It was this deep faith in the people that helped the poet subject people's life to harsh and strict analysis, as, for example, in the finale of the poem "The Railway." The poet was never mistaken about the immediate prospects for revolutionary peasant liberation, but he also never fell into despair:
The Russian people have endured enough
He took out this railway too,
He will endure whatever the Lord sends!
Will bear everything - and a wide, clear
He will pave the way for himself with his chest.
It’s just a pity to live in this wonderful time
You won't have to - neither me nor you.
So, in an atmosphere of brutal reaction, when the faith in the people of their very intercessors was shaken, Nekrasov retained confidence in the courage, spiritual fortitude and moral beauty of the Russian peasant. After the death of his father in 1862, Nekrasov did not break ties with his native Yaroslavl-Kostroma region. Near Yaroslavl, he acquired the Karabikha estate and came here every summer, spending time on hunting trips with friends from the people. Following "Frost" appeared "Orina, the soldier's mother" - a poem glorifying maternal and filial love, which triumphs not only over the horrors of the Nikolaev soldiery, but also over death itself. “Green Noise” appeared with a spring feeling of renewal, “light breathing”; nature, which slept in winter, is revived to life, and the human heart, frozen in evil thoughts, thaws. The faith in the renewing power of nature, of which man is a part, born of peasant labor on the land, saved Nekrasov and his readers from complete disappointment during the difficult years of the triumph in state-owned Russia of “drums, chains, an ax” (“The heart is breaking from torment...”). At the same time, Nekrasov began creating “Poems dedicated to Russian children.” “The soul is healed through children,” said one of Dostoevsky’s favorite heroes. Turning to the world of childhood was refreshing and encouraging, cleansing the soul from the bitter impressions of reality. The main advantage of Nekrasov’s poems for children is genuine democracy: peasant humor and compassionate love for the small and weak, addressed not only to man, but also to nature, triumph in them. The good companion of our childhood was the mocking, slyly good-natured grandfather Mazai, the clumsy “general” Toptygin and the caretaker fawning around him, the compassionate Uncle Yakov, who gave the primer to the peasant girl. The end of the 60s turned out to be especially difficult for Nekrasov: the moral compromise he made in the name of saving the magazine aroused reproaches from all sides: the reactionary public accused the poet of self-interest, and spiritual like-minded people of apostasy. Nekrasov’s difficult experiences were reflected in the cycle of so-called “repentant” poems: “The enemy rejoices...”, “I will die soon...”, “Why are you tearing me apart...”. However, these verses do not fit into the unambiguous definition of “repentant”: they contain the courageous voice of the poet, filled with internal struggle, not removing accusations from himself, but branding with shame the society in which an honest person receives the right to life at the cost of humiliating moral compromises. The verses “Stuffy! Without happiness and will...” testify to the invariability of the poet’s civic convictions during these dramatic years. At the same time, in the late 60s, Nekrasov’s satirical talent blossomed. He completes the cycle “About the Weather”, writes “Songs about Free Speech”, poetic satires “Ballet” and “Recent Times”. Using sophisticated techniques of satirical exposure, the poet boldly combines satire with high lyricism, and widely uses polymetric compositions - a combination of different sizes - within one work. The pinnacle and result of Nekrasov’s satirical work was the poem “Contemporaries,” in which the poet denounces new phenomena in Russian life associated with the rapid development of capitalist relations. In the first part, “Anniversaries and Triumphants,” the motley picture of anniversary celebrations in the corrupted bureaucratic tops is satirically recreated; in the second, “Heroes of Time,” robbers-plutocrats, assorted predators born of the “age of iron roads,” find their voice. Nekrasov astutely notices not only the predatory, anti-people essence, but also the inferior, cowardly traits in the characters of the rising Russian bourgeoisie, which in no way fit into the classical form of the European bourgeoisie.
Poems about the Decembrists
The beginning of the 70s was an era of another social upsurge associated with the activities of the revolutionary populists. Nekrasov immediately caught the first symptoms of this awakening. In 1869, he came up with the idea for the poem “Grandfather,” which was created for a young reader. The events of the poem date back to 1856, when an amnesty was declared for political prisoners and the Decembrists received the right to return from Siberia. But the time of action in the poem is quite arbitrary. It is clear that we are also talking about modernity, that the expectations of the Decembrist grandfather - “they will soon give them freedom” - are aimed at the future and are not directly related to the peasant reform. For censorship reasons, the story about the Decembrist uprising sounds muted. But Nekrasov artistically motivates this subduedness by the fact that the grandfather’s character is revealed to his grandson Sasha gradually, as the boy (*193) grows up. Gradually, the young hero is imbued with the beauty and nobility of his grandfather’s people-loving ideals. The idea for which the Decembrist hero gave his entire life is so lofty and sacred that serving it makes complaints about one’s personal fate inappropriate. This is exactly how the hero’s words should be understood: “Today I have come to terms with everything that I have suffered forever!” The symbol of his vitality is the cross - “the image of the crucified God” - solemnly removed from his neck by his grandfather upon his return from exile. Christian motifs coloring the personality of the Decembrist are intended to emphasize the folk character of his ideals. The central role in the poem is played by the grandfather's story about the migrant peasants in the Siberian settlement of Tarbagatai, about the enterprise of the peasant world, about the creative nature of people's, community self-government. As soon as the authorities left the people alone and gave the peasants “land and freedom,” the artel of free cultivators turned into a society of people of free and friendly labor, achieved material abundance and spiritual prosperity. The poet surrounded the story about Tarbagatai with motifs of peasant legends about the “free lands,” trying to convince readers that socialist aspirations live in the soul of every poor man. The next stage in the development of the Decembrist theme was Nekrasov’s appeal to the feat of the Decembrist wives, who followed their husbands to hard labor in distant Siberia. In the poems “Princess Trubetskaya” and “Princess Volkonskaya” Nekrasov discovers in the best women of the noble circle those qualities of national character that he found in the peasant women of the poems “Peddlers” and “Frost, Red Nose”. Nekrasov's works about the Decembrists became facts not only of literary, but also of social life. They inspired revolutionary youth to fight for people's freedom. Honorary academician and poet, famous revolutionary populist N. A. Morozov argued that “the general movement of student youth among the people did not arise under the influence of Western socialism,” but that “its main lever was the populist poetry of Nekrasov, which everyone read in adolescence. which gives the most powerful impressions."
