In verse two In the mid-1940s, Nekrasov often directly pitted the oppressors against the oppressed. The poems are acutely conflicting in nature. Along with describing the tragic fate of his heroes, Nekrasov could not help but write about the perpetrators of national disasters. Thus, “Hound Hunt” (1846) is built on the collision of the landowner’s ironically described delights in lordly fun and the gloomy gloominess, even open protest, of the serfs. And the landscape with which the poem opens is designed in dull, sad colors. True, the poet further mentions the awakening of nature, but this is necessary for contrast, in order to show the complete indifference of the poor and tired hounds to all the beauties of nature.
Irony, skillfully used in “Dog Hunt”, is also characteristic of other satirical poems created by Nekrasov in the mid-40s (“Modern Ode”, “Lullaby”, 1845; “Moral Man”, 1847). Nekrasov's new satirical poems are an important stage in his creative development. Continuing to some extent the traditions of his initial experiments, the poet at the same time refuses the light tone of vaudeville chatter. His satire becomes more harsh, angry, and irreconcilable. Nekrasov's innovation was also evident in the field of intimate lyrics. The lyrical hero, who appeared in his poems in the second half of the 40s, was a kind of discovery in Russian poetry. This is a typical commoner who finds it very difficult to break with his noble past. No less important is the appearance of Nekrasov’s image of the lyrical heroine. The thoughts and actions of the lyrical characters of the democratic poet are socially conditioned. They are depicted in conditions of a very specific time and space. Such, for example, is the poem “Am I Driving at Night...” (847), about which Chernyshevsky many years later, already from Siberia, wrote: “It was the first to show that he is acquiring a great poet.” The story of the death of an extraordinary woman is told in this poem with sincere humanity, with deep respect for the heroine, who is highly characterized by an unbridled desire for freedom.
Late 40s Nekrasov wrote the first poems dedicated to A. Ya. Panaeva and which later formed the so-called “Panaev cycle”, which researchers rightly compare with the famous “Denisyev cycle” by F. Tyutchev. Independently of each other, the two great poets created love poems that were amazing in their openness of feeling. They expressed the true drama of experiences, the complex and painful relationship of the hero and heroine (“If tormented by a rebellious passion...”, 1847; “You are always incomparably good...”, 1847; “Struck by an irrevocable loss...”, 1848 ; “Yes, our life flowed rebelliously...”, 1850, and others, up to “Three Elegies”, written in 1874 and seeming to complete the cycle).
IN Nekrasov’s poems of the second half of the 40s already outlined many features that will become characteristic of his subsequent work: a combination of lyrical and satirical principles, a violation of the usual genre system in lyrics, an appeal to
the world of everyday life, to the image of ordinary people from the village and city. Sociality becomes the basis of Nekrasov’s poetry. The years of the “dark seven years” were very difficult for Nekrasov as a poet and editor of Sovremennik. He writes much less poetry and almost never publishes it. To support the magazine, Nekrasov, together with Panaeva, composed two novels: “Three Countries of the World” (1848-1849) and “Dead Lake” (1885). These novels are, of course, of a certain interest, but Nekrasov nevertheless entered the history of Russian literature not as a playwright or prose writer, but as a poet.
Among the relatively few poems written and published by Nekrasov in the early 50s, the response to Gogol’s death is of particular importance: “Blessed is the gentle poet” (1852). This is one of the first manifestos of the “Gogolian” movement in literature, around which a lively controversy soon arises. It is no coincidence that the main idea of the poem
- "He preaches love
- With a hostile word of denial..."
caused sharp criticism from Druzhinin, but was enthusiastically taken up by Chernyshevsky. One of the most significant poems written by Nekrasov in the first half of the 50s, “Excerpts from the travel notes of Count Garansky” (1853), could only be published in 1856, when the “gloomy seven years” had already ended and censorship was somewhat oppressive. weakened
Need to download an essay? Click and save - "The satirical nature of Nekrasov's poetry. And the finished essay appeared in my bookmarks.In his poems of the second half of the 40s, Nekrasov often directly pitted the oppressors against the oppressed. The poems are acutely conflicting in nature. Along with describing the tragic fate of his heroes, Nekrasov could not help but write about the perpetrators of national disasters. Thus, “Hound Hunt” (1846) is built on the collision of the landowner’s ironically described delights in lordly fun and the gloomy gloominess, even open protest, of the serfs. And the landscape with which the poem opens is designed in dull, sad colors. True, the poet further mentions the awakening of nature, but this is necessary for contrast, in order to show the complete indifference of the poor and tired hounds to all the beauties of nature.
