intonation

load.

From prose passed into the poetry of Nekrasov plot organization

storytelling. His poems in most cases are plot or filled with a number of events. But the plot in prose and the plot in a poem are in many ways different things. In a poem and even a poem, it is that logical, narrative framework that determines both the development of the action and the selection of material. Naturally, verbal expression here cannot be as unrestrictedly free as in prose. Likewise, love for precise, expressive detail, strictly realistic and at the same time deeply poetic, also passed from the prose manner into Nekrasov's poetry. After all, if this detail were in the context of a prose narrative, it is possible that it would not have stood out, lost in the general flow.

The connection between Nekrasov's poetry and the prose culture of his time was

deeply fruitful for expanding the traditional possibilities of poetic genres, for deepening realism in its creative method.

Nekrasov, “both in poems and in lyrics, he relies on artistic

principles of the modern realistic novel", dating back to

Pushkin's "Eugene Onegin" Dead souls Gogol, Lermontov's "Hero of Our Time" and deepened in the prose of writers of the 40-60s - Turgenev, Tolstoy, Dostoevsky, Goncharov. This is, first of all, the image of a person in his social environment, so consistently carried out by Gogol; secondly, a combination of typical and individual traits in the character. It was these properties that meant "the triumph of realism in the Russian novel."

However, Nekrasov does not mechanically transfer these artistic

principles worked out by prose. Naturally, in a poetic poetic work, they acquire their own characteristics.

Wide coverage of life events

Nekrasov is the successor and continuer of the best traditions of Russian poetry - its patriotism, citizenship and humanity.

The theme of the purpose of poetry is one of the main ones in Nekrasov's lyrics. The poem "The Poet and the Citizen" is a poet's dramatic reflection on the relationship between high citizenship and poetic art. Before us is a hero who is at a crossroads and, as it were, personifies different trends in the development of Russian poetry of those years, feeling the emerging disharmony between “civil poetry” and “pure art”.

The Poet's feelings change from irony towards the Citizen, from a feeling of superiority over him to irony, resentment towards himself, then to a feeling of irreversible loss of human and creative values, and then (in the last monologue) to gloomy anger. The movement of feelings in the Citizen: from the requirement to “smash” the vices boldly, “expose evil” to the understanding of the active struggle and civic position necessary for real poetry. In essence, we are not faced with a duel between two opponents, but a mutual search for a true answer to the question of the role of the poet and the purpose of poetry in public life. Most likely, we are talking about a clash of different thoughts and feelings in the soul of one person. There is no winner in the dispute, but there is a general, only true conclusion: the role of the artist in the life of society is so significant that it requires from him not only artistic talent, but also civic convictions.

AT literature of the 19th century, the Muse of Nekrasov entered - the sister of the suffering, tormented, oppressed people (“Yesterday, at six o'clock ...”). Muse Nekrasov not only sympathizes, she protests and calls to fight:

To remind the crowd that the people are in poverty,

While she rejoices and sings

To excite the attention of the mighty of the world to the people -

What better service could the lyre serve?

The theme of the people is traditionally considered a Nekrasov theme. Ap. Grigoriev called him "a man with a people's heart." According to Dostoevsky, the poet "loved all those who suffered from violence."

The poem "Troika" was written in Nekrasov's favorite genre of song. The rhythmic-stylistic structure of the poem is characterized by a special melodiousness, repetitions inherent in the folk song. In the center of the poem is the image of a peasant girl, whom “it is not surprising to look at”. The poem has two time layers: the present and the future. In the present, the girl lives in anticipation of love: “to know, her heart sounded alarm.” But in the future, a difficult fate awaits her, which is usual for a peasant woman: “a picky husband will beat you and your mother-in-law will bend you to three deaths.” The end of the poem is full of sadness (“and they will bury you in a damp grave, as you go through your difficult path”). A troika is an image-symbol that often appears in folk songs (“Here a postal troika rushes”), it is always an image of freedom, will, a symbol of movement, a dream of happiness. In the last stanza, the motive clearly sounds: happiness is only a dream: “you can’t catch up with the crazy three”.

In the poem “Reflections at the front door”, the epic beginning prevails: a generalized description of the “front door” and a description of the peasant petitioners. The poet does not endow each of the peasants with any specific, individual traits. The details of the portrait merge this group of people into a single poetic image: “village people”, “a thin Armenian on his shoulders”, “a cross on his neck and blood on his legs”. In the second part, a lyrical note appears. This is the author’s appeal to the “owner of luxurious chambers”, which sounds either excitedly pathetic (“Awake!.. Turn them back! Their salvation is in you!”), then mournfully and angrily (“What is this crying sorrow to you, what do you need this poor people ?”), then evil and ironic (“and you will go down to the grave ... hero”).

Will you wake up full of strength?

Very important for understanding the features of Nekrasov's poetry is the so-called

“repentant lyrics” - “I will die soon”, “Knight for an hour”, “I deeply despise myself for that ...”. It was the Nekrasov hero who showed an example of courage and an attempt to overcome the tragic discord with himself, because it seemed to him that he did not correspond to the high ideal of a poet and a person.

I will die soon...

Pathetic legacy

O motherland, I will leave you...

A special place in the “repentant lyrics” is occupied by the theme of the moral ideal, in search of which the lyrical hero turns primarily to those who carried pain about a person, pain about Russia (“On the Death of Shevchenko”, “In Memory of Dobrolyubov”, “Prophet”) . The people's protector is a sufferer who makes a sacrifice. Characteristic is the motif of the chosenness, the exclusivity of great people, who are carried by the “falling star”, but without which “the field of life would have died out”. The image of the “people's defenders” reveals their deep democratism, an organic connection with folk culture.

No worse than us, he sees the impossibility

Serve the good without sacrificing yourself.

But he loves higher and wider,

There are no worldly thoughts in his soul.

You and I are stupid people:

What a minute, the flash is ready!

Relief of an agitated chest,

An unreasonable, harsh word.