Nekrasov's lyrics from the 70s
In his later work, Nekrasov the lyricist turns out to be a much more traditional, literary poet than in the 60s, for now he is looking for aesthetic and ethical support not so much on the paths of direct access to people's life, but in turning to poetic traditions of their great predecessors. Poetic images in Nekrasov's lyrics are updated: they become more capacious and generalized. A kind of symbolization of artistic details occurs; from everyday life the poet rapidly takes off to a broad artistic generalization. Thus, in the poem “To Friends,” a detail from peasant everyday life—“wide folk bast shoes”—acquires poetic ambiguity and turns into an image-symbol of working peasant Russia.
Old themes and images are rethought and given new life. In the 70s, Nekrasov again turned, for example, to comparing his Muse with a peasant one, but did it differently. In 1848, the poet took Muse to Sennaya Square, showed, not disdaining terrible details, the scene of a young peasant woman being beaten with a whip, and only then, turning to Muse, said: “Look! / Your dear sister” (“Yesterday, at about six o’clock.. "). In the 70s, the poet compressed this picture into a capacious poetic symbol, omitting all the narrative details, all the details.
Folk life in Nekrasov's lyrics of the 70s is depicted in a new way. If earlier the poet approached the people as closely as possible, capturing all the diversity, all the diversity of unique folk characters, now the peasant world in his lyrics appears in an extremely generalized form. This is, for example, his “Elegy” addressed to young men:
Let changing fashion tell us,
That the old theme is "the suffering of the people"
And that poetry should forget her,
Don't believe it, boys! she doesn't age.
The opening lines are Nekrasov's polemical rebuke to the official views that were spreading in the 70s, which claimed that the reform of 1861 finally resolved the peasant question and directed people's life along the path of prosperity and freedom. This assessment of the reform, of course, also penetrated into the gymnasiums. The younger generation was instilled with the idea that the theme of popular suffering had now become obsolete. And if a high school student read Pushkin’s “Village,” its accusatory lines related in his mind to the distant pre-reform past and were in no way connected with the present. Nekrasov decisively destroys such a “cloudless” view of the fate of the peasantry in “Elegy”:
Alas! bye peoples
They languish in poverty, submitting to the whips,
Like skinny herds across mown meadows,
The Muse will mourn their fate and serve them...
Resurrecting the poetic world of “The Village” in “Elegy,” Nekrasov gives both his own and Pushkin’s old poems an enduring, ever-living and relevant meaning. Relying on generalized Pushkin images, Nekrasov in “Elegies” moves away from everyday descriptions, from specific, detailed facts and pictures of people’s grief and poverty. The purpose of his poems is different: it is important for him now to prove the correctness of the poet’s very appeal to this eternal topic. And the old, archaic, but consecrated by Pushkin himself corresponds to this high task.
Creative story "Who can live well in Rus'"
Genre and composition of the epic poem. The answer to this question is contained in Nekrasov’s final work, “Who Lives Well in Rus'.” The poet began work on the grandiose plan of a “people's book” in 1863, and ended up terminally ill in 1877, with a bitter awareness of the incompleteness and incompleteness of his plan: “One thing I deeply regret is that I did not finish my poem “Who Should Live in Rus'?” good." It “should have included all the experience given to Nikolai Alekseevich by studying the people, all the information about them accumulated ... “by word” for twenty years,” recalled G. I. Uspensky about conversations with Nekrasov. ( *197) However, the question of the “incompleteness" of “Who Lives Well in Rus'" is very controversial and problematic. Firstly, the poet’s own confessions are subjectively exaggerated. It is known that a writer always has a feeling of dissatisfaction, and the larger the plan, the more acute it is. Dostoevsky wrote about The Brothers Karamazov: “...I myself think that not even one tenth of it was possible to express what I wanted.” But on this basis, do we dare to consider Dostoevsky’s novel a fragment of an unrealized plan? It's good to live in Rus'." Secondly, “Who Lives Well in Rus'” was conceived as an epic, that is, a work of art depicting with the maximum degree of completeness an entire era in the life of the people. Since folk life is limitless and inexhaustible in its countless manifestations, epic in any variety (poem-epic, novel-epic) is characterized by incompleteness and incompleteness. This is its specific difference from other forms of poetic art.
