Uncertainty arises from the very beginning - the time of action is unclear: 196.. year. The origin of the hero is unclear: is he a descendant of the Odoevskys or is he just their namesake?
“If his parents still had to remember and determine their attitude towards their surname, then this was in those ancient years, when Leva was not yet alive or he was in the womb. But Leva himself, since he could remember, no longer had the need for this, and he was more of a namesake than a descendant. He was Leva"
Who is the real father of the main character? (And once again the double father, when retribution comes, when he is crushed by his own betrayal, when the image of Uncle Dickens expands and obscures his father... Because although the author laughs at Leva for her youthful play of imagination, he himself has not yet finally decided that Uncle Dickens he is not his father. What doesn’t happen?..”). Despite the fact that the author seems to give unambiguous answers to these questions, there remains a feeling of understatement - hence "cult of ambiguity", generated by the era itself.
Leva Odoevtsev grows up in an artificially illusory world, where everything seems to breathe decency and nobility, but in fact is based on lies and selfishness. The true state of affairs has been hidden from Leva since childhood. Raising Leva on abstract ideals, his parents teach him to “aristocratically” not notice the surrounding reality. Lyova is a disoriented person who does not know life, who grew up on myths about her own country and her own family, who has absorbed the required rules of the game with her skin.
“He himself mastered the phenomenon of ready-made behavior, ready-made explanations, ready-made ideals”
Leva's world is illusory.
There are many omissions in the novel, which the author himself points out, for example, a description of Leva’s school years.
Hints: Leva was supposed to testify in one case in which a comrade was involved, but left; when he returned, he discovered that the case had been hushed up, and his comrade had disappeared - he was arrested:
“He was deprived of the opportunity to attend all these proceedings, and when he could, everything was decided and his friend was no longer there. That is, he was there, but somewhere, no longer at the institute, and having met once on the street, he didn’t shake hands with Leva and didn’t seem to notice.”
2. At the level of axiology
Decanonization: firstly, literature and literary criticism; secondly, the image of a positive hero; thirdly, the Soviet era.
The halo surrounding literary criticism and philological sciences in general is dispelled by the ironic description of the “Pushkin House” and the description of the “academic environment,” as well as by the “retelling” of Levina’s article.
Motifs, heroes and plot points characteristic of Russian classical literature are played out in a new way, reduced, even vulgarized. This trend is most clearly revealed in the use of such cultural signs of Russian classical literature, as “prophet”, “hero of our time”, “masquerade”, “duel”, “demons”, “Bronze Horseman”, “shot”.
The image of the “Positive Hero” is being debunked, which Leva may seem to be. His entire character reveals duality, instability, and amorphous malleability. Odoevtsev is not a scoundrel - but not a decent person either; not a mediocrity - but not a knight of science either; not a plebeian, rather a refined person - but not an aristocrat of spirit either. The hero’s thoughts, feelings, and behavior are, as it were, caught in a hoop of the requirements of the existing system.
The Soviet era is ridiculed and belittled, while the “Pushkin” era is exalted.
However, Leva is a positive person in the eyes of others - she has some “reputation”. The boundaries between good and evil, between “ideal” and “anti-ideal” in the consciousness of the era are blurred.
Love and hate are mixed - love for Faina is full of contradictions. Leva submits to Faina, who makes him jealous “of everything that moves,” and revels in Faina’s submission, his power over her, acquired after the “story with the ring.”
The oppositions “laughter-horror”, “beautiful-disgusting”, “high-low” are also blurred. Particularly striking is the polylogue between Mitishatiev, the “two” Leva and Blank in the section “Poor Horseman” (in particular, the episode of the polylogue about Pushkin the Arab: Pushkin is a black Semite).
The ontological opposition “Life-death” also does not exist: the author resurrects Leva after his death.
3. At the composition level
Fragmentation and the principle of arbitrary installation: despite the undoubted symmetry and ring-like structure of the “Pushkin House”, the composition of the work has a large degree of freedom. If we omit one of the “inserted” parts (lyrical digressions in the spirit of Gogol and Chernyshevsky, works of “outside authors” - articles by Leva and short stories by Uncle Dickens, etc.), the novel will not lose its inherent completeness, but will become unilinear. Refusing a solid, continuous, undivided narrative with a chronological sequence, Bitov builds the main sections from relatively complete and independent chapters that could be swapped without destroying the work. The novel has multiple endings, including mutually exclusive ones.
The triumph of the deconstructionist principle: the artistic space and time of Bitov’s novel are open, heterogeneous, alternative, old connections are destroyed and new connections are established in chaos, mainly with the help of the author’s digressions and comments on what is happening, and not by means of plot and composition.
Disproportionality often th: the action of the first and second sections takes place at the same time, but the events practically do not overlap (the first section is “dialectics of the soul”, the second is “a description of Leva’s love, the cult of the body”) and covers several decades in scope. The artistic time of the third section takes only a few days, the artistic place is limited to the Pushkin House and the surrounding area. This is disharmony, a violation of the proportions of the chronotope.
The description of events does not correspond to the logical development of events; the plot is controlled not by external events, but by the will of the author. WITH combination of incongruous: poet + alcoholic, scientist + alcoholic, philosophy + drinking alcohol, various endings, novel and “post-novel” space.
4. At the genre level
a) Marginality manifests itself as a result of the destruction of traditional novel genres; before us is a form of “intermediate literature” that includes literature, literary theory, philosophy, cultural studies and has lost its genre specificity. It is impossible to single out the leading genre feature - genre syncretism. At the same time, this is a literary work, and a literary and even cultural study, in which the author himself reflects on what is written.
b) In the novel declaration of renunciation of edification, seriousness, the author himself repeatedly points out this - fictionalization of the work.
V) On the intertextual nature of the work I indicate the inclusion in it, along with the author’s text, of numerous quotes from Russian and foreign classics. Quoted by A. Pushkin, M. Lermontov, N. Gogol, I. Turgenev, L. Tolstoy, F. Dostoevsky, F. Tyutchev, A. Fet, N. Chernyshevsky, A. Ostrovsky, A. Chekhov, A. Blok, F Sologub, I. Bunin, V. Khlebnikov, V. Mayakovsky, etc. Borrowings and citations from foreign literature: A. Dumas, C. Dickens, Mark Twain, E. Remarque. The peculiarity of citations is that most citations do not go beyond the scope of the school curriculum (this is also noted by the author in the “Comments”).