The tragic perception of life, compassion for one's neighbor, merciless reflection and at the same time an unbridled thirst for happiness - these are the hallmarks of Nekrasov's poetry.

Ministry of Education of the Russian Federation

on the topic "The main themes and ideas of the lyrics of N.A. Nekrasov."

Completed: student gr.PVK-127

GOU SPO TGUK Salavatova E. T.

Checked by: Evdokimova O.G.

Tuimazy 2009.

Introduction………………………………………………………………….2

1. The main themes and ideas of the lyrics of N.A. Nekrasov…………………….3

2. "Lyrical epic" as a phenomenon of Nekrasov's lyrics………...6

3. “Prose of love” in the lyrics of N. A. Nekrasov…………………………….12

4. The originality of N.A. Nekrasov………………...15

Conclusion………………………………………………………………18

Bibliography................................................ ...................................nineteen

Introduction

Let the changing fashion tell us

That the theme is the old "suffering of the people"

And that poetry must forget it,

Don't believe me guys! she doesn't age...

I dedicated the lyre to my people.

Perhaps I will die unknown to him,

But I served him - and my heart is calm ...

Let not every warrior harm the enemy,

But everyone go to battle! And fate will decide the battle ...

(Elegy 1874)

Nikolai Alekseevich Nekrasov entered the history of Russian literature as a great poet, whose work is rooted in the deep layers of folk life, as a citizen poet, who devoted all his life, all his enormous talent to serving the people. With good reason, the poet at the end of his life could say: "I dedicated the lyre to my people."

1. The main themes and ideas of the lyrics of N.A. Nekrasov

Nekrasov is the successor and continuer of the best traditions of Russian poetry - its patriotism, citizenship and humanity.

The Poet's feelings change from irony towards the Citizen, from a feeling of superiority over him to irony, resentment towards himself, then to a feeling of irreversible loss of human and creative values, and then (in the last monologue) to gloomy anger. The movement of feelings in the Citizen: from the requirement to “smash” the vices boldly, “expose evil” to the understanding of the active struggle and civic position necessary for real poetry. In essence, we are not faced with a duel between two opponents, but a mutual search for a true answer to the question of the role of the poet and the purpose of poetry in public life. Most likely, we are talking about a clash of different thoughts and feelings in the human soul. There is no winner in the dispute, but there is a general, only true conclusion: the role of the artist in the life of society is so significant that it requires from him not only artistic talent, but also civic convictions.

Muse Nekrasov entered the literature of the 19th century - the sister of the suffering, tormented, oppressed people

(“Yesterday, at six o’clock…”). Muse Nekrasov not only sympathizes, she protests and calls to fight.

To remind the crowd that the people are in poverty,

While she rejoices and sings

To excite the attention of the mighty of the world to the people -

What more worthy could the lyre serve?...

The theme of the people is traditionally considered a Nekrasov theme. Ap.Grigoriev called him "a man with a people's heart." According to Dostoevsky, the poet "loved all those who suffered from violence."

The poem "Troika" was written in Nekrasov's favorite genre of song. The rhythmic-stylistic structure of the poem is characterized by a special melodiousness, repetitions inherent in a folk song.

The epic beginning prevails in the poem “Thinking at the front door”: a generalized description of the “front door” and a description of the peasant petitioners. The poet does not endow each of the peasants with any specific, individual traits. The details of the portrait merge this group of people into a single poetic image: “village people”, “a thin Armenian on his shoulders”, “a cross on his neck and blood on his legs”. In the second part, a lyrical note appears. This is the author’s appeal to the “owner of luxurious chambers”, which sounds either excitedly pathetic (“Wake up ... Turn them back! Their salvation is in you!”), then mournfully and angrily (“What is this crying sorrow to you, what is this poor people to you?” ), then evil and ironic (“and you will go down to the grave a hero”).

Will you wake up full of strength?

I'll die soon ... a miserable legacy,

O motherland, I will leave you ...

A special place in the “repentant lyrics” is occupied by the theme of the moral ideal, in search of which the lyrical hero turns primarily to those who carried pain about a person, pain about Russia (“On the Death of Shevchenko”, “In Memory of Dobrolyubov”, “Prophet”) . The people's protector is a sufferer who makes a sacrifice. Characteristic is the motif of the chosenness, the exclusivity of great people, who are carried by the “falling star”, but without which “the field of life would have died out”. The image of the "people's defenders" reveals their deep democratism, an organic connection with folk culture.

No worse than us, he sees the impossibility

Serve good, but sacrificing yourself.

But he loves higher and wider,

There are no worldly thoughts in his soul.

You and I are stupid people:

What a minute, the flash is ready!

Relief, agitated chest,

An unreasonable, harsh word.

The tragic perception of life, compassion for one's neighbor, merciless reflection and at the same time an unbridled thirst for happiness - these are the hallmarks of Nekrasov's poetry.

2. "Lyrical epic" as a phenomenon of Nekrasov's lyrics.

Turning to the tradition of studying the poetic work of Nekrasov,

it should be said that the main outline of most of the works is

biographical and socio-ideological, political issues

the work of the poet. The tradition of special attention to the "ideological" basis

the poet's work has been firmly entrenched since the period of "populist criticism" 19

century. At the same time, lyrical, confessional, spiritual problems, their

interaction in Nekrasov's poetry has been studied quite a bit.

Speaking about the history of researchers' attention to this problem, first of all,

of all, it should be noted the activities of D. S. Merezhkovsky at the end of the 19th century.