This tricky song
He will sing to the end of the word,
Who is the whole earth, baptized Rus',
It will go from end to end.
Her Christ-pleaser himself
He hasn’t finished singing - he’s sleeping in eternal sleep, -
This is how Nekrasov expressed his understanding of the epic plan in the poem “Peddlers.” The epic can be continued indefinitely, but it is also possible to put an end to some high segment of its path. When Nekrasov felt the approach of death, he decided to expand the second part of the poem “The Last One” as a finale, supplementing it with the continuation “The Feast for the Whole World,” and specifically indicated that “The Feast” follows “The Last One.” However, the attempt to publish “A Feast for the Whole World” ended in complete failure: the censor did not let it pass. Thus, the epic did not see the light in its entirety during Nekrasov’s lifetime, and the dying poet did not have time to make orders regarding the order of its parts. Since “The Peasant Woman” still had the old subtitle “From the third part,” K.I. Chukovsky after the revolution published the poem in the following order: “Prologue. Part One,” “The Last One,” “A Feast for the Whole World,” “The Peasant Woman.” The "Feast" intended for the finale ended up being inside the epic, which met with reasonable objections from connoisseurs of Nekrasov's work. Then P. N. Sakulin made a convincing argument. K.I. Chukovsky, agreeing with his point of view, used the following order in all subsequent editions: “Prologue. Part One,” “Peasant Woman,” “Last One,” “Feast for the Whole World.” A.I. Gruzdev spoke out against it. Considering “The Feast” an epilogue and following the logic of the subtitles (“The Last One. From the second part”, “The Peasant Woman. From the third part”), the scientist proposed publishing the poem as follows: “Prologue. Part One”, “The Last One”, “The Peasant Woman”, “The Feast - for the whole world." In this sequence, the poem was published in the fifth volume of the Complete Works and Letters of N. A. Nekrasov. But this arrangement of parts is not indisputable: the poet’s special instructions that “The Feast” directly follows “The Last One” and is a continuation of it are violated. The disputes have reached a dead end, a way out of which is only possible if any unknown wishes of Nekrasov himself are found.
But, on the other hand, it is noteworthy that this dispute itself involuntarily confirms the epic nature of “Who Lives Well in Rus'.” The composition of the work is built according to the laws of classical epic: it consists of separate, relatively autonomous parts and chapters. Outwardly, these parts are connected by the theme of the road: seven truth-seekers wander around Rus', trying to resolve the question that haunts them: who can live well in Rus'? In the "Prologue" there seems to be a clear outline of the journey - meetings with the priest, the landowner, the merchant, the minister and the tsar. However, the epic lacks a clear and unambiguous sense of purpose. Nekrasov does not force the action and is in no hurry to bring it to an all-resolving conclusion. As an epic artist, he strives for a complete recreation of life, for revealing the entire diversity of folk characters, all the indirectness, all the meandering of folk paths, paths and roads. The world in the epic narrative appears as it is: disordered and unexpected, devoid of linear movement. The author of the epic allows for “digressions, trips into the past, leaps somewhere sideways, to the side.” According to the definition of the modern literary theorist G.D. Gachev, “an epic is like a child walking through the cabinet of curiosities of the universe: his attention was attracted by one hero, or a building, or a thought - and the author, forgetting about everything, plunges into it; then he was distracted by another - and he just as completely surrenders to it. But this is not just a compositional principle, not just the specificity of the plot in the epic... The one who, while narrating, makes a “digression”, lingers unexpectedly for a long time on (*199) this or that subject; he , who succumbs to the temptation to describe both this and that and is choked with greed, sinning against the pace of the narrative, thereby speaks of the wastefulness, the abundance of being, that he (being) has nowhere to rush.In other words: he expresses the idea that being reigns over the principle of time (while the dramatic form, on the contrary, emphasizes the power of time - it is not for nothing that, it would seem, only a “formal” demand for the unity of time was born there). The fairy-tale motifs introduced into the epic “Who Lives Well in Rus'” allow Nekrasov to freely and easily deal with time and space, easily transfer the action from one end of Russia to the other, slow down or speed up time according to fairy-tale laws. What unites the epic is not the external plot, not the movement towards an unambiguous result, but the internal plot: slowly, step by step, the contradictory but irreversible growth of national self-awareness, which has not yet come to a conclusion, is still on the difficult roads of quest, becomes clear. In this sense, the plot-compositional looseness of the poem is not accidental, but deeply meaningful: it expresses through its disorganization the variegation and diversity of people’s life, which thinks about itself differently, evaluates its place in the world, its destiny in different ways. In an effort to recreate the moving panorama of folk life in its entirety, Nekrasov uses all the richness of folk culture, all the diversity of oral folk art. But the folklore element in the epic also expresses the gradual growth of national self-awareness: the fairy-tale motifs of the “Prologue” are replaced by the epic epic, then by lyrical folk songs in “The Peasant Woman”, finally, by the songs of Grisha Dobrosklonov in “A Feast for the Whole World”, striving to become folk songs and already partially accepted and understood by the people. The men listen to his songs, sometimes nod their heads in agreement, but he has not yet sung the last song “Rus” to them.