Along with literary ones, the text contains quotes from “Soviet folklore”, Soviet cliches and cliches. Often quotes are used for the purpose of irony and parody.
The text is saturated extra-textual allusions on the events of the Soviet era, reminiscences on the works of Russian classics, which is emphasized by the names of sections, parts, chapters and epigraphs to them.
The title of the first section is “Fathers and Sons (Leningrad Novel)” is a reference to Turgenev’s novel. The title of the second section, “A Hero of Our Time (Version and Variants of the First Part),” refers us to Lermontov’s novel. The title of the third section “The Poor Horseman (Poem about Petty Hooliganism)” is a pun, which is a “mixture” of the titles of the works of Pushkin and Dostoevsky “The Bronze Horseman” and “Poor People”, the epilogue “The Morning of Revelation, or the Bronze People” is the same.
“Prologue, or Chapter written later than the others” has the title “What to do?” and reproduces the titles of two novels by Chernyshevsky. In general, the compositional structure of “Pushkin House” is partly reminiscent of the composition “What is to be done?”: the narrative begins with a description of a mysterious death, then an excursion into the past is made (the prehistory of “death”), then it turns out that “death” was not death (or was - depends on the ending).
The texts of the chapters within sections and appendices refer us either to “The Prophet” by Pushkin and Lermontov and “Madness” by Tyutchev, then to “Fatalist” and “Masquerade” by Lermontov, then to “Demons” by Pushkin and Dostoevsky and “The Small Demon” by Sologub, then to “The Shot” and “The Bronze Horseman” by Pushkin, then to “Poor People” by Dostoevsky, then to “The Three Musketeers” by Dumas (Ms. Bonacieux), then to ancient mythology (“Achilles and the Tortoise”). Their presence in the work widely expands the cultural space of the novel, activating the reader’s thought and imagination, and also helps to save linguistic resources. – the presence of a broad cultural context.
5. At the level of man, personality, hero, character and author
Leva is irrational in his deeds and actions, he lives “with the flow”, he is characterized by an apocalyptic worldview and escapism. Leva is a tragic character. His negative actions outweigh the positive ones - hence the deheroization of the character, lack of ideal.
6. At the aesthetic level
Underlined anti-aesthetic, shock, shocking, challenge, brutality, cruelty of vision, craving for pathology, anti-normativity, protest against classical forms of beauty, traditional ideas about harmony and proportionality;
Anti-aesthetic and shocking: use of profanity, description of drinking bouts, description of the toilet in the hallway of Uncle Dickens.
Challenge: Leva’s articles are a challenge to modern literary criticism.
Violation of traditional ideas about the harmony of form and content: the writer does not try to preserve the illusion in the eyes of the reader: this is life, but, on the contrary, constantly emphasizes: this is a work of art, subject to its own laws, this is a text.
7. At the level of artistic principles and techniques
a) Inversion: reversing the titles of classic works of domestic and foreign authors, inverting the image of Dickens - from the sublime (writer) to the mundane (Uncle Mitya, also, however, a writer).
b) Irony: description of the Pushkin House, the author’s frequent ridicule of Leva, irony about his actions.
V) Game as a way of existence in reality and art: the entire novel can be likened to a literary game. The author constantly reminds us that we are not reading about real life events, but about fictional ones, and that we should not sympathize with the hero, because... he is fictional. The form of interaction between literature and reality is unique: the reality depicted in the novel and literature as a way of reflecting reality are so intertwined that the text of the novel itself becomes reality, and reality becomes text. We can say that the text represents reality, because reality cannot exist without this text.
The ability to hide true thoughts and feelings: the author does not delve into the psychology of the characters, does not explain the motives of their actions, we do not know their thoughts - all this helps him form “plot mysteries”.
Destruction of pathos: the ironic tone of the narration, constant reminders that we are reading “just a literary work,” playing with meanings, including literary reflections and digressions in the text, reflection on what is written destroy the novel’s pathos, and the work is no longer perceived as a traditional literary novel.
Literature used:
1. A. Bitov. Pushkin House. – St. Petersburg: ABC: Azbuka-Classic, 2000.
2. I.S. Skoropanova. Russian postmodern literature: Textbook. allowance. – M.: Flinta: Science, 2001.
Other examples of text analysis:
And an analysis of I. Brodsky’s poem “From Nowhere with Love”
In an ingenuous retelling of various kinds of incidents that took place in the lives of the most ordinary people, Pushkin was able to introduce so much deep humane feeling, keen observation, subtle humor and gentle irony and at the same time so much life truth, broad typical generalizations that his "Belkin's Tales" are , essentially, the beginning of Russian highly artistic realistic prose.
If in "The Blackamoor of Peter the Great" Pushkin removed a major historical figure from his stilts, then in "The Station Agent" he lifted up his small, humiliated hero, revealing in this story, as in general in "Belkin's Tales", a truly "natural" reality, life , which “lives,” as Dostoevsky enthusiastically repeated through the mouth of one of his heroes. This explains the enormous importance that “The Station Agent” had in the further development of literature. The image of the caretaker was a direct predecessor of Bashmachkin from Gogol’s “The Overcoat” and all those “poor people” who soon began to fill the pages of the stories and novels of the writers of the “natural school” - the cradle of Russian realism of the second half of the 19th century.
Essays on literature: Artistic originality of A. S. Pushkin’s prose
In the development of Russian artistic prose, Pushkin’s fundamental significance is perhaps especially great. Here he had almost no predecessors. Prosaic literary language was also at a much lower level compared to poetic language. Therefore, Pushkin was faced with a particularly important and very difficult task of processing the very material of this area of verbal art.
The cycle of "Belkin's Tales" was Pushkin's first completed prose creation. For a realist writer who recreates and reproduces life, the forms of the story and the prose novel were especially suitable. They attracted Pushkin because of their much greater clarity than poetry, reaching the widest circles of readers. “Stories and novels are read by everyone, everywhere,” he noted.