A distinctive feature of the work of this researcher is the absolute

renunciation of the idea of "Nekrasov is a citizen". He was one of the first to single out

"eternal side" in the work of the poet. Speaking of previous

studies, he noted: “They completely lost sight of what is

the other Nekrasov is a great and free poet who, against his will,

Speaking about the phenomenon of "lyrical epic" Nekrasov should

compare his work with the work of other poets, who are both

predecessors as well as contemporaries. Nekrasov combines in his

creativity, aloof, fatal intonation of broadcasting world truths

inherited from Tyutchev with a shocked intonation beyond sensuality,

Turning to the poet's poems, one can note the absence of artificiality and artificiality in them. A characteristic phenomenon for the lyrics of the 19th century, especially the period preceding the work of Nekrasov, is the artificial creation of roles, problems, themes of poems. Many authors acted according to the model, according to tradition, according to a certain fixed scenario.

Turning to the work of Nekrasov from these positions, it seems necessary to us to highlight the fundamental difference between his poems and this phenomenon. Nekrasov's poems are not far-fetched, artificial, which was the sin of most of his predecessors and contemporaries. Starting from early poetry, Nekrasov's works are filled with extreme subjectivity. Already in the early poetic collection of the poet "Dreams and Sounds" this tendency is manifested. Despite the apparent "variegation" of this collection, it seems possible to single out special positions of the subject in a number of poems. The manifestation of the subject in the collection is primarily noticed at the level of expression of moods. This fact was first noticed by A. Krasnov. Later this idea was developed by V. Evgeniev-Maksimov. One of the leading subjective principles in this collection is the presence of two moods “contemplative” and “pessimistically accusatory”. According to M. Barro, this fact is a manifestation of what is already in the first

Nekrasov's book "... reflected a gradual change in his ideological and

creative ideas ... during the work there was a certain spiritual turning point, which brought the former dreamer from transcendental heights to the ground.

An important element of Nekrasov's "lyrical epic" is

a special scale of material coverage in lyrical works. Continuing

comparison of Nekrasov with poets predecessors and contemporaries

it should be noted that, for example, in the work of Fet, the content of the lyrics

closes on the internal state of the subject, and there is no visible

exit to the outside world. Nekrasov takes a fundamentally different position in this regard. His work is not limited to the "external" or "internal" aspect. His position on this issue can be described as "average". Nekrasov's lyrics absorb the entire space of the environment and

inner world. Social motives are closely intertwined in his poems,

internal state, outlook, landscapes and descriptions. Turning to

the poem "Despondency" that interests us, as an example, we can single out

the following lines:

What a delight! For a migratory bird

I'm chasing with a gun, and the free wind of the fields

Sweeps away the rubbish inspired by the capital,

From my soul. I am cheerful and alive in spirit,

I am healthy in body. I think... I dream...

Do not feel over the thought of a hammer

I can't, no matter how much I want to

But if it is raised even slightly,

But if I forget about him

For half an hour - and that's what I value.

I myself, reader, find

And this is all that is needed for a poet.

Continuing to note the facts of a special "lyrical epic" poems

Nekrasov cannot be bypassed and the fact of the special features of Nekrasov's lyrics, Nekrasov's use of a special genre system.

Lyrical works of Nekrasov are diverse, capture the most

various aspects of life. These are responses to the political life of the country, and themes from the life of the peasantry, and essays on urban reality, and love lyrics, and pictures of nature, and caustic ridicule of the world of the bureaucratic and noble elite. Nekrasov's lyrics, however, like all his work, do not fit into the usual genres and forms. His lyrics tend to be epic, violating the notion of genre isolation. With rare exceptions, his lyrics go beyond not only traditional genres, but also beyond the very concept of lyrics, as it has developed in the usual view, which limited the lyrics to “self-expression”, “self-disclosure” of the poet, his inner world.

In our opinion, Nekrasov not only refused to comply with the genre

began - is especially characteristic of Nekrasov. This is the innovative principle of his poetry.

One can, of course, base the distinction between lyric and epic

In the work of A. Garkavy “The formation of realistic genres in the poetry of N. A.

Nekrasov" rightly noted that "Nekrasov created a new genre,

carried out already in the verses of the 40s, which then received further

development".

Using the experience of the “physiological essay” of the prose writers of the “natural

school", Nekrasov created "completely different, new poetic genres, in

works such as "Peasant Children", this is especially evident.

Poetry and prose are not at all opposed to each other. In Russian literature

there are many examples of "poetic prose" and "prosaicization" of verse. As an example, we can cite Gogol, who wrote prose, in which the orientation towards poetic, poetic forms is undeniable. Many pages of Turgenev's novels also approach his "poems in prose", and the latter are written not in verse, but in "prose". In turn, Nekrasov transfers the methods of prose into his poems, without reducing or violating their poetry. After all, the very transfer of the principles of prose narration: plot, colloquial phraseology, does not yet make his poems "prosaic", they remain, despite this, genuine poetry, as was the case with Pushkin's "Eugene Onegin", which outlined the development of the Russian novel of the 19th century. Nevertheless, the most artistic method, manner, style acquire in them a different, new

This requirement of thought, "content", their significance is constantly

Nekrasov expresses himself when evaluating other people's poems.

The principles of prose are not mechanically transferred to poetry, but are acquired in

it has a special form, a different sound, first of all, since the word itself in

verse carries an immeasurably greater figurative, rhythmic and intonation

load.

From prose passed into the poetry of Nekrasov plot organization

The connection between Nekrasov's poetry and the prose culture of his time was

deeply fruitful for expanding the traditional possibilities of poetic genres, for deepening realism in his creative method.

Nekrasov, “both in poems and in lyrics, he relies on artistic

principles of the modern realistic novel", dating back to

Pushkin's "Eugene Onegin", "Dead Souls" by Gogol, "A Hero of Our Time" by Lermontov and deepened in the prose of writers of the 40-60s - Turgenev, Tolstoy, Dostoevsky, Goncharov. This is, first of all, the image of a person in his social environment, so consistently carried out by Gogol; secondly, a combination of typical and individual traits in the character. It was these properties that meant "the triumph of realism in the Russian novel."

However, Nekrasov does not mechanically transfer these artistic

principles worked out by prose. Naturally, in a poetic poetic work, they acquire their own characteristics.