But the wanderers did not hear the song “Rus”, which means they still did not understand what the “embodiment of people’s happiness” was. It turns out that Nekrasov didn’t finish his song not only because death got in the way. People’s life itself (*200) did not finish singing his songs in those years. More than a hundred years have passed since then, and the song begun by the great poet about the Russian peasant is still being sung. In "The Feast" only a glimpse of the future happiness is outlined, which the poet dreams of, realizing how many roads lie ahead before its real embodiment. The “incompleteness” of “Who Lives Well in Rus'” is fundamental and artistically significant as a sign of a folk epic. “Who Lives Well in Rus'” both as a whole and in each of its parts resembles a peasant lay gathering, which was the most complete expression of democratic people's self-government. At such a gathering, residents of one or several villages resolved all issues of common, worldly life. The gathering had nothing in common with a modern meeting. The chairman leading the discussion was absent. Each community member, at will, entered into a conversation or skirmish, defending his point of view. Instead of voting, the principle of general consent was in effect. The dissatisfied were convinced or retreated, and during the discussion a “worldly verdict” matured. If there was no general agreement, the meeting was postponed to the next day. Gradually, during heated debates, a unanimous opinion matured, agreement was sought and found. Nekrasov’s entire epic poem is a flaring up worldly gathering that is gradually gaining strength. He reaches his peak in the final "Feast for the whole world." However, a general “worldly verdict” still does not occur. Only the paths to it are outlined, many initial obstacles have been removed, and on many points a movement towards general agreement has been identified. But there is no conclusion, life has not stopped, gatherings have not stopped, the epic is open to the future. For Nekrasov, the process itself is important here; it is important that the peasantry not only thought about the meaning of life, but also set out on a difficult and long path of truth-seeking. Let's try to take a closer look at it, moving from "Prologue. Part One" to "Peasant Woman", "Lastborn" and "Feast for the Whole World".
GBOU secondary school No. 36
Sevastopol
Literature 6th grade
Topic: N.A. Nekrasov The poet's civic position.
The theme of folk labor and “women’s share” are the main ones in the poet’s work. (“The village suffering is in full swing...”,
“Great feeling. At every door...")
Prepared the lesson
teacher of Russian language and literature
Krapko Svetlana Fedorovna
Literature 6th grade
Lesson topic: N. A. Nekrasov The poet’s civic position. The theme of folk labor and “women’s share” are the main ones in the poet’s work. (“The village suffering is in full swing..”, “A great feeling. At every door...”)
Epigraph: “I dedicated the lyre to my people” (N. A. Nekrasov)
Target:
To identify the artistic idea of the poems, the civic position of N. A. Nekrasov, manifested in the poet’s sympathetic attitude towards the fate of the Russian woman - the mother;
Develop skills in expressive reading, multi-level analysis of lyrical text, lexical work;
To develop moral and aesthetic ideas of students in the process of identifying the artistic idea of works, the lexical meaning of the word “citizen”.
Tasks:
Organize work to identify the artistic idea of the poem, the civic position of N. A. Nekrasov, manifested in the poet’s sympathetic attitude to the fate of the Russian woman - a peasant woman, a woman - a worker, a woman - a mother;
To promote the formation of skills in analyzing a poetic work, as well as expressive reading skills;
To create favorable conditions for nurturing patriotic feelings through Nekrasov’s poem, as well as interest in literature, art, and music.
Planned results:
Subject:
Understanding the key issues of the 19th century work being studied;
The ability to understand and formulate the theme, idea, moral pathos of poems;
Ability to answer questions based on the text read;
Create monologue statements;
Understanding the Russian word and its aesthetic function.
Metasubject:
Ability to independently plan ways to achieve goals;
Formation and development of competence in the field of use of information and communication technologies;
Personal:
Formation of ideas about the social values of humanism;
Moods of doubt, anxiety;
The feeling of catastrophism in the late lyrics of N. A. Nekrasov;
Equipment: multimedia presentation.
During the classes
1. Organizational moment.
Readiness for the lesson is checked.
2.Checking homework.
Teacher: guys, you needed to remember at home what is typical for the works of CNT. What words are typical for CNT?
Children: words with diminutive and affectionate suffixes,epithets, colloquial and colloquial words, interjections.For example : oak forest, meadow, spruce forest, path; epithets:violent little head,cute buddy, falconclear….
Teacher: At home you wrote a thesis plan based on a textbook article about Nikolai Alekseevich Nekrasov. (several works are checked).
Teacher: Let's do a little vocabulary work. The key word for Nekrasov is citizen.
Children: read out concepts from Ozhegov’s dictionary.
Teacher: Let's continue the list of words:
Children: patriotism; love for native nature; native land, to a Russian woman - mother.
Teacher: citizen in the lyrics of Nekrasov N. A. - “The Fatherland is a worthy son”; a person who cannot remain indifferent at the sight of people's suffering and disasters.