In his stories, Pushkin significantly expands and democratizes the range of phenomena of reality within the scope of his creative attention. Along with pictures of local life ("Blizzard", "Peasant Young Lady"), we see the life of army officers ("Shot"), city artisans ("Undertaker"), petty officials ("Station Warden"), and finally, the life of the serf peasantry (“History of the village of Goryukhin”).
Pushkin somewhat romanticized the appearance of the hero - his maternal great-grandfather Hannibal. But at the same time, in an extremely limited space, he was able to give a truthful and at the same time unusually colorful and sharply expressive picture of the life and way of life of the St. Petersburg era - the period of breaking down everything old, obsolete and creating a new Russian statehood. However, the discerning artist was not satisfied with his initial prose experience and left work on it.
"Belkin's Tales" are distinguished by their extreme economy of artistic means. From the very first lines, Pushkin introduces the reader to his heroes and introduces him to the circle of events. The depiction of the characters' characters is just as sparse and no less expressive. The author hardly gives an external portrait of the heroes, and almost does not dwell on their emotional experiences. At the same time, the appearance of each of the characters emerges with remarkable relief and clarity from his actions and speeches.
The process of formation and establishment of Russian artistic prose in Pushkin’s work, which would stand at the level of his achievements in the field of verse, was begun by him when he began work on the historical novel “The Blackamoor of Peter the Great.”
A. S. Pushkin entered the history of Russia as an extraordinary phenomenon. This is not only the greatest poet, but also the founder of the Russian literary language, the founder of new Russian literature.
Main themes and motives of the lyrics:
1. Freedom-loving (freedom) lyrics.
Refers to the ode “Liberty”, in the verses “To Chaadaev” and “In the depths of the Siberian ores”.
The ode “Liberty” (1817) denounced the autocracy and despotism that ruled in Russia.
Liberty –Pushkin continues the tradition of Radishchev. The main pathos of Pushkin's ode is educational. The author explains to tyrants (kings) that observing laws not only contributes to the prosperity of nations, but is also beneficial to the rulers themselves. The ode provides historical examples that indicate that rulers not protected by law become victims of conspiracies or revolutions.
To Chaadaev -Pushkin does not seek to convince the tyrannical government to obey the law, but openly calls for the overthrow of the autocracy. He sees the patriotic duty of his generation in the pursuit of freedom.
In the depths of the Siberian ores -Pushkin calls on his Decembrist friends to be patient and expresses the hope that they will be released and continue the struggle.
Theme of the poet and poetry
The theme of the poet and poetry runs through the entire work of A. S. Pushkin.
After the massacre of the Decembrists, Pushkin writes a poem "Prophet"(1826). Pushkin thinks about the vocation of a poet, about the highest goal of creativity. In Pushkin’s perception, the poet is a prophet to whom God has given the gift of a heightened sense of perception of reality. Pushkin based the plot on the text of a Christian prayer. To give greater significance, the author often uses archaisms. The heightened perception of the author allows the poet to foresee the course of events, which is why the poet is a prophet. Fulfilling the will of the Almighty, the prophet must share his gift with people.
In the poems “To the Poet”, “The Poet and the Crowd”, Pushkin proclaims the idea of freedom and independence of the poet from the “crowd”.
"The Poet and the Crowd" - Pushkin distinguishes between the concepts of people and crowd, understanding by crowd that part of the people that is devoid of spiritual aspirations and is interested only in material values.
The poem is imbued with the same mood "To the Poet" (1830). It consists of 2 parts, in the 1st - the poet is depicted, not engaged in creativity, in this state he is similar to mortals. A burst of inspiration transforms the poet and he becomes like a natural element.
Pushkin calls on the poet to be free from the opinion of the crowd, which will never understand the chosen one:
Poet! do not value people's love.
There will be a momentary noise of enthusiastic praise;
You will hear the judgment of a fool and the laughter of a cold crowd,
But you remain firm, calm and gloomy.
Pushkin calls on the poet to be demanding of his work:
You are your own highest court;
You know how to evaluate your work more strictly than anyone...
“I erected a monument to myself not made by hands” - is devoted to the topic of evaluating one’s own creativity. Poems on this topic have a long tradition. Pushkin uses a combination of iambic 6-foot and 4-foot . Poem. consists of 5 stanzas. Each has its own theme.
1st: size of the monument, Pushkin brings his own view to this topic, calling the monument to himself miraculous and noting “The people’s path to it will not be overgrown.”
2nd: about the immortality that his creativity bestows on the poet. Pushkin does not extend his fame indefinitely, but as long as at least one poet lives on earth.
3rd: The territories in which the poet’s work will be known are the Russian Empire.
4th: the virtues of creativity. Pushkin sees them in nationality and serving the ideals of goodness, freedom and compassion.
5th: appeal to the muse: Pushkin calls on the muse to be submissive to God’s will, indifferent to human judgment and praise.
Philosophical lyrics
The subject of Pushkin's poetry has always been life itself. In his poems we will find everything: real portraits of time, and philosophical reflections on the main issues of existence, and the eternal change of nature, and the movements of the human soul. The poet is haunted by inevitable sadness and melancholy (“Winter Road”), tormented by spiritual dissatisfaction (“Memories”, 1828; “Faded Fun of Crazy Years”, 1830), and frightened by a premonition of impending troubles (“Premonition”, 1828).
Memory - Pushkin says that life passes quickly and makes you think about its meaning. In this regard, the theme of happiness is heard in the poem. From the point of view Pushkin, there is no happiness in the world, but there is peace and will, i.e. the possibility of freedom. But the hero is also deprived of it, calling himself a tired slave. His dream of happiness is connected with creativity and love
In the poem “To Chaadaev” (1818) Pushkin’s dreams of change in Russia are reflected:
Russia will wake up from its sleep,
And on the ruins of autocracy
They will write our names!
The theme of the infinity of existence is heard in the poem “...Once again I visited...”(1835), which Pushkin wrote during his last visit to Mikhailovskoye. The lyrical hero, the author’s double, returns to the places he once visited and sees a young grove rising at the foot of old pines. This prompts him to think about life and death, about eternity, the guarantee of which is the change of generations.