Wide coverage of life phenomena, their deep social analysis

determined Nekrasov's appeal to the epic. In his creative legacy of the poem

occupy the main place. In them, he could show everything more fully and in depth.

the diversity of life, the social conditions in which

the characters they portray. "Sasha", "Pedlars", "Frost, Red Nose", " Railway”,“ Contemporaries ”and the epic“ Whom to live well in Russia ”give a picture of Russian life from the 50s to the 70s of the XIX century. In the poems, Nekrasov acts as an innovative artist who created a new social and realistic genre of the poem. Nekrasov's attraction to the epic form, to the poem begins at the initial stage of his creative path.

Already in such poems as "On the Road" or "Officer", Nekrasov

created a broad picture of life based on narrative experience

essay prose of the "natural school", with a sharp social trend.

Nekrasov's poems "opposed the canons of the romantic poem,

received wide use in Russian poetry since the southern poems

Pushkin and Lermontov's romantic poems. pathetic

the emotionality of these poems, their unusual heroes, their plot and dramatic tension - Nekrasov and the followers of the "natural school" "opposed events taken from everyday life, used the experience of prose genres and, to a certain extent, "Eugene Onegin" and such Pushkin's poems as "The House in Kolomna "and" Count Nulin ", which marked the appeal to yt, a departure from the principles of a romantic poem."

Summarizing the above, it can be noted that in

Nekrasov's work has developed special type lyrical-epic genre. In this type, the epic beginning is very closely combined - that which is revealed by the eyes, which was characteristic of real life and the lyrical beginning - the feelings, the pain of the poet. It is in the combination of these principles that lies the literary innovation, the discovery of Nekrasov. Nekrasov's works are lyrical in their essence, by their nature. Also, the problem associated with the "lyrical epic" of Nekrasov's works is the problem of combining the subjective and objective, the visible connection of the hero and the poet. Nekrasov uses his heroes, a description of the situation to express own feelings, moral ideals. The poet does not just “put on a mask” of a certain hero, but, as a rule, he “gets used” to his image, sees, thinks, analyzes from the point of view of this hero. And this often led to the identification of the author with the lyrical hero of the poems. And this is not affected by the fact that the hero is often spoken of in the third person. This was especially reflected in the "repentant" lyrics recent years Nekrasov's life, his "last songs" were perceived as a confession real person, beyond mediation and abstraction. Based on this, there was a peculiarity in the perception and analysis of these poems for many years. The reason for this can be called, first of all, "the inexperience of the general public in matters of creativity." Everyone from ordinary readers to professional critics "sinned" with this. The critic V. Zaitsev, referring to Nekrasov's poems, says: “I proceed to his writings with the same requirements with which I proceed to the works of a critic, historian, publicist, novelist. From all of them equally, each reader requires, first of all, an honest, fresh thought, a correct view of the subject ... ... and a clear presentation of his opinion.

Returning to the work of Nekrasov, it should be clarified what exactly in

his poems themselves gives rise to the identification of the poet and his hero.

One of the reasons is close connection spiritual content of Nekrasov's lyrics

with the formation of the personality of the poet. Indicative from this point of view is the presence in Nekrasov's work of points of contact, "supporting milestones" with his real biography. A similar trend permeates all creativity, and is present in Nekrasov, starting with his first collection, Dreams and Sounds. Earliest point of contact lyrical creativity and real life - a response to premature death older brother Andrew. We have already noted great attention Nekrasov to the period of his life associated with his transition to an independent, independent life,

his formation as a poet in the records of his contemporaries. Not less, but even

much more attention to this period of biography can be traced in his lyrical works.

As we see the poems of the first Nekrasov collection "Dreams and

sounds "clearly indicate not an important event in the life of Nekrasov, as leaving them to their native places and moving him to St. Petersburg. Throughout his work, Nekrasov repeatedly turned to the theme of childhood, homeland. This can be traced in a number of works absolutely different years: "Motherland" 1846, "Unfortunate" 1856, "On the Volga" 1860, "Despondency" 1874, "Mother" 1877. Directly concrete facts biographies associated with the time of "Petersburg wanderings" and "literary day labor" were not displayed in Nekrasov's lyrics. The bulk of the poems, one way or another, dedicated to this period contains the mood of a spiritual crisis, a turning point that befell the poet. Most of Nekrasov's poems reflect the author's feelings associated with A. Panaeva. These verses can be seen as psychological history loving people, a work with its own composition - the plot, the development of the action, the climax, the denouement, the epilogue. The main content of these poems are lyrical confessions:

... But when, having rested from excitement,

You will understand his sad illness,

And wait for the moment of forgiveness

Your crazy but loving friend -

Forget the hateful word

And do not be your reproach

Remorse painful again

With a resurrected friend in the chest! ..

(If, tormented by rebellious passion...)

In the work of Nekrasov, the presence of a special subject of consciousness is noted -

based on the author-hero connection. The subject of Nekrasov's works can be the bearer of a different consciousness, depending on who the hero is - his social status, education, features of the worldview. The range of subjects is colossal, it covers many Nekrasov characters.

Summarizing the above, it should be said that in

In the works of N. A. Nekrasov, a special phenomenon of “lyrical epicness” has developed as the presence in the works of a combination of the author’s subjective consciousness, his worldview, state of mind with the display of real heroes and events. The subjective content is closely intertwined with the epic, inseparably with it. The phenomenon of "lyrical epic" developed in parallel creative way

poet, starting with the early collection "Dreams and Sounds" and ending with "Last Songs".

3. "Prose of love" in the lyrics of N. A. Nekrasov

Without diminishing at all public interest Nekrasov’s poems, which introduced “sobbing sounds” into Russian lyrics and made people shudder at the sight of the suffering of the people, one cannot but say about the works where the poet explores the subtle movements of the human soul, depicts the “life of the heart”, penetrates into the innermost corners of the inner world of people.