3.Updating basic knowledge.
Teacher: Let's remember how prose differs from poetry?
Children: A poem is speech subject to rhyme, rhyme, and meaning. Prose is speech that moves freely from sentence to sentence.
Teacher: How is the poem read?
Children: in whole words, you need to understand, feel, convey with your voice. Themes, timbre, coloring, gestures, and facial expressions are typical for reading poetry.
Teacher: Well done.
Physical education minute
4.Studying a new topic.
Teacher: Guys, what new things will we learn in class?
Children: We will get acquainted with the poems of N. A. Nekrasov, learn to understand and analyze them.
Teacher: our goals for the lesson:
Children: identify the artistic idea of the poems “The village suffering is in full swing” and others. Learn to read expressively.
Teacher: a word about the poet.
Teacher : A portrait of the poet is projected.
Children: a word about the poet.
Nikolai Alekseevich Nekrasov (1821 – 1877) is a poet whose popularity at one time eclipsed Pushkin himself. This is largely explained by the fact that Nekrasov made the people, their bitter lot, their long-suffering fate, the main theme of his poetry. Nekrasov is a man of his time. No one but him was able to express with such force the main anxiety of the era - anxiety for the fate of his country, which was understood as the fate of a multi-million people. Whatever side of life the poet touched, everywhere he saw human suffering with tears, injustice and cruelty towards the people, be it a city street, a hospital for the poor, a railway embankment or an uncompressed strip outside a village.
Teacher: Even as a child, loving the Volga, seeing barge haulers, Nekrasov’s heart sank (the slide “Barge Haulers” is projected) with pity for the suffering and pain of people. And today we get acquainted with the poem “The village suffering is in full swing” (listen to the audio recording).
Children: at the same time follow the textbook (page 7 part 2).
Teacher: many artists painted paintings on this topic. One of them is Alexey Gavrilovich Venetsianov (slide “At the Harvest. Summer”)
Children: message about the artist.
Alexey Gavrilovich Venetsianov (1780 – 1847) is one of the founders of the everyday genre in Russian painting. It was during this period that such masterpieces as “On arable land” appeared. Spring", "At the harvest. Summer.". the working peasants in Venetsianov’s canvases are beautiful and full of nobility. In the film “On the arable land. Spring." the theme of labor is intertwined with the theme of motherhood, with the theme of the beauty of native nature. The artist’s best and most artistically perfect genre painting is “At the Harvest. Summer" is distinguished by its lyrical and epic perception of the surrounding reality. If in the first painting A.G. Venetsianov depicted a spring landscape with wide expanses of fields, the first shoots of foliage, light clouds in the blue sky, then in the second the artist made one feel the height of the Russian summer - the time of village suffering - with sparkling golden fields, a sultry sky. Both canvases are painted with light, clear colors.
Teacher: how consonant Venetsianov’s paintings are with Nekrasov’s poems. Guys, what were your initial impressions of the poem? To whom does the poet dedicate the poem?
Children: Russian woman - peasant.
Teacher: What kind of Russian woman do you imagine - a peasant woman?
Children: Nekrasov’s poem “The village suffering is in full swing...” talks about the difficult lot of a Russian woman, mother, and peasant woman.
This theme is generally characteristic of Nekrasov’s work; its emergence is explained biographically. The poet grew up in a family where the father was a “domestic tyrant” who tormented his mother. Since childhood, Nekrasov saw the suffering of his beloved women, his mother and sister.
Teacher: the poem is dated 1862. In 1861, a reform was carried out in Russia that abolished serfdom. The crisis of the serfdom system and peasant unrest, which especially intensified during the war, forced the government to abolish serfdom. Has anything changed in the fate of the Russian peasant woman?
Children: Nekrasov’s poem “The village suffering is in full swing” talks about the difficult lot of a Russian woman. Peasant work is hard. I had to work especially hard during the busy season.
What lines contain the main theme of the poem?
Children: It would be hard to find a Russian female share.
Teacher: what is the image of the mother in these lines?
Children: the image of a long-suffering mother.
Teacher: what did the poet want to show? What is the idea of the poem?
Children: A Russian woman will endure anything.
Teacher: (followed by the children’s expressive reading of a fragment of the poem from the words “The heat is unbearable: a treeless plain” to the words “It stings, tickles, buzzes!”)
Children read
Teacher: find words that are consonant in intonation with the words of the all-enduring, long-suffering one. What feeling is conveyed in this fragment?
Children: The peasant woman is exhausted. The sun is beating down mercilessly, sweat is flowing like a hail, but you can’t rest - you need to complete the work on time.
Teacher: the tension that arose in the first three lines is preserved in the sound of the words “mercilessly”, “stings”, “tickles”, “buzzes”. The sounds “sch” in combination with “zh” create a feeling of the presence of an oppressive force from which there is no escape, like annoying insects.
Children: expressive reading of the fragment from the words “Lifting a heavy roe deer” to the words “We need to rock the child!”
Teacher: How does the vocabulary change in these three lines? What is the image of the peasant woman recreated in these lines? How is the author's position manifested in them?