“Do I wander along the noisy streets...” - reflections on life and death, on eternity and immortality. The author sees the immortality of nature and the constant change of generations as the key to immortality.
+ Prophet, Poet.
Landscape lyrics.
Landscape lyrics occupy an important place in the poetic world of A. S. Pushkin. He was the first Russian poet who not only himself knew and fell in love with the beautiful world of nature, but also revealed its beauty to readers. The romantic works of A. S. Pushkin, containing pictures of nature, include such poems as “Winter Evening”, “Winter Morning”, “The Daylight Has Gone Out...”, “To the Sea”, “I Visited Again” and others.
And in the poem "To the Sea" (1824) the poet paints the “solemn beauty” of the sea, inspiring the poet:
I loved your reviews so much
Muffled sounds, abyssal voices,
And silence in the evening hour,
And wayward impulses!
In the poem "Winter Morning"(1829) reflects the harmony of the state of nature and human mood. The interlocutor is a young lady. Here Pushkin paints a wonderful picture of a winter morning:
Under blue skies
Magnificent carpets,
Glistening in the sun, the snow lies,
The transparent forest alone turns black,
And the spruce turns green through the frost,
And the river glitters under the ice.
"Winter evening" - The landscape is conveyed not only by visual, but also by sound images. In accordance with the time of day, the lyre depicted in the poem by the interlocutor. the hero becomes an old woman.
In the poem "Autumn"(1833) loves this time because at this time he goes horseback riding, admires the bright pictures of the fading autumn, and most importantly, at this time he is most often visited by inspiration.
It's a sad time! charm of the eyes!
Your farewell beauty is pleasant to me -
I love the lush decay of nature,
Forests dressed in scarlet and gold...
6. Theme of friendship and love.
Throughout the poet's life, the content and meaning of friendship changes.
Features of the lyric style of A. S. Pushkin
Since the publication of “Ruslan and Lyudmila,” the name of Pushkin has invariably been at the center of not only ideological and general aesthetic, but also stylistic struggle. And the point here is not just the general significance of Pushkin for our culture. The point is also that among Russian writers, Pushkin, as has been said more than once, is above all the type of artist. In our classical art, the idea of the internal unity of spiritual activity has always been strong; there was a disdain for any specialization, its differentiation, in particular, for the aesthetic principle as such.
In this respect, Pushkin was “more harmonious”, “more artistic” than his brilliant successors; when thinking about Pushkin, an internal image of a clear and harmonious, completely perfect, crystal style immediately arises.
At one time, figures of “pure art”, from Fet to the Acmeists, wanted to use this property of Pushkin. However, they did not have much success in this field - and it is completely clear why. Pushkin is not “just a great stylist”; his form and style are not self-sufficient. It is not for nothing that Tolstoy, in contrast, remembered Pushkin: “there is Pushkin: you read him and see that the form of the verse does not bother him.” Tolstoy here expresses a thought that, in essence, very accurately outlines the main principle of Pushkin’s style: form is a harmonious, precise expression of something (i.e. content, spiritual essence). As soon as this strict balance is disrupted, as soon as there is a bias in one direction or another (for some Acmeists, for example, towards “form as such”), we immediately intuitively know that Pushkin’s verse, Pushkin’s tradition have already been rethought in their essence, and not in details.
The cardinal property that we are now talking about makes Pushkin’s poems very “advantageous”, adequate material for modern thinking about style - about the meaning of this category itself. It is now clear that style cannot be interpreted as mere “originality”, the individuality of the artist: the very practice of creativity and the efforts of many literary critics and art theorists have again shown that in style, in stylistic factors, it is impossible to artificially isolate the general and the unique; individual style is just one of the steps, one of the levels in a sliding scale of style categories: the style of a work, the individual style of an artist, the style of a school, a style trend...
When interpreting style as a category, it is closer to a specific truth that the formula “style is an artistic form” is not too simple and the formula “unity of content and form” is not too general and static, as well as designations like the transition of content into form, form into content - itself factor, pattern, moment of this transition. Style is the law of artistic form, as the moment of transition into spirit, into content. This is an art form taken in terms of its law and dynamics in breadth and depth.
Pushkin's lyrics are especially indicative in this regard: that principle of harmony, harmony, full of conformity and proportionality of all elements, which is so fundamentally important for Pushkin, appears naked in his lyrics - it is not obscured by everything that has to be dealt with in large genres due to the most genre specific:
In those days when I was new
All the impressions of life -
And the glances of the maidens and the noise of the oak trees,
And at night the nightingale sings,
When elevated feelings
Freedom, glory and love
And inspired art
The blood was so excited, -
Hours of hope and pleasure
Sudden autumn melancholy,
Then some evil genius
He started visiting me secretly.
Our meetings were sad:
His smile, wonderful look,
His sarcastic speeches
Cold poison was poured into the soul.
Not exhausted by slander
He tempted Providence;
He called with a beautiful dream;
He despised inspiration;
He did not believe in love, freedom,
He looked at life mockingly -
And nothing in all of nature
He didn't want to bless.
This poem, in essence and in form, attracted the special attention of Pushkin himself and Belinsky, who equally hated during the period of articles about Pushkin both naked rhetoric with “good content” and meaningless rhyming. There is a high, deep thought here - and careful implementation. This transformation, this harmony of essence and form is primarily visible in the composition - in general, in one of the most powerful lyrical means of Pushkin, with his architectonism and desire for a harmonious form.
If we look at other aspects of the style - at the vocabulary, rhythm, at the system of details, we will see the same feature: a clear, sensitive correspondence of external forms to internal ones, figurative forces, means - to the spiritual, meaningful task. Everything is in moderation, everywhere there is conformity and proportionality: everything is no more and no less than is required for direct action. This is a complete closed artistic and stylistic solution.
Almost every poem by Pushkin has this internal clarity of compositional means. Moreover, it is often brought out, accentuated, elevated to the dominant. Thus, Pushkin was very fond of the lyrical composition of “two parts”, connected to each other by contrast or some other principle. Quite often two parts are just two stanzas: the division is so clear, so important, the principle of symmetry is emphasized.