N. Nekrasov talks about “pages of love” timidly, trying to dissolve them in civil lyrics.

The object of the poet's attention is "prose in love" with its constant disagreements, quarrels and mutual reproaches. And here the artist remains true to the truth of life.

In the poem “You and I are stupid people ...” N. Nekrasov teaches us to see a bright beginning even in the most bitter events. After all, a quarrel ceases to be terrible when you know that “the return of love and participation” will follow it.

The skill of the poet lay in the fact that he created two characters in love lyrics: a lyrical hero and a lyrical heroine. Lyrical heroine- an outstanding personality, strong, endowed with a deep mind. She is a friend and like-minded person, able to support in difficult moment, make an important decision, find a way out of difficult circumstances (“You are always good incomparably ...”).

In order to imagine a lyrical hero, let's open the poem "Shyness". It captures one of the difficult mental states, which is experienced by something embarrassed or oppressed person. The lyrical hero is smart, observant, subtle, but life did not support his hopes, and he lost faith in the future.

It is important that the hero himself tries to understand what are all the reasons for his “untalented tearful share”, his “consciousness of offensive powerlessness”, and finds the answer: “Terrible poverty crushed me”. N. Nekrasov psychologically accurately conveys the experiences of a person who is ready to turn the world upside down for the sake of his beloved, but when he meets her, he feels “iron weights” on his feet.

The surrounding reality can be harsh not only in relation to hidden love, but also to the one that has already become a reality. In the poem " Tough year- an illness broke me...” the world appears in very important dimensions and designations: trouble - happiness - struggle - “life without happiness” - enemy - friend - beloved. The heroine was the most reliable stronghold, but still “did not spare”. The reason for this is not so much in herself, but in objective circumstances, in a common unhappy life. The poet does not blame, but justifies his chosen one:

Tormented, embittered by the struggle...

Sufferer! Standing in front of me...

In love, according to N. Nekrasov, there is not and cannot be stiffness and monotony. Let us recall the poem “Yes, our life flowed rebelliously...” It captivates both with the power of the feeling expressed in it, and with the vision of the stages of love, and with the form of expression of this feeling found by the artist.

The very first lines are a kind of summary of a story or novel, revealing the tension, dynamism of love relationships, their dependence on the influence of the world: “Yes, our life flowed rebelliously, full of anxieties, full of losses.”

The lovers broke up for a while. Their life apart is portrayed as patient waiting new meeting:

But since the time when everything around me is deserted,

I can't give myself to anything with love

And life is boring and time is long

And I am cold to my work.

Gradually, in the memories, the hero returns to the beginning of love. For him, it is obvious that the growth of feelings is accompanied by an increase in doubts.

The leading role in the union of two hearts belongs to faith. It is no coincidence that the word “faith” or its derivatives are repeated so often in the text:

How you wanted to believe me

And as I believed, and hesitated again,

And how I fully believed!

N. Nekrasov connects the dynamics of feeling with the dialectics of life. This is how the poet helps us to discover unshakable values in the changing forms of being. One of them is love, creating, raising its heights, making every day happy.

N. Nekrasov shows us the most different stages of a love feeling, sometimes combining them in one work. This is what happens in the poem "Long rejected by you ...". At first, the lyrical hero appears before us desperate, ready for suicide, but then the happiness of reciprocity returns, and with it the fullness of life. However, the denouement was inevitable. Love is gone, and everything around has lost its attractiveness. Human feelings are not protected from the invasion of a hostile world. The unpredictability of fate creates a sense of tragedy.

In the amazing lyrical miniature “Forgive me”, in form reminiscent of a spell (thanks to the anaphoric repetition of the word “do not remember”), the dependence of love on the course of life is traced:

Sorry! Do not remember the days of the fall,

Anguish, despondency, anger, -

Don't remember the storms, don't remember the tears

Do not remember the jealousy of threats!

The hero is endowed with a noble memory, he is bitter at the thought of parting with the past. He wants the common past to remain bright in the memory of his beloved. The development of the author's thought is interesting in that the feeling of gratitude for what has been experienced is interpreted as an opportunity to avoid a painful break. The one who loved must be attentive and patient. He has no right to leave the pedestal on which his love erected. The nobility of the heart measures both the apogee and the decline of feelings. Therefore, the last lines sound like a testament:

But the days when love shone

Above us gently rose

And cheerfully we made the way, -

Bless and don't forget!

The “light of love” is endowed with the properties of a living being: it “gently ascended”, warmed the soul, heart, instilling in them hope for the opportunity to overcome all the troubles of life. This metaphor makes the words of the poet especially penetrating.

Thus, having read even a few poems, one cannot but agree with the statement that N. Nekrasov introduced new poetic discoveries of the innermost secrets of the heart into Russian literature.

4. The peculiarity of the civil lyrics of N.A. Nekrasov

...You may not be a poet

But you have to be a citizen.

N.A. Nekrasov

A poet in Russia is more than a poet.

It is destined to be born poets

Only those in whom the proud spirit of citizenship roams,

Who has no comfort, no peace. Evgeny Yevtushenko

Nikolai Alekseevich Nekrasov - Russian poet-realist. Love for the motherland, reflection on the secrets of the national Russian character, a high sense of citizenship - these are the features of Nekrasov's lyrics.

Proximity to the revolutionary democrats affected Nekrasov's views on the essence of art, on the place and role of poetry in the life of society. Supporters of "pure art" were his ideological opponents. Nekrasov declared: "There is no science for the sake of science, there is no art for the sake of art - everything exists for society, for the ennoblement of man ..."

Nekrasov's citizenship is closely related to his understanding of the poet's purpose. What should a poet be like? What is its role in society? What is the purpose of poetry? In the poem "Poet and Citizen" Nekrasov outlined his poetic program, expressed his views on the public duty of the poet. He wrote that true poet cannot be indifferent to the grief and torment of "those who have no bread."

Go into the fire for the honor of the fatherland,

For confidence, for love...

Go and die flawlessly

You won't die in vain - it's solid,

When blood flows under him.