Children: colloquial words "baba". “roe deer”, words with diminutive suffixes “nozhenka”, “polosynka”, “kerchief” make the image of the peasant woman concrete and speak of the author’s sympathetic attitude.
Children: expressive reading of the final part of the poem from the words “Why did you stand over him in stupor?” to the words “With sour kvass to the floor..?”
Teacher: what is the intonation of this part? How is the author's position manifested?
Children: the poet bitterly ironizes the long-suffering of the Russian people. The word “mother” appears again, indicating maximum generalization.
Teacher: and in the last two quatrains the heroine again becomes an ordinary peasant woman, drinking sour kvass from a jug with salty tears. Her four faces become distinct and represent a collective image of a Russian peasant woman, exhausted by hard work and poverty.
Teacher: Which works are similar to N.A.’s poem? Nekrasova repetitions, words with diminutive suffixes, colloquial words? We talked about this at the beginning of the lesson.
Children: repetitions of “Share you! - Russian female dolyushka!”, “Sing him a song about eternal patience, Sing patient mother!”...), diminutive suffixes and colloquial words and forms (“dolyushka”, “roe deer”, “nozhenka”, “polosynka”, “ disheveled”, “kerchiefs”) make Nekrasov’s poem similar to works of oral folk art.
Teacher: How are the feelings of the poet-citizen manifested in the final lines of the poem? The poem “In full swing...” in 1862, after the abolition of serfdom. However, nothing changed in the fate of the Russian peasant woman. Bitterly - the ironic intonation of N. A. Nekrasov’s poem tells us that the peasant woman will not soon be happy. Only a person who cannot remain indifferent at the sight of the suffering and disasters of the people could write about a Russian woman in this way.
5. Let's get acquainted with another poem by the poet.
Teacher: (slide) analysis of the poem “Great feeling! at every door..."
Appeal to the portrait of N.A. Nekrasov by I.N. Kramskoy. at the beginning of 1877 Nekrasov was seriously ill and his days were numbered. Everyone who cared about Russian literature perceived the poet’s illness as a deep personal grief. Pavel Mikhailovich Tretyakov highly appreciated his work. Just in the 70s, he set himself the noble goal of collecting portraits of outstanding people of Russia, including Nekrasov. The serious condition of the sick poet forced him to hurry. Tretyakov made a request to I.N. Kramskoy, who happily accepted Tretyakov’s offer. Observing the poet every day, Kramskoy witnessed his terrible suffering, but he was shocked not so much by the physical torment of the sick poet, but by the creative fire that did not go out in Nekrasov. After all, it was in the last two years of his life, already realizing his doom, that the poet created a cycle of wonderful poems “Last Songs” (1877). Work on the painting took a long time. The artist did not stop it even after Nekrasov’s death. The illness brought Nekrasov to complete exhaustion of his physical strength, but these signs of a serious illness do not determine the main thing that the artist wanted to convey. The poet’s spiritual strength, unbroken by mortal illness, triumphs over physical weakness. In the memory of his descendants he will remain an ardent poet and citizen.
Teacher: expressive reading of the poem “Great feeling! At every door...” Poems by N. A. Nekrasov of the 70s. more than ever, full of moods of doubt, anxiety, and sometimes even pessimism.
Teacher: Guys, let's summarize the lesson.
6. Reflection.
Teacher: Guys, complete the sentence with a conclusion about today's lesson.
Today in class I learned...
Worked best in class...
I can praise my classmates for...
I can praise myself for...
Through my work in class I...
Today's lesson was...
I'm in the mood...
7.Homework.
Page 7 (part 2)
By heart the poem “The village suffering is in full swing.” For those who find it difficult, learn the passages.
Essentially, Nekrasov is the first “civil poet” in Rus', consciously and freely, by virtue of internal motivation, subordinating his lyre to the goals of civil service. Only partially his predecessor can be called Lermontov, several of whose poems are imbued with the anger and caustic ridicule of the satirical poet. But Lermontov’s own inner world of creativity was too great and forced him to respond not to the “evenings of the day” in the life around him, but to the most important facts of his spiritual creative life. In the same way, Fet, Tyutchev, Maikov, Al. Tolstoy, Shcherbina and others in their lyrics reflected their own inner life: ideas, artistic images, feelings and moods that flashed in the soul. On the contrary, Nekrasov did not withdraw into his personal inner life, but, as it were, made his soul a mirror of the life around him. Facts, tragic or funny, of everyday human life aroused in him either burning indignation and pain, or joy, and served as stimulants for creative work.
Portrait of Nikolai Alekseevich Nekrasov. Artist N. Ge, 1872
In the poem " Poet and citizen"Nekrasov defines the poet's tasks as follows:
Be a citizen! Serving art
Live for the good of your neighbor,
Subordinating your genius to feeling
All-embracing love!
Nekrasov’s muse sensitively listens to human life, to human grief, to the disadvantaged, the humiliated, the unfortunate, who in the torments of life curse both their lot and their life.
Nekrasov’s muse is “The Muse of Revenge and Sorrow”, she does not know tender and beautiful songs, but in response to the groans and sobs of people she makes passionate and sobbing sounds. The poet himself says:
No, the muses tenderly singing and beautiful
I don’t remember the sweet-voiced song above me...