High above the family of mountains,
Kazbek, your royal tent
Shines with eternal rays.
Your monastery is behind the clouds,
Like an ark flying in the sky,
Hovering, barely visible, above the mountains.
The distant, longed-for shore!
There, having said “sorry” to the gorge,
Rise to the free heights!
There, in the sky-high cell,
I should hide in the neighborhood of God!.. (1829)
Pushkin loves a poem - an extended comparison. He is impressed by the simplicity, clarity, contrasts and effectiveness of this form. Two figurative algorithms, two lines sharply shade, “refresh” each other - and together they create a natural, living whole. Quite often the solution itself, the secret of comparison, is pulled to the end:
And you, poet!
Thus, the clarity and the very influence of the composition on the context are dramatically increased; at the same time, Pushkin is always concerned in his soul that the composition, for all its sharpness, should be natural, lively and relaxed; hence, for example, the love for detailed comparisons - a path that is more free and open than a tense, subjectively compressed metaphor:
There's a sad moon in the sky
Meets with a cheerful dawn,
One is burning, the other is cold.
The dawn shines with a young bride,
The moon before her is pale as if dead,
This is how I met you, Elvina.
Pushkin invariably appreciates such means of poetics as
refrain:
... Make noise, make noise, obedient sail,
Worry beneath me, gloomy ocean...
Protect me, my talisman,
Keep me in the days of persecution,
In days of repentance and excitement:
You were given to me on the day of sorrow.
When the ocean rises
The waves are roaring around me,
When the clouds burst into thunder,
Keep me safe, my talisman.
ring(“Don’t sing, beauty”),
comparison:
The storm covers the sky with darkness,
Whirling snow whirlwinds;
Then, like a beast, she will howl,
Then he will cry like a child,
Then on the dilapidated roof
Suddenly the straw will rustle,
The way a belated traveler
There will be a knock on our window.
in general, compositional repetition is a means that gives the composition both clarity, and light and clear convention, and melodiousness, freedom at the same time:
Through the wavy mists
The moon creeps in
To the sad meadows
She sheds a sad light.
On the winter, boring road
Three greyhounds are running,
Single bell
It rattles tiresomely.
...It’s sad, Nina: my path is boring,
My driver fell silent from his doze,
The bell is monotonous,
The moon's face is clouded.
But all this does not mean that composition, like other means of style, is subject to Pushkin’s laws of rigor and symmetry alone. That is, they obey, but his very harmony and severity are invariably internally full and tense. The “sweet sound”, music, running, melodiousness of Pushkin’s verse are often confusing; it seems only smooth and easy, while in reality it is hidden pathetic and conflicting. Many even knowledgeable people stumbled over the “simplicity”, the imaginary thoughtlessness and smoothness of Pushkin. It also plays a role that Pushkin’s lines have already been “automated” and have become taken for granted in the mind.
Pushkin's composition is often characterized by a direct and clear comparison of purely human and landscape plans. Pushkin loves nature, loves it both in the whirlwind and in peace; but invariably nature for Pushkin is a reminder of simplicity, freedom, the spiritual limit in man himself:
On the hills of Georgia lies the darkness of the night,
Aragva makes noise in front of me.
I feel sad and light, my sadness is light,
My sadness is full of you,
By you, by you alone
my despondency
Nothing torments, nothing worries,
And the heart burns and loves again - because
That it cannot help but love...
It is striking that there is no logical connection between the description of nature and the rest of the poem (the expression of feelings). However, if we try to discard the landscape and start reading the poem from the third verse (“I am sad and easy, my sadness is light”), then it will immediately become clear that the expression of feeling is not motivated by the landscape, which creates a lyrical mood and thereby prepares the reader for the perception of the following lines. The third verse consists of two short sentences, each of which is an oxymoron (a combination of logically incompatible, opposite concepts). The reader seems to be faced with a riddle: if “I’m sad,” then why is it “easy” at the same time? The second oxymoron does not add anything new, but repeats the meaning of the first: if “sadness”, then why “light”?
The synonymous repetition of the same oxymoron increases the tension, which is why there can be such a strange combination of feelings.
The transition of quiet tenderness into stormy passion, a sharp change in vocabulary and syntactic structure corresponds to a complete change in the structure of the verse...
Instead of a calm, symmetrical composition of the first quatrain, the composition is unbalanced, the verse is restless... the melodious poetic intonation gives way to an uneven, changeable intonation, expressing the passionate, intermittent nature of speech.
We often see poems by Pushkin in which nature, the expanses of the world and the universe are not directly named, but are implied, forming a hidden background; This is what often gives again such internal completeness and volume to his outwardly completely simple and strict lyrical composition, his artistic idea:
It's time, my friend, it's time! The heart asks for peace, -
Days fly by, and every hour carries away
A piece of existence, and you and I together
We assume to live, and lo and behold, we will die.
There is no happiness in the world, but there is peace and will.
I have long dreamed of an enviable share -
Long ago, a tired slave, I planned to escape
To the distant monastery of labors and pure bliss.
Nothing is said here about fields, forests, etc.; but, reading these potentially bright lines, we involuntarily see a man who stands somewhere, say, at the parapet of the Neva in a gray, stone city - and thinks about his beloved, and imagines the wide steppe, his youth, the sky, the open space; represents a perhaps never seen Italy, the “Adriatic waves.”
For a long time, the name of Pushkin was in the crossing of rays when discussing the issue of the so-called “classical” and “romantic” principles in art, about the two general principles of life perception and artistic organization of material. Indeed, the opinion, beloved by many both in old and new times, that Pushkin is, first of all, “harmony” (in the narrow sense), “classics”, tranquility, bright contemplation, harmonious joy, “nirvana”, as opposed to the elements, is refuted, firstly, by the very practice of lyrical creativity of both early and late Pushkin, and secondly, by the very nature of the debates that took place in this area around his poetics. In general, in the literature about Pushkin it has been recalled more than once that Pushkin wrote not only “I loved you...” and “On the hills of Georgia...”, but also
The clouds are rushing, the clouds are swirling;
Invisible moon
The flying snow illuminates;
The sky is cloudy, the night is cloudy...