"People's pains" pass through the poet's heart. Here from the "front entrance" they drive ragged mob; here on the "uncompressed strip" a peasant woman is crying from overwork; here are the ruined hungry villages; troikas racing off-road; here barge haulers with groans are pulling a barge; here is Russia, where "a swarm of depressed and trembling slaves envied the life of the last master's dogs." Nekrasov's Russia is a poetic reflection on the fate of the people.

The poet's muse was the companion of "the poor, born for labor, suffering and fetters." She revealed the abyss of violence and evil, called for struggle.

The poet dedicated many of his poems to the courageous, strong spirit people who were an example for him during his lifetime, whose precepts he remained faithful in his work after their death. These are the leading figures of their time, the leaders of the Social Democratic revolutionary movement: Belinsky, Dobrolyubov, Chernyshevsky, Pisarev. The pathos of citizenship, the revolutionary spirit - the main difference between such poems. But also for Nekrasov, the expression of simple human feelings is characteristic, which evoke in the poet memories of his revolutionary friends. This is a feeling of friendly tenderness, affection, care, fidelity, a feeling of gratitude.

In the poem "In Memory of Belinsky", the poet shares with readers sad memories of a friend whose "naive and passionate soul" strove "for one lofty goal." Before the reader is a real image of a man who lived, dreamed and fought, "persisting, worrying and hastening", and not at all a stone monument erected on the grave by friends.

You loved us, you were faithful to friendship -

And we honored you in a good hour!

In another poem dedicated to Belinsky, the poet will call him "a brother in fate", with whom he walked "one thorny road." Nekrasov considers himself the successor of his closest friend. The fighters for the bright future of Russia are dedicated to poetic lines that have become textbooks:

Mother nature!

When would such people

You sometimes did not send to the world,

The field of life would have died out.

The poem "Motherland" reveals another side of Nekrasov's personality. Let us read the lines about the majestic soul of a patient woman, the mother of the poet:

But I know: your soul was not impassive;

She was proud, stubborn and beautiful,

And everything that you have the strength to endure,

Your dying whisper forgiven the destroyer! ..

Nikolai Alekseevich carried the dear image of his mother through his whole life. Five years after her death, he will talk about the tragic fate of a dear person, consonant with the fate of many Russian women. Nekrasov always remembered his mother as a strong woman. Selfless love to their children, mercy and the ability to forgive, but at the same time, stamina, courage, fidelity - these characteristic features the poet endowed many of his heroines with his mother. Let us recall Matryona Timofeevna Korchagina, who endured the greatest grief for every mother - the loss of a child, and, despite this, managed to forgive Savely, the unintentional culprit of Demushka's death; let us remember the princesses Trubetskoy and Volkonskaya, who remained devoted to their husbands, true to their duty.

The poet believes that it is precisely such women who should educate a new generation of Russian people, it is they who are able to pass on to their children all their life wisdom and spiritual beauty, to teach them to be tolerant and merciful. "Do not be afraid," the mother will say and, holding her child by the hand, she will lead him through life.

Do not be afraid of bitter oblivion:

Already I hold in my hand

Crown of love, crown of forgiveness

The gift of your meek homeland ...

It is not for nothing that Nekrasov calls the woman-mother the "long-suffering" mother of the "all-enduring Russian tribe." Such a woman in Nekrasov's poetry becomes a symbol home, native land, memories of which are always alive in the heart of a Russian person.

And with the same feeling that the lines about the saints, sincere "tears of poor mothers" are imbued with, the poet will speak about the "tears" of the Russian land:

I was called to sing of your suffering,

Patience amazing people!

And throw at least a single ray of consciousness

On the path that God leads you...

The poet is sincerely concerned about the fate of the people, who are capable of making not only stove pots, but also building railways, creating unique works of art. The poet himself was the greatest Citizen of his Fatherland. Until his last days, he sang the beauty of the Russian land, the beauty of the human soul. Nekrasov in his work continued to develop best traditions bequeathed to Russian literature by Ryleev, Pushkin, Lermontov. He believed in a beautiful future for Russia.

Do not be shy for the dear Fatherland ...

Took enough Russian people,

Carried out this railroad -

Will endure whatever the Lord sends!

Will endure everything - and wide, clear

He will pave the way for himself with his chest.

It's a pity to live in this beautiful time

Neither me nor you will have to.

Nekrasov's lyrics are an inexhaustible source life force and wisdom.

Conclusion

Nekrasov's poetry was a whole epoch in the development of Russian literature. His works had a huge impact on the formation of all democratic poetry of the second half of the 19th century, served as the basis for the formation of an entire poetic school, "Nekrasov school".

creative heritage Nekrasov is a precious page in the history of Russian literature. His works are dear and close to the modern reader, the traditions of Nekrasov poetry continue to live in the best poetic creations of Soviet poets today.

Bibliography

1. Skatov N.N. “I dedicated the lyre to my people”: On the work of Nekrasov. Book. For the teacher.-M.: Enlightenment, 1985.

2. Russian love lyrics of the XIX century.-M .: CJSC Publishing house EKSMO-Press, 1999

3. N.A. Nekrasov in the memoirs of his contemporaries.-M., 1971.

4. M. Boyko "Lyric of Nekrasov" Publishing House of Fiction 1977

5. "Live Pages" Publishing House Moscow "Children's Literature" 1974.

Tutoring

Need help learning a topic?

Our experts will advise or provide tutoring services on topics of interest to you.
Submit an application indicating the topic right now to find out about the possibility of obtaining a consultation.

Litra.ru

poetic world Nekrasov is surprisingly rich and varied. The talent generously bestowed on him by nature, and extraordinary diligence helped the poet to create such polyphonic and melodious lyrics.