The irony skillfully used in “Hound Hunt” is also characteristic of other satirical poems created by Nekrasov in the mid-40s (“Modern Ode”, “Lullaby”, 1845; “Moral Man”, 1847). Nekrasov's new satirical poems are an important stage in his creative development. Continuing to some extent the traditions of his initial experiments, the poet at the same time refuses the light tone of vaudeville chatter. His satire becomes more harsh, angry, and irreconcilable. Nekrasov's innovation was also evident in the field of intimate lyrics. The lyrical hero, who appeared in his poems in the second half of the 40s, was a kind of discovery in Russian poetry. This is a typical commoner who finds it very difficult to break with his noble past. No less important is the appearance of Nekrasov’s image of the lyrical heroine. The thoughts and actions of the lyrical characters of the democratic poet are socially conditioned. They are depicted in conditions of a very specific time and space. Such, for example, is the poem “Am I Driving at Night...” (847), about which Chernyshevsky many years later, already from Siberia, wrote: “It was the first to show: Russia is acquiring a great poet.” The story of the death of an extraordinary woman is told in this poem with sincere humanity, with deep respect for the heroine, who is highly characterized by an unbridled desire for freedom.
At the end of the 40s, Nekrasov wrote his first poems dedicated to A. Ya. Panaeva and which later formed the so-called “Panaev cycle,” which researchers rightly compare with the famous “Denisev cycle” by F. Tyutchev. Independently of each other, the two great poets created love poems that were amazing in their openness of feeling. They expressed the true drama of the experiences, the complex and painful relationship between the hero and the heroine (“If tormented by a rebellious passion...”, 1847; “You are always incomparably good...”, 1847; “Struck by an irrevocable loss...”, 1848; “Yes, our life flowed rebelliously...", 1850, and others, up to "Three Elegies", written in 1874 and seeming to complete the cycle).
Nekrasov’s poems of the second half of the 40s already outlined many features that would become characteristic of his subsequent work: a combination of lyrical and satirical principles, a violation of the usual genre system in lyrics, an appeal to the world of everyday life, to the depiction of ordinary people from the village and city.
Sociality becomes the basis of Nekrasov’s poetry. The years of the “dark seven years” were very difficult for Nekrasov as a poet and editor of Sovremennik. He writes much less poetry and almost never publishes it. To support the magazine, Nekrasov, together with Panaeva, composed two novels: “Three Countries of the World” (1848-1849) and “Dead Lake” (1885). These novels are, of course, of a certain interest, but Nekrasov nevertheless entered the history of Russian literature not as a playwright or prose writer, but as a poet.
Among the relatively few poems written and published by Nekrasov in the early 50s, the response to Gogol’s death is of particular importance: “Blessed is the gentle poet” (1852). This is one of the first manifestos of the “Gogolian” movement in literature, around which a lively controversy soon arises. It is no coincidence that the main idea of the poem
* "He preaches love
* With a hostile word of denial..."
caused sharp criticism from Druzhinin, but was enthusiastically taken up by Chernyshevsky. One of the most significant poems written by Nekrasov in the first half of the 50s, “Excerpts from the travel notes of Count Garansky” (1853), could only be published in 1856, when the “gloomy seven years” had already ended and censorship was somewhat oppressive. weakened
31. Ideological and artistic analysis of the lyrics of F.I. Tyutcheva.
The poetry of F. Tyutchev is “poetry of thought”, “philosophical poetry”, “poetry of cosmic consciousness”.
The most important theme for Tyutchev is the chaos contained in the universe, this is an incomprehensible secret that nature hides from man. Tyutchev perceived the world as ancient chaos, as a primordial element. And everything visible and existing is only a temporary product of this chaos. The poet’s appeal to the “darkness of the night” is connected with this. It is at night, when a person is left alone in front of the eternal world, that he acutely feels on the edge of the abyss and especially intensely experiences the tragedy of his existence. The poet uses the technique of alliteration:
Quiet dusk, sleepy dusk,
Lean into the depths of my soul...
What are you howling about, night wind?
Why are you complaining so thoughtlessly?