...Sooner the bonds weighed heavily on me
Another unkind and unloved muse,
The sad companion of the sad poor,
Born for labor, suffering and fetters.
And we see that in all his significant works the theme is essentially the same - the suffering of people. The poet is distinguished by his extraordinary sensitivity to the suffering of others, he is gifted with a particularly acute sense of human suffering, and these feelings overshadow his completely personal inner life and force him to surrender entirely to the elements of human life, to serve this life with his pen, his soul.
In response to the groans of the tormented and disadvantaged, the poet’s muse makes sounds of indignation and arms herself with caustic, flagellating satire. The poet, with a sensitive loving soul, has to seem eternally formidable and punishing; he holds in his hands not a branch of peace, but a sword of reproof and anger. Hence the sad thorns in the fate of such a poet, depicted by Nekrasov in a poem dedicated to
Nekrasov the lyricist turns out to be a much more traditional, literary poet than in the 60s, for now he is looking for aesthetic and ethical support not so much in the ways of direct access to people's life, but in turning to the poetic tradition of his greats predecessors. Poetic images in Nekrasov's lyrics are updated: they become more capacious and generalized. A kind of symbolization of artistic details occurs; from everyday life rapidly soars to broad artistic generalization. Thus, in the poem “To Friends,” a detail from peasant everyday life—“wide folk bast shoes”—acquires poetic ambiguity and turns into an image-symbol of working peasant Russia.
Old themes and images are rethought and given new meaning. In the 70s, Nekrasov again turned, for example, to comparing his Muse with a peasant one, but did it differently. In 1848, the poet took Muse to Sennaya Square, showed, not disdaining terrible details, the scene of a young peasant woman being beaten with a whip, and only then, turning to Muse, said: “Look! / Your dear sister” (“Yesterday, around six o’clock…”). In the 70s, the poet compressed this picture into a capacious poetic symbol, omitting all the narrative details, all the details.
Folk life in Nekrasov's lyrics of the 70s is depicted in a new way. If earlier the poet approached the people as closely as possible, capturing all the diversity, all the diversity of unique folk characters, now the peasant world in his lyrics appears in an extremely generalized form. This is, for example, his “Elegy” addressed to young men:
Let changing fashion tell us,
That the old theme is “the suffering of the people”
And that I should forget her,
Don't believe it, boys! she doesn't age.
The opening lines are Nekrasov's polemical rebuke to the official views that were spreading in the 70s, which claimed that the reform of 1861 finally resolved the peasant question and directed people's life along the path of prosperity and freedom. This assessment of the reform, of course, also penetrated into the gymnasiums. The younger generation was instilled with the idea that the theme of popular suffering had now become obsolete. And if a high school student read Pushkin’s “Village,” its accusatory lines related in his mind to the distant pre-reform past and were in no way connected with the present. Nekrasov decisively destroys in “Elegy” such a “cloudless” view of the fate of the peasantry:
…Alas! bye peoples
They languish in poverty, submitting to the whips,
Like skinny herds across mown meadows,
The Muse will mourn their fate and serve them...
Resurrecting the poetic world of “The Village” in “Elegy,” Nekrasov gives both his own and Pushkin’s old poems an enduring, ever-living and relevant meaning. Relying on generalized Pushkin images, Nekrasov in “Elegies” moves away from everyday descriptions, from specific, detailed facts and pictures of people’s grief and poverty. The purpose of his poems is different: it is important for him now to prove the correctness of the poet’s very appeal to this eternal topic. And the old, archaic, but consecrated by Pushkin himself corresponds to this high task.
Need a cheat sheet? Then save - "Nekrasov's lyrics from the 70s. Literary essays!In the 70s The structure of Nekrasov's poetry tends towards conciseness and laconicism. Naked, merciless facts are presented through condensed subjectivity, newspaper information content, literalness, turning into allegory - in order to emphasize the terrible thing that happened. in the modern world with a living soul. (The prostitute hurries home at dawn, leaving her bed. The officers in a hired carriage are galloping out of town, there will be a duel (“Morning”)).
Dying, the poet could not sum up his life's journey. The problem of relations with the people appears as unresolved, facing the future, as beautiful, as a dream: “Sleep, patient sufferer! You will see your homeland free, proud and happy, bye-bye-bye...”
The “Last Songs” cycle creates an image of a multifaceted world. The Muse, the mother, human anger, and the passing life bring their verdict to the homeland and the poet.
In the poems of recent years (“A Terrible Year”, “Despondency”, “To the Poet”, “Imitation of Schiller”, a poem by contemporaries”) the firm voice of a man and a poet rises, confident in his need and rightness: “I dedicated the lyre to my people..!
Nekrasov's lyrics of the last period are one of the highest artistic achievements of his poetry. Thus, “Elegy” (1874), which is one of the most important aesthetic manifestos of the poet, begins with an open appeal to the younger generation:
Let changing fashion tell us,
That the old theme is “the suffering of the people”
And that poetry should forget her,
Don't believe it, boys! she doesn't age.