Let's talk about the political, civil lyrics of Nekrasov. The meeting with V. G. Belinsky played a big role not only in the life, but also in the work of Nekrasov. The poet has no personal life without creativity, they are always interconnected. One is reflected in the other, influencing and interacting with each other. Under the direct influence of Belinsky's democratic ideas, the poet created wonderful poems: "Motherland", "Troika", "Before the rain", "I'm driving down a dark street at night ...", "Yesterday, at six o'clock ..."

The poem "Motherland" is largely autobiographical. The author, depicting the true events of life, which he was a witness, creatively rethinks them. This poem is inspired by childhood memories of life in Greshnev. It denounces serfdom, despotism, and the complete downtroddenness of the peasants. The poet describes the estate:

The theme of exposing serfdom and autocracy, love for common man, sympathy for the offended and oppressed runs like a red thread through all of Nekrasov's work. The poet managed to reflect all the horror and lawlessness of autocratic Russia in a very short, but surprisingly capacious poem:

The theme of Muse, woman, mother runs through all of Nekrasov's work, from the early poems "On the Road", "Troika", "Storm" to the mature works of the sixties and seventies "Frost, Red Nose", "Orina, Soldier's Mother", " Peddlers".

Nekrasov, as we have already noted, does not have purely love lyrics. It is all imbued with civic feeling. In the poem "The Poet and the Citizen" Nekrasov equates these two words, urging the poet to wake up from bliss and inaction, to join the struggle for the good of the people.

The poem is written in the form of a dialogue - a dispute between a citizen and a poet, who calls on a talented poet to raise his voice in defense of the destitute, the poor, the orphans. He will fulfill his duty if he alleviates the fate of at least one, but the poet is able to help thousands, he should not be silent:

The poet doubts the power of his forces, the possibility of manifesting these forces for the good of the Motherland. But the citizen inspires him to a feat in the name of the public good:

You may not be a poet.

But you have to be a citizen.

What is a citizen? This is a person who is responsible for everything that happens in the Motherland, experiences failures and rejoices in the achievements of the country. He wears her sores as his own. The poet dedicated many poems specific people, true fighters for the happiness of Russia: "In Memory of Belinsky", "Russian Writer", "Turgenev", "The Prophet", dedicated to Chernyshevsky. In them, the poet speaks of people spiritually close to him, like-minded people and comrades-in-arms in the struggle:

Many of Nekrasov's poems are devoted to the description of folk, village life. Nekrasov grew up on the Volga. The image of the great Russian river is constantly found in his works. Nekrasov's connection with his native land throughout his life constantly influenced his work:

The poem "Elegy" adequately completes Nekrasov's lyrics. In it the poet says that folk theme cannot become obsolete as long as there are unfortunate and destitute ones, position cannot turn away from this topic. It is impossible to embrace the immensity. And the lyrics of Nekrasov are full of water, like a river. We have touched on only a small part of it. Nekrasov reflected in his work all the diversity and complexity of life. His poetry is inexhaustible folk wisdom, and beautiful, like Russia, which he served, on the altar of which he laid down his talent and life.

“I dedicated the lyre to my people,” N. A. Nekrasov rightfully said about himself. The poet lived in an era of great transformations, when public political reforms demanded reforms in art, including poetry. Such a profound reform was, in essence, the work of N. A. Nekrasov, who turned poetry to face the people, filling it with a people's worldview and a living folk language. He is one of the first who paved the way for democratic poetry.

The theme of the poet and poetry

The theme of the purpose of the poet and poetry is traditional for Russian literature. It can be traced in the works of Derzhavin, Kuchelbeker, Ryleev, Pushkin, Lermontov. N. A. Nekrasov is no exception. If Kuchelbecker, Pushkin, the poet - "prophet" is above the crowd in the struggle for the ideals of freedom, goodness and justice, goes to people "to burn hearts with the verb", then Lermontov's prophet is already different: he runs away from people into the desert. Seeing their vices, he does not find the strength to fight. To the poet, Nekrasov is a prophet who was "sent to the people by the god of anger and sorrow", his path is thorny, because the poet goes this path with a punishing lyre in his hands, indignant and denouncing. The poet understands that it is impossible to win universal love in this way.

poetic manifesto poet became the poem "The Poet and the Citizen" (1856), written in the form of a dialogue between the poet and the reader - a citizen, a democrat in his convictions, who makes demands on the poet on behalf of the best people countries - these requirements meet the spirit of the time, the spirit of life itself:

Be a citizen! Serve the art

Live for the good of your neighbor

Subordinating your genius to feeling

All-embracing love...

Before us is not a duel between two opponents, but a mutual search for a true answer to the question of the role of the poet and the purpose of poetry in public life. The citizen convinces the poet that his role in the life of society is significant and requires from him not only artistic talent, but also civic convictions:

You may not be a poet

But you have to be a citizen.

The poem "Elegy" is a poetic testament of a citizen poet who has fulfilled his duty:

I dedicated the lyre to my people.

Perhaps I will die unknown to him,

But I served him - and my heart is calm ...

The theme of the people and the moral ideal

The people and the idea of public service became for Nekrasov the main cleansing force, a source of moral renewal, and spiritual support. “He seemed to be treated by the people,” K. Chukovsky will say about him. In 1845, Nekrasov's poem "On the Road" was published. It was a real shock to Russian poetry. Nekrasov made the peasant the main character lyric poem, depicting him as a person with an individual destiny. Thus, already in the first mature work of the poet, innovative tendencies appeared: a deep disclosure of the inner world of the peasant, a combination of individual and typical, epic elements, folk language, social criticism, novelty of ways of expressing the author's consciousness.

In order to understand himself, to illuminate in one way or another the history of his soul, the poet turns to childhood. The poem "Motherland" (1846) is an attempt to analyze the influence of serfdom on the formation of a child's soul. Despotism and slavery not only left terrible traces in the child's soul - they gave rise to hatred, resistance, the desire to escape from this world.

The very name given to the poem is not without poison, since native places are, first of all, the unbridled selfish life of masters and the vegetation of slaves crushed by fear and need. Such a homeland evokes bitter memories:

Not! in my youth, rebellious and severe,

There is no happy memory...