“Silentium” is a philosophical poem. The lyrical hero appears in it as a thinker. The main idea is the endless loneliness of man. Man turns out to be powerless before the omnipotence of nature. Based on this, Tyutchev comes to the idea of the insufficiency of all human knowledge. From here follows a tragic collision - the inability of a person to express his soul, to convey his thoughts to another. The poem is structured as a kind of advice, an appeal to the reader, to “you”. The first stanza begins with advice - “be silent” - and ends with the same. “You” also means “I”:
How can the heart express itself?
How can someone else understand you?
The poet concludes that the human word is powerless: “A thought expressed is a lie.” The poem ends with a call to live in the world of your own soul:
Just know how to live within yourself -
There is a whole world in your soul...
Nature is the main theme of Tyutchev’s work. The idea of the animation of nature, the belief in its mysterious life are embodied by the poet in his desire to depict nature as a kind of animated whole. She appears in his lyrics in the struggle of opposing forces, in the continuous change of day and night. It's not so much a landscape, it's space. The main technique used by the poet is personification. The poem “Spring Waters” is a poetic description of the awakening of nature. Nature (streams) becomes animated, finding a voice:
They say all over:
“Spring is coming, spring is coming!”
The poem conveys a young, cheerful feeling of spring and renewal.
Tyutchev was especially attracted to transitional, intermediate moments in the life of nature. In the poem “Autumn Evening” there is a picture of evening twilight, in the poem “I Love a Thunderstorm in Early May” - the first thunder of spring.
Tyutchev's love lyrics are also original. “Oh, how murderously we love...” - a poem from the “Denisiev cycle.” Tyutchev blames himself for the suffering caused to Elena Denisyeva by her ambiguous position in society. Love sometimes sounds like “the union of the soul with the dear soul,” sometimes like anxiety, sometimes like a sorrowful confession. Love cannot be absolutely happy. One heart triumphs, the other, weaker, perishes.
Fate's terrible sentence
Your love was for her.
But without love, without internal struggle, there is no human life.
Nikolai Alekseevich Nekrasov
The poet was overcome by sad thoughts; it seemed that the days were already numbered, that he might not return to Russia. And here the courageous attitude of the people towards troubles and misfortunes helped Nekrasov to withstand the blow of fate and preserve his spiritual strength. The image of the “uncompressed strip”, like the image of the “road” in the previous poems, takes on a figurative, metaphorical meaning in Nekrasov: this is both a peasant field, but also a “field” of poetic labor, the craving for which for the sick poet is stronger than death, just as love is stronger than death the farmer to work on the land, to the labor field.
At one time, Dostoevsky, in a speech about Pushkin, spoke about the “worldwide responsiveness” of the Russian national poet, who knew how to feel someone else’s as if he were his own, and to be imbued with the spirit of other national cultures. Nekrasov inherited a lot from Pushkin. His muse is surprisingly attentive to the people's worldview, to the different, sometimes very distant from the poet, characters of people. This quality of Nekrasov’s talent manifested itself not only in the lyrics, but also in poems from folk life.
The originality of Nekrasov’s satirical poems
In the second section of the collection, Nekrasov appears as a very original satirical poet. What makes it unique? Among Nekrasov’s predecessors, satire was predominantly punitive: Pushkin saw in it “a formidable gift of ornateness.” The satirical poet was likened to the ancient Zeus the Thunderer. He rose high above the satirical hero and hurled lightning bolts of withering, accusatory words at him.
Let's listen to the beginning of the satire of the Decembrist poet K. F. Ryleev "To the Temporary Worker":
An arrogant temporary worker, and vile and insidious,
The monarch is a cunning flatterer and an ungrateful friend...
But with Nekrasov everything is different, everything is the other way around! In “Modern Ode,” he tries, on the contrary, to get as close as possible to the denounced hero, to imbue him with his views on life, and to adapt to his self-esteem:
Virtues adorn you,
To which others are far away,
And - I take heaven as witness -
I respect you deeply...
Moreover, in the poems “A Moral Man” and “Excerpts from the Travel Notes of Count Garansky” the heroes already speak about themselves and speak for themselves. And we laugh, we are indignant! Why? Yes, because Nekrasov “approaches” his heroes with mockery: he deliberately sharpens the way of thinking that is hostile to him. It’s as if his heroes do not need exposure from the outside: they expose themselves quite deeply. At the same time, we penetrate, together with the poet, into the inner world of satirical characters; the most hidden corners of their small, petty souls turn out to be obvious. This is exactly how Nekrasov later denounces the noble nobleman in “Reflections at the Front Entrance.” He almost literally reproduces the nobleman’s view of the people’s happiness and disdain for the intercessors of the people:
Clickers' fun
You are calling for the people's happiness;
Without him you will live with glory
And you will die with glory!