During these years, N. was an active participant in the revolutionary-democratic camp, waging a stubborn struggle for the triumph of the peasant revolution. But this is a struggle. despite all its bitterness, it ended in the defeat of the revolutionary movement. Chernyshevsky was exiled to distant Siberia, the organs of revolutionary journalism were closed, the movement “to the people” was destroyed. “The honest ones who fell valiantly fell silent, Their lonely voices fell silent, Crying for the unfortunate people...” In this new and deeply tragic situation, N. is tormented by the fact that he is weak, that he cannot share the fate of his friends. He speaks tirelessly about his weakness both in the poem “To an Unknown Friend”, and in the tragic answer to the “frenzied crowd” branding him for “servile sins”, and in his dying elegies. N. is tormented by the tragedy of his isolation from the people: “I am dying as alien to the people as I began to live.” This idea was, of course, incorrect, because all of N.’s activities were along the lines of protecting peasant interests, but it was fueled by the deep contradictions of the revolutionary movement itself.
By this time, Nekrasov had fully developed as a poet - a poet of Russian revolutionary democracy and a great innovator who managed to create democratic and folk poetry not only in content, but also in form. Loyalty to the traditions of the 1860s, which Nekrasov retained until the end of his days, explains one of the most characteristic features of his poetic appearance - an inextricable connection with the modern Russian social movement, sensitive responsiveness to its requests.
In some of his poems there are direct echoes of revolutionary events. Thus, “The Traveler” reflected the impressions of the Dolgushin trial, “The Prophet” is dedicated to Chernyshevsky, “The Terrible Year” and “The Honest, the Valiantly Fallen have fallen silent...” were written under the impression of the events associated with the Paris Commune.
But there are few such poems: for a writer published on the pages of a legal magazine, the possibilities of a direct response to revolutionary events are extremely limited; they could only be touched upon occasionally and in a purely encrypted form.
Particularly indicative in this regard are the poems created during the years of the rise of the populist movement. By 1874, the year when “going to the people” acquired the greatest scope, in addition to the four just named, a number of remarkable works about the destinies of the people belonged - the poem “Despondency”, “Volga true story”, “The Grief of Old Nahum” , the famous "Elegy (A.N.E<рако>wu)", as well as the poems "To the Departing One", "Overnight", "On the Mow", "To the Poet".
In 1876--1877 gg. Populism is experiencing an acute crisis after the failures of “going to the people”, questions about the ways and methods of further revolutionary propaganda are being discussed, a new period of revolutionary struggle is beginning, the period of “Land and Freedom”. At this time, Nekrasov’s poems also appeared, related to the events and demands of the populist movement, the moods of the revolutionary youth of those years: “To the Sowers,” “Young Horses,” “To the Idle Youth,” “Excerpt,” “You Are Not Forgotten...”, “ What's new?", "Prayer service", "Rus' has something to be proud of...". “A Feast for the Whole World”, the last part of the poem “Who Lives Well in Rus'”, and the wonderful unfinished plans of the last year of the poet’s life (the poems “Mother”, “Ershov the Doctor”, “Name and Family”) should be perceived along with them. ...").
The volume ends with a masterpiece of Nekrasov's lyricism - "The Last Songs", a cycle created on his deathbed, a kind of lyrical diary of a dying poet and his poetic testament. “Last Songs” is the highest example of that organic combination of the personal, intimate with the public, civil, which has always been characteristic of Nekrasov. Neither physical nor moral suffering could drown out his thoughts about Russia and its people, about the Russian liberation movement, about the fate of his own poetry.
70s- poems about the Decembrists “Grandfather”, Russian women - Princess Trubetskoy and Princess Volkonskaya Sympathy for the heroes of the failed attempt to revolt by the Decembrists. Russian women about the voluntary departure of the wives of the Decembrists to Siberia. The poem contemporaries is the beginning of satirical publicity. Unfinished poem Mother - the hero finds letters from his grandmother in the house of his deceased parents
Historical-revolutionary poems, like some of his lyrics, were directly addressed to the younger generation. This especially applies to “Grandfather” (1870): the poem was structured as a conversation between the Decembrist grandfather who returned from exile and his grandson Sasha. Nekrasov deliberately portrays his hero as unbroken, neither morally nor physically. The poet openly admires the former Decembrist and emphasizes his organic connection with his native nature.
“Russian Women” (1872-1873), glorifying the feat of the wives of the Decembrists, consists of two parts, written in a different creative manner: romantic (“Princess Volkonskaya”). In “Princess Trubetskoy” the narrative is not constructed according to a linear principle, but fragmentarily: the present is mixed with the past, reality with dreams. In “Princess Volkonskaya” the pace is calmer, even somewhat slower. The main source for this part of the poem was the autobiographical notes of Maria Volkonskaya herself. The poem spoke in more detail about Volkonskaya’s break with her environment, with her father. At first the poem was called “Decembrist Women,” but in the process of work Nekrasov gave it a different name: “Russian Women,” thereby giving his narrative a more general meaning. The satirical poem “Contemporaries” (1875) is closely related to two other poems that Nekrasov worked on almost simultaneously: “Russian Women” and “Who Lives Well in Rus'.” A trilogy of his own ode appears, summing up the entire artistic work of the poet. “Contemporaries” was built like a portrait gallery (this was the subtitle in the manuscript).