But not only the life of the Russian peasantry is described by Nekrasov, but also the life of the urban poor. He emphasizes the tragedy of urban everyday life and everyday life. In the poem “Reflections at the Front Door” (1858), Nekrasov speaks with anger and indignation about the fate of the people. Owner

"People's intercessors", "teachers of the people", "sowers" of truth are called to understand the needs of the people and lead them:

Sow reasonable, good, eternal...

The theme of intercession for the people is also heard in poems dedicated to the memory of Belinsky, Chernyshevsky, Dobrolyubov, Gogol. Nekrasov sings of their high moral qualities, wise mind and will. People's defenders-sufferers, bearing in themselves pain about a person, pain about Russia, make sacrifices for the common good. They are carried by by the "falling star", but without them "the field of life would have died out."

What is the key to future prosperity? Russian national character, the heroic forces of the people, which:

Will endure everything - and wide, clear

He will pave the way for himself with his chest ...

landscape lyrics

All Nekrasov's lyrics are imbued with a feeling of love not only for the Russian people, "whom limits are not set", but also for their native land, with its endless fields, green forests, harsh winters. Nekrasov's world is not only a "terrible" world, there is another side to it. Nekrasov's world of light and hope is connected primarily with nature.

Nekrasov's love for the fields and forests of his homeland originated in his early childhood. He admired his native Yaroslavl nature, the beauty of its green expanses ...

Nekrasov's description of spring in the poem " green noise»:

Like drenched in milk

stand cherry orchards,

Quietly noisy;

Warmed by the warm sun

The merry ones make noise

Pine forests…

AT landscape lyrics Nekrasov's pictures of nature either emphasize the suffering of the peasantry, or contrast with the oppressive pictures of people's lives. In the poem "Railway" pictures of autumn are beautiful:

Near the forest, as in a soft bed,

You can sleep - peace and space! -

The leaves have not faded yet,

Yellow and fresh lie like a carpet.

The landscape of the Russian land corresponds in Nekrasov's poetry to the scope of the Russian soul: the same infinity, breadth. Nature returns the "harmony of life."

love lyrics

Nekrasov's lyrics are largely autobiographical. In a cycle of poems addressed to his wife, Avdotya Yakovlevna Panaeva (“Amazed by an irretrievable loss ...”, “I don’t like your irony ...”, “Yes, our life flowed rebelliously ...”, etc.), the poet truthfully reveals their emotional experiences.

In love lyrics, the hero takes the blame for the onset of cooling, painfully repents of the break in relations, tragically experiencing the suffering of the woman he loves.

However, Nekrasov was able to merge his personal fate, personal tears in his poetry with the fate and tears of the whole people.

Poem by N. A. Nekrasov "The Poet and the Citizen". Pushkin tradition in the poem and the novelty of the question.

The theme of the poet, poetry, muse, probably, does not occupy such a place with any poet as with Nekrasov. It is important to see two aspects of this topic. On the one hand, Nekrasov is a successor to the traditions of civil lyrics, the Decembrist solution to the topic. In his program poem "The Poet and the Citizen" the words of the Citizen:

Even more ashamed in the hour of grief

The beauty of valleys, skies and seas

And sing sweet affection ...

coincide with the claims of Decembrist poetry to elegiac and love:

Is it love to sing where blood splatters? (V.F. Raevsky)

Love never comes to mind...

Alas, my Fatherland suffers! (K.F. Ryleev)

The theme of civic service (to be "a denouncer of the crowd, / Its passions and delusions") is also heard in the poem "Blessed is the gentle poet ...", dedicated to Gogol and developing lyrical

digression from Dead Souls. New is that complex feeling that develops from stanza to stanza in Nekrasov's poem - a feeling of hatred born of love. “Feeding his chest with hatred”, “He preaches love / with a hostile word of denial” and, finally, the final line: “And how he loved - hating”) - create an aphoristically vivid oxymoron image of love_hate. The poet Nekrasov is the opposite of those basic images of the poet,

which were created by the lyrics of the first half of the century - both to the elegiac free lucky man gifted with fate, betrayed by pensive creative laziness, and to the civil image of the prophet, called "by the verb to burn people's hearts." Both images embody the romantic antithesis of the poet and the crowd. Nekrasov opposes himself to the first:

Celebration of life - youth years -

I killed under the weight of labor

And a poet, a darling of freedom,

Another laziness - never been

and the second: the role of the prophet is given to the fighters_democrats ("In Memory of Dobrolyubov," The Prophet "), and Nekrasov does not separate himself, the poet, from the crowd.

I am from your bones and flesh,

A freaking crowd.

And his muse is created in contrast to the usual muse. The poem about her begins with a negative:

“No, the Muses of the tenderly singing and beautiful

I don’t remember sweet-voiced songs above me!

He retracts from Pushkin's poem about the muse “In my infancy, she loved me ...”, creating the image of her “unkind and unloved Muse, / Sad companion of the sad poor ...” In his Muse, the same contradictory combination of hatred and vindictiveness with love and tenderness, about which we have spoken before. In other verses, he will call her "the muse of vengeance and sorrow." And one more rapprochement and at the same time repulsion from Pushkin. In "Eugene Onegin" the muse appears not in some poetic convention, but in the reality of the female image - Tatyana: "And here she is in my garden / She appeared as a county lady, / With a sad thought in her eyes, / With a French book in her hands." And Nekrasov's muse is a woman, but by no means a "tender dreamer." In the poem "Yesterday at six o'clock ..." he creates the image of a young peasant woman betrayed by a shameful punishment, and calls her the sister of his muse. And in his last poems, he will return to this early (1848) image: “Not a Russian - he will look without love / At this pale, bloody, / Excised Muse with a whip ...” The lyrical hero is presented in Nekrasov’s lyrics no less vividly than at Lermontov. His voice with specific features of his life and personality sounds in the verses.