The story about the nobleman is presented in a tone of ironic praise, similar to that used by the poet in the “Modern Ode.” In the poem "The Railway" we will hear the general's monologue. Nekrasov allows the hero to speak out to the end, and this turns out to be enough to brand the general’s contempt for the people and their work. Nekrasov's satire, which gave impetus to the humorous poetry of V.V. and N.V. Kurochkin, D.D. Minaev and other poets - employees of the satirical magazine "Iskra", in comparison with the poetic satire of his predecessors, consistently masters in-depth psychological analysis, penetrates the soul denounced heroes.
Nekrasov also often uses satirical “rehash”, which should not be confused with parody. In “Lullaby (Imitation of Lermontov)” the rhythmic and intonation structure of Lermontov’s “Cossack Lullaby” is reproduced, and its high poetic vocabulary is partially borrowed, but not in the name of parody, but so that against the background of the high element of maternal feelings resurrected in the reader’s mind the baseness of the relationships discussed by Nekrasov was emphasized. Parodic use (“rehash”) is here a means of enhancing the satirical effect.
Search for a "new person"
The third section of the collection, the poem “Sasha,” is one of Nekrasov’s first attempts at poetic epic, which organically follows from his desire for a broad scope of life. The poem was created at a happy time of the rise of the social movement. Dramatic changes were brewing in the country; the emergence of “new people” with strong characters was expected. It was clear to everyone: these people must come from social strata close to the people. In the poem “Sasha,” Nekrasov, anticipating Turgenev and Chernyshevsky, wanted to show how “new people” are born and how they differ from the previous heroes - nobles, “superfluous people.”
A person’s spiritual strength, according to Nekrasov, is nourished by the extent of his connections with the people. The deeper this connection, the more stable and significant the person turns out to be, and vice versa. Deprived of roots in his native land, a person is likened to the steppe grass tumbleweed. Such is the cultured nobleman Agarin. This is an intelligent, gifted and educated person, but there is no firmness and faith in the character of the “eternal wanderer”:
What will the last book tell him?
Then it will lie on top of his soul:
To believe, not to believe - he doesn’t care,
If only it was proven smart!
Agarin is contrasted with the daughter of small landed nobles, young Sasha. The joys and sorrows of a simple rural childhood are accessible to her: she perceives nature in a folk way, admiring the festive aspects of peasant labor in the wet-nurse field. In the story of Sasha and Agarin, Nekrasov weaves the gospel parable about the sower and the soil, beloved by the peasantry. The peasant farmer likened enlightenment to sowing, and its results to the fruits of the earth growing from seeds in a labor field. Agarin plays the role of a “sower of knowledge in the people’s field” in the poem, and the soul of the young heroine turns out to be fertile soil. The socialist ideas that Agarin introduces to Sasha fall into fertile soil and promise “lush fruit” in the future. The heroes of “words” will soon be replaced by the heroes of “deeds”.
The poem "Sasha" was received by contemporaries with particular enthusiasm: in the public life of those years, the displacement of cultured nobles by commoners had already begun.
The originality of love lyrics
Nekrasov also appeared as an original poet in the final, fourth section of the poetry collection of 1856: he began to write about love in a new way. The poet's predecessors preferred to depict this feeling in beautiful moments. Nekrasov, while poeticizing the ups and downs of love, did not ignore that “prose” that is “inevitable in love” (“You and I are stupid people...”). In his poems, next to the loving hero, the image of an independent heroine appeared, sometimes wayward and unyielding (“I don’t like your irony...”). And therefore, the relationships between lovers in Nekrasov’s lyrics have become more complex: spiritual intimacy gives way to disagreement and quarrel, the characters often do not understand each other, and this misunderstanding darkens their love (“Yes, our life flowed rebelliously...”). Such misunderstanding is sometimes caused by different upbringings and different living conditions of the heroes. In the poem “Shyness,” a timid, insecure commoner encounters an arrogant social beauty. In "Masha" the spouses cannot understand each other, since they received different upbringings and have different ideas about the main and secondary things in life. In "The Fortune Telling Bride" there is a bitter premonition of the future drama: the naive girl likes the outward grace of manners and fashionable clothes in her chosen one. But behind this outer shine there is often emptiness hidden. Finally, very often the personal dramas of the heroes are a continuation of the social dramas. Thus, in the poem “Am I Driving Down a Dark Street at Night...”, the conflicts characteristic of Dostoevsky’s novel “Crime and Punishment” and the Marmeladov theme in it are largely anticipated.