Do they bury the brownie?
Do they give a witch in marriage?..
and much more in the same spirit. Pushkin’s writing method here remains “harmonious,” but his sense of life partly gravitates toward “chaos.” But the point, in fact, is not to prove, in defiance of the supporters of the “daytime”, “light” Pushkin, that Pushkin, on the contrary, was “night” and “dark”, but to restore the truth in its relief.
Pushkin in this case is harmonious in the high and philosophical meaning of the word: he is not afraid of the “elements”, but overcomes it, gains artistic power over it. The poet spent his entire life fighting against “classicism,” and defended “true romanticism” against false romanticism. This second was so intelligible that the idea, the tradition, was immediately picked up and to some extent continues to this day: we internally distinguish between romanticism as something exaggerated and false, as something that is “dark and sluggish,” and romanticism as an impulse to the lofty, as a search for the spiritual content of human life, as a personal beginning.
Pushkin is “one in one” of “elements” and “classics”, subversion and “nirvana” (highest contemplation): such is the nature of his harmonious artistic genius. Not knowing this means distorting the leading feature of Pushkin’s sense of life and style. Of course, everyone seeks and finds in Pushkin confirmation of their stylistic principles, this is natural, this was and will be; but the original character of the source material must also be taken into account. Universality, multidimensionality - these qualities of Pushkin should not now be forgotten in favor of more specific and flat ones.
In preparing this work, materials from the site http://www.studentu.ru were used
Tutoring
Need help studying a topic?
Our specialists will advise or provide tutoring services on topics that interest you.
Submit your application indicating the topic right now to find out about the possibility of obtaining a consultation.
RESPONSE PLAN
1. A word about the poet. 2. Freedom-loving lyrics. 3. Theme of the poet and poetry. 4. Philosophical lyrics.
5. Landscape lyrics. 6. Theme of friendship and love. 7. The meaning of A. S. Pushkin’s lyrics.
1. A. S. Pushkin entered the history of Russia as an extraordinary phenomenon. This is not only the greatest poet, but also the founder of the Russian literary language, the founder of new Russian literature. “Pushkin’s muse,” according to V. G. Belinsky, “was nourished and educated by the works of previous poets.”
Throughout his entire creative career, the poet was on par with “the century,” remaining a great optimist, a bright lover of life, a great humanist, uniting people of high morality, nobility, and sublime feelings.
Poetry, drama, prose, critical articles, notes and letters - all types of literature that A. S. Pushkin touched bear the stamp of his genius. The poet left to his descendants unfading images of freedom-loving, philosophical, love, and landscape lyrics. But no one wrote so much in prose and poetry about the Poet, about his civic position, about relations with the world, as Pushkin. He was the first to show the reading public “poetry in all its charming beauty” and taught them to respect and love literature.
2. Freedom-loving lyrics. The first quarter of the 19th century was the time of the emergence of new political ideas, the emergence of the Decembrist movement, and the rise of social thought after the victory in the War of 1812.
In 1812, A. S. Pushkin entered the Tsarskoye Selo Lyceum. This is where the creative life of the young poet begins. The sentiments caused by the War of 1812 and the ideas of the liberation movement were close to Pushkin and found fertile soil among the lyceum students. Pushkin's lyceum poems are imbued with the pathos of freedom, the idea that peoples prosper only where there is no slavery. This idea is clearly expressed in the poem "Licinia" (1815).
Rome grew by freedom, but was destroyed by slavery!
During the St. Petersburg period, Pushkin’s lyrics were especially rich in freedom-loving political ideas and sentiments, most clearly expressed in the ode “Liberty”, in the poems “To Chaadaev” and “Village”. The ode “Liberty” (1817) denounced with crushing force the autocracy and despotism that ruled in Russia: Autocratic villain!
I hate you, your throne,
Your death, the death of children
I see it with cruel joy.
They read on your forehead
The ode “Liberty” is written in verse close to the odes of Lomonosov and Derzhavin - it is a high, solemn verse that emphasizes the importance of the topic. In the poem “To Chaadaev” (1818), the internal plot develops the idea of a person’s civic maturation. Love, hope, quiet glory, animating the young man, give way to a selfless struggle against “self-government”:
While we are burning with freedom,
While hearts are alive for honor,
My friend, let's dedicate it to the fatherland
Beautiful impulses from the soul!
In the poem “Village” (1819), Pushkin passionately denounced the foundations of the serfdom - lawlessness, tyranny, slavery, and exposed the “suffering of peoples.” The poem contrasts the idyllic first part and the tragic second. The first part of “The Village” is a preparation for the angry verdict that is pronounced in the second part. The poet at first notices “traces of contentment and labor everywhere,” since in the village the poet joins nature, freedom, and frees himself “from vain shackles.”
The limitlessness of the horizon is a natural symbol of freedom. And only such a person to whom the village “opened” freedom and whom it made “a friend of humanity” is able to be horrified by the “wild lordship” and “skinny slavery.” The poet no longer sees freedom as a distant “star of captivating happiness,” but
"beautiful dawn" From the passionate message “To Chaadayev” and the bitter anger of “The Village”, Pushkin moves to doubt, dictated by impatience (“Who, the waves, abandoned you ...”), to the crisis of 1823 (“The Sower”), caused by the fact that Pushkin turns out to be witness the suppression and death of European revolutions. He is not confident in the readiness of peoples to fight for freedom.
Pushkin’s epigrams on Arakcheev and other reactionary figures of Alexander’s reign also date back to the St. Petersburg years. It was during these years that Pushkin became the spokesman for the ideas of the progressive youth of his time, progressive national aspirations and anti-serfdom folk
Freedom alone is my idol...
In exile in Mikhailovsky, Pushkin, under the impression of the south, writes elegy "To the Sea"“, where the elements of the sea and freedom merged in the poet’s mind. In the elegy “To the Sea,” the thirst for elemental freedom collides with the sober consciousness of the “fate of people” who live according to their own laws. In the meantime, the poet has only one thing left to do - to preserve the memory of the beautiful indomitable element:
In the forests, in the deserts are silent
I’ll bear it, I’m full of you,
Your rocks, your bays,
And the shine, and the shadow, and the sound of the waves.