Thus, the success of the poetry collection of 1856 was not accidental: Nekrasov declared himself in it as an original poet, paving new paths in literature. The main source of the poetic originality of his work was the deep nationality associated with the poet’s democratic beliefs.
Nekrasov's poetry on the eve of the reform of 1861
On the eve of the peasant reform of 1861, the question of the people and their historical possibilities, like the question “to be or not to be?”, arose before people of a revolutionary democratic way of thinking. Having become disillusioned by 1859 with the prospects for reforms “from above,” they expected liberation “from below” and hoped for a peasant revolution. Nekrasov had no doubt that it was the people, the multimillion-dollar peasantry, who were the main and decisive historical force of the country. And yet, he called the most sincere poem about the people, written in 1857, “Silence.”
This poem marked a certain turn in the development of Nekrasov. The search for creativity in the life of Russia at the dawn of the 60s was associated with the intelligentsia: she is the main character of three previous poems: “V.G. Belinsky”, “Sasha”, “The Unfortunate”. In these works, Nekrasov approached the people not directly, but indirectly: through people’s intercessors, sufferers and martyrs for the truth. In “Silence” the poet for the first time addressed the people with hope and trust:
All the rye is cool, like a living steppe,
No castles, no seas, no mountains...
Thank you, dear side,
For your healing space!
In the poet’s lyrical confession one can feel the people’s mentality, the people’s attitude towards troubles and adversity. The desire to dissolve and dispel grief in nature is a characteristic feature of the folk song: “Spread your thoughts throughout our clean fields, across our green meadows.” The scale, breadth of poetic perception, and “healing space” are also consonant with it. If in the poems “V.G. Belinsky” and “The Unhappy” the ideal of the Russian hero-ascetic was embodied in Nekrasov in the image of a persecuted “people's defender”, then in “Silence” the entire Russian people becomes such an ascetic, gathering under the arches of a rural church:
Temple of sighing, temple of sorrow -
Poor temple of your land:
Harder moans have never been heard
Neither the Roman Peter, nor the Colosseum!
Here are the people you love,
Your insurmountable melancholy
He brought a holy burden -
And he left relieved!
Why does Nekrasov call the melancholy of the people a “holy burden”? How can we explain that a democrat from the sixties creates religious poems filled with such harsh beauty, such high, mournful power? Let us remember that the formation of Nekrasov’s democratic views took place in the second half of the 40s, when the progressive minds of Russia were captured by the ideas of the French utopian socialists. These were socialist dreamers; they considered the ideas of brotherhood, equality and freedom to be “new Christianity,” the continuation and development of the moral commandments of Jesus Christ. Utopian socialists, as a rule, criticized the official church, but they considered the ethical ideas of Christianity associated with the preaching of social equality and human brotherhood to be a “holy burden,” the seed from which the idea of a new, fair, socialist society grows.
Their Russian followers were sometimes supporters of a more decisive, revolutionary breakdown of the old world. But in the ethical and moral sphere they followed their predecessors. Belinsky, in his famous letter to Gogol, called the Orthodox Church “the support of the whip, the servant of despotism,” but he not only did not deny Christ, but directly considered him the forerunner of modern socialism: “He was the first to announce to people the doctrine of freedom, equality and fraternity and sealed it with martyrdom, established the truth of his teaching."
Many of Belinsky's contemporaries went even further. Bringing socialism closer to Christianity, they explained this rapprochement by the fact that at the time of its emergence Christianity was the religion of the oppressed and contained the people’s primordial dream of future brotherhood. Therefore, in contrast to Belinsky, Herzen, for example, and with him Nekrasov, treated the religiosity of the Russian peasantry with admiration and saw in it one of the forms of manifestation of the natural dream of the common man about future world harmony. In his diary dated March 24, 1844, Herzen wrote: “Until now, one can speak with the people only through the Holy Scriptures, and, it should be noted, the social side of Christianity is least developed; the Gospel must enter into life, it must give that individuality that is ready for brotherhood ".