The theme of freedom in a variety of variations is also manifested in the poems “Why were you sent and who sent you?”, “To Yazykov”, “Conversation between a bookseller and a poet”, “Defenders of the whip and whip”, etc. Throughout A.S. Pushkin was faithful to the ideals of Decembrism. He did not hide his spiritual connection with the Decembrist movement. And the defeat of the Decembrists on December 14, 1825 did not undermine the poet’s devotion to freedom. To his Decembrist friends exiled to Siberia, he wrote a message “In the depths of the Siberian ores” (1827), in which he expresses the belief that
The heavy shackles will fall,
The dungeons will collapse and there will be freedom
You will be greeted joyfully at the entrance,
And the brothers will give you the sword.
In the poem “Monument,” summing up his life and work, the poet says that his descendants will remember him for the fact that “in a cruel age he glorified... freedom and mercy for the fallen.”
Theme of the poet and poetry
The theme of the poet and poetry runs through the entire work of A. S. Pushkin, receiving different interpretations over the years, reflecting the changes taking place in the poet’s worldview. It is significant that in his first printed work, a message “To a Poet Friend” (1814), Pushkin says that not everyone is given the gift of being a real poet:
Arist is not the poet who knows how to weave rhymes
And, creaking his feathers, he does not spare paper.
Good poetry is not so easy to write...
And the fate prepared for a true poet is not easy, and his path is thorny. Pushkin the lyceum student is alien to the image of the official “gloomy rhymer” (“To Galich”, 1815), “boring preacher” (“To My Aristarch”, 1815) and the image of the freedom-loving poet-thinker, the fiery-stern denouncer of vices is sweet:
I want to sing freedom to the world,
Slay vice on the thrones...
In a poem “Conversation between a bookseller and a poet” (1824) the poet and the bookseller express their attitude towards poetry in the form of a dialogue. The author's view of literature and poetry is somewhat down-to-earth here. A new understanding of the tasks of poetry is emerging. The hero of the poem, the poet, speaks of poetry that brings “fiery delight” to the soul. He chooses spiritual and poetic freedom. But the bookseller says:
Our age of trade; in this iron age
Without money there is no freedom.
Both the bookseller and the poet are right in their own way: the laws of life have extended to the “sacred” area of poetry. And the poet is quite satisfied with the position that the bookseller offers him:
Inspiration is not for sale
But you can sell the manuscript.
After the massacre of the Decembrists, Pushkin writes a poem "Prophet"(1826). The mission of the prophet is beautiful and terrible at the same time: “To burn the hearts of people with the verb.” It is impossible to cleanse the world of filth without suffering. The poet is a chosen one, a seer and a teacher, called to serve his people, to be prophetic, wise, and to encourage them to fight for truth and freedom. Chosenness motive sounds especially strong here. The poet stands out from the crowd. He's taller than her. But this chosenness is bought through the torments of creativity, at the cost of great suffering. And only “God’s voice” grants the hero his great path. “God’s voice” commands to “burn the hearts of people” with a poetic word, showing the true truth of life:
Arise, prophet, and see and listen,
Be fulfilled by my will
And, bypassing the seas and lands,
Burn the hearts of people with the verb.
The poem has an allegorical meaning, but in this case the poet affirms the divine nature of poetry, which means that the poet is responsible only to the Creator. In the poems “To the Poet”, “The Poet and the Crowd”, Pushkin proclaims the idea of freedom and independence of the poet from the “crowd”, “rabble”, meaning by these words the “secular rabble”, people deeply indifferent to true poetry. The crowd does not see any benefit in the poet’s work, because it does not bring any material benefits:
Like the wind, his song is free,
But like the wind she is barren:
What benefit does it have to us? Poetry, Pushkin believes, is the destiny of the chosen few.
The poem is imbued with the same mood "To the Poet" (1830). Pushkin calls on the poet to be free from the opinion of the crowd, which will never understand the chosen one:
Poet! do not value people's love.
There will be a momentary noise of enthusiastic praise;
You will hear the judgment of a fool and the laughter of a cold crowd,
But you remain firm, calm and gloomy.
Pushkin calls on the poet to be demanding of his work:
You are your own highest court;
You know how to evaluate your work more strictly than anyone...
Philosophical lyrics
The subject of Pushkin's poetry has always been life itself. In his poems we will find everything: real portraits of time, and philosophical reflections on the main issues of existence, and the eternal change of nature, and the movements of the human soul. Pushkin was more than a famous poet on a global scale. He was a historian, philosopher, literary critic, a great man who represented the era. The poet’s life in the lyrics is seen “through a magic crystal” of beauty and humanity. The measure of beauty for him lay in life itself, in its harmony. Pushkin felt and understood how unhappy a person was who could not build his life according to the laws of beauty. The poet’s philosophical thoughts about the meaning and purpose of existence, about life and death, about good and evil are heard in the poems “Do I wander along the noisy streets...” (1829), “The Cart of Life” (1823), “Anchar” (1828) , “Scene from Faust” (1825), “Oh no, I’m not tired of life...” and others.
The poet is haunted by inevitable sadness and melancholy (“Winter Road”), tormented by spiritual dissatisfaction (“Memories”, 1828; “Faded Fun of Crazy Years”, 1830), and frightened by a premonition of impending troubles (“Premonition”, 1828).
The poem “To Chaadaev” (1818) reflects Pushkin’s dreams of change in Russia:
Russia will wake up from its sleep,
And on the ruins of autocracy
They will write our names!
The theme of the infinity of existence and the continuity of generations, the indissoluble connection of the past, present and future is heard in the poem “... Again I visited...” (1835), which Pushkin wrote during his last visit to Mikhailovskoye. Contemplation of his native places and Russian nature gives rise to memories in him and sets him up for philosophical reflection. The sight of three pines, a “young family,” “a young, unfamiliar tribe,” inspired Pushkin to think about the eternity of existence. This is not only the joy of eternal renewal of life, but also the confidence that man is given rebirth in future generations.
In the lyric poetry of the 30s, when the poet’s creative powers reached their highest peak, the experiences of the lyrical hero Pushkin became especially diverse: heartfelt melancholy and bright insight, the pain of loneliness and thoughts of a poetic vocation, enjoyment of nature and moral and philosophical quests. But the lyrics of recent years are permeated with sadness:
I can’t sleep, there’s no fire;
There is darkness everywhere and a boring dream.
The clock ticks only monotonously
It sounds near me...
Landscape lyrics.
Landscape lyrics occupy an important place in the poetic world of A. S. Pushkin. He was the first Russian poet who not only himself knew and fell in love with the beautiful world of nature, but also revealed its beauty to readers. For Pushkin, poetry is not only a merging with the natural world, but also complete harmony, dissolved in the “eternal beauty” of this world. It is nature in its eternal cycle that creates the artist himself. In his poems, the poet is as polyphonic and complex as nature. The romantic works of A. S. Pushkin, containing pictures of nature, include such poems as “The mighty ridge of clouds is thinning,” “The daylight has gone out...”, “To the sea” and others. In the poem “The Sun of Day Has Gone Out” (1820), the poet conveys the sad state of mind of the lyrical hero, who in his memories strives for “the sad shores of his foggy homeland.” The twilight of the evening turned the sea into a “gloomy ocean”, which evokes sadness, melancholy and does not heal “former wounds of the heart.” And in the poem "To the Sea" (1824) the poet paints the “solemn beauty” of the sea, inspiring the poet:
I loved your reviews so much
Muffled sounds, abyssal voices,
And silence in the evening hour,
And wayward impulses!
The element of the sea personified freedom, of which Pushkin was an adherent. The poem “Winter Morning” (1829) reflects the harmony of the state of nature and human mood. When in the evening “the blizzard was angry,” the poet’s girlfriend “sat sadly,” but with the change in the weather, the mood also changes. Here
Pushkin paints a wonderful picture of a winter morning:
Under blue skies
Magnificent carpets,
Glistening in the sun, the snow lies,
The transparent forest alone turns black,
And the spruce turns green through the frost,
And the river glitters under the ice.
A. S. Pushkin was a true poetic painter of nature; he perceived it with the keen eye of an artist and the subtle ear of a musician. In the poem “Autumn” (1833) A. S. Pushkin is polyphonic and complex, like nature itself. The poet does not like the seasons, which seem monotonous and monotonous to him. But every line that creates the image of my favorite time of year - autumn, is filled with love and admiration: It's a sad time! charm of the eyes!
Your farewell beauty is pleasant to me -
I love the lush decay of nature,
Forests dressed in scarlet and gold...
6. Theme of friendship and love.
The cult of friendship inherent in Pushkin was born at the Lyceum. Throughout the poet's life, the content and meaning of friendship changes. What brings friends together? In the poem “Feasting Students” (1814), friendship for Pushkin is a happy union of freedom and joy. Friends are united by a carefree mood. Years will pass, and in the poem<19 октября» (1825) дружба для поэта - защита от «сетей судьбы суровой» в годы одиночества. Мысль о друзьях, которых судьба разбросала по свету, помогла поэту пережить ссылку и преодолеть замкнутость «дома опального». Дружба противостоит гонениям судьбы.
The poet had a hard time experiencing the failure of the Decembrist uprising, among whom were many of his friends and acquaintances. “The hanged are hanged,” he wrote, “but the hard labor of one hundred and twenty friends, brothers, comrades is terrible.” The poet writes to his friends the poem “In the depths of the Siberian ores...”, supporting them in difficult moments, and messages “To Chaadaev”, “I. I. Pushchin”, “To Yazykov” and others. In the poem “October 19” (1827), deep concern for the fate of his friends inspires Pushkin:
God help you, my friends,
And in storms and in everyday grief,
In a foreign land, in a deserted sea,
And those dark abysses of the earth!
Pushkin dedicated the poem “It was time: our holiday is young...” to the last anniversary of the Lyceum. Here the beginning of life and its end are compared; time changes the feelings, appearance, historical panorama of the century, but the loyalty to the Lyceum brotherhood, thinning year by year, to its bright dreams and hopes is unbreakable.
It's time for everything: for the twenty-fifth time
We celebrate the Lyceum's cherished day.
The years have passed in unnoticed succession,
And how they changed us!
No wonder - no! - a quarter of a century has flown by!
Do not complain: this is the law of fate;
The whole world revolves around man, -
Will he really be the only one who doesn't move?
Pushkin's love lyrics are sincerity, nobility, delight, admiration, but not frivolity. Beauty for the poet is a “shrine” (poem “Beauty”). In the Lyceum, love appears to the poet as spiritualizing suffering.(“Singer”, “To Morpheus”, “Desire”).
My love's torment is dear to me -
Let me die, but let me die loving!
During the period of southern exile, love is a fusion with the elements of life, nature, a source of inspiration(poems “The flying ridge of clouds is thinning”, “Night”). Pushkin's love lyrics, reflecting the complex vicissitudes of life, joyful and sorrowful, acquire high sincerity and sincerity.
The poem “I remember a wonderful moment...” (1825) is a hymn to beauty and love. Love not only enriches, but also transforms a person. This “wonderful moment” is the element of the human heart. Love turns out to be not killed by either the languor of “hopeless sadness” or “anxious noisy bustle.” She is resurrected, and a moment turns out to be stronger than years.
And the heart beats in ecstasy,
And for him they rose again
And deity and inspiration,
And life, and tears, and love.
Sadness, separation, suffering, hopelessness accompany Pushkin’s best love poems, which reached the heights of warmth and poetry: “Don’t sing, beauty, in front of me...” (1828), “I loved you...” (1829), “On hills of Georgia..." (1829), "What's in my name for you-?.." (1830), "Farewell" (1830).
These poems enchant with the overflow of truly human feelings - silent and hopeless, rejected, mutual and triumphant, but always immensely tender and pure.
I loved you silently, hopelessly,
Now we are tormented by timidity, now by jealousy;
I loved you so sincerely, so tenderly,
How God grant that your beloved be different.