Let us note that such a “secularization” of religion did not contradict too much the fundamental foundations of peasant religiosity. The Russian peasant did not always rely in his beliefs on the afterlife and future life, and sometimes preferred to look for the “promised land” in this world. How many legends has peasant culture left us about the existence of lands where “man lives in contentment and justice”! Let us remember that even in Turgenev’s story “Bezhin Meadow” the dreams of peasant children are covered with this kind dream of the Promised Land.
Nekrasov’s poetry constantly features religious motifs, and the image of Christ serves as the ideal for people’s intercessors. These motives have folk-peasant origins; they are directly related to the socio-utopian beliefs of the poet. Nekrasov believes that socialist aspirations are the spiritual support of a Christian believer, a serf.
But in “Silence” he is also concerned with another question: will these dreams turn into action, are the people capable of their practical implementation? The answer to it is contained in the second and third chapters of the poem. Peasant Rus' appears in them in the collective image of a heroic people, an ascetic of Russian history. The recent events of the Crimean War and the defense of Sevastopol flash through the poet’s memory:
When above serene Russia
The silent creaking of the cart arose,
Sad as a people's groan!
Rus' has risen from all sides,
I gave everything I had
And sent for protection
From all the country roads
Your obedient sons.
An event of epic proportions is being recreated: in the depths of peasant life, on country roads, the unity of the people into invincible Rus' is being accomplished in the face of a national danger. It is no coincidence that the poem resurrects motifs from ancient Russian literature and folklore. During the period of the fatal battle, for the author of “The Tale of Igor’s Campaign,” “the rivers flow muddy,” and for Nekrasov, “the Black Sea wave, still thick, still red, sadly splashes onto the shore of glory.” In a folk song: “where a mother cries, there are rivers; where a sister cries, there are wells of water,” and in Nekrasov:
Nailed to the ground by tears
Recruit wives and mothers,
The dust is no longer standing in pillars
Over my poor homeland.
And Nekrasov narrates about the enemy’s military actions in a half-fairy tale, half-epic spirit:
Three kingdoms stood before her,
Before one... such thunder
The sky hasn't moved yet
From miraculous clouds!
The poem strengthens Nekrasov's faith in the forces of the people, in the ability of the Russian peasant to be a hero of national history. But when will the people wake up to consciously fight for their interests? There is no definite answer to this question in “Silence,” just as there is no answer in “Reflections at the Front Entrance” or in “Song of Eremushka,” which became the anthem of several generations of Russian democratic youth.
In this poem, two songs collide and argue with each other: one is sung by the nanny, the other by a “passing city passerby.” The nanny's song affirms a servile, lackey's morality, while the song of the "passer-by" calls for a revolutionary cause under the slogans of "brotherhood, equality and freedom." It is difficult to judge which path Eremushka will take in the future: the poem both opens and ends with the nanny’s song about patience and humility. This conceals a significant difference between the people's poet Nekrasov and his friends Chernyshevsky and Dobrolyubov, who at that moment were great optimists regarding possible popular indignation. That is why in Nekrasov’s poems “On the Death of Shevchenko”, “Poet and Citizen”, “In Memory of Dobrolyubov” the “people's intercessor” is most often a sufferer making a sacrifice. This interpretation of the “people's defender” does not quite coincide with the ethics of Chernyshevsky’s “reasonable egoism”. In relation to “new people,” Nekrasov often breaks through feelings close to religious admiration. A characteristic motif is the chosenness, exclusivity of great people who are carried by a “falling star,” but without whom “the field of life would die out.” At the same time, Nekrasov does not at all break with democratic ideology. His hero resembles not a “superman”, but a Christian ascetic revered and loved by the people:
You love the unfortunate Russian people!
Suffering has made us closer...
("Princess Volkonskaya")
The ascetic appearance of Nekrasov’s “people’s defenders” reveals their deep democracy and organic connection with folk culture. In the worldview of the Russian peasant, the difficult national history has instilled an increased sensitivity to those who suffer for the truth, a special trust in them. The poet finds many such truth-seeking martyrs among the peasants themselves. He is attracted by the ascetic image of Vlas (the poem "Vlas"), capable of high moral feats. Matching Vlas is the stern image of the plowman in the finale of the poem “Silence,” who “lives without pleasure and dies without regret.” The fate of Dobrolyubov in Nekrasov’s coverage turns out to be akin to the fate of such a plowman:
You taught me to live for glory, for freedom,
But you taught me more to die.
Consciously worldly pleasures
You rejected...
If Chernyshevsky, right up to 1863, had a political instinct
Similar abstracts:
Male and female characters in Nekrasov’s works. Happiness in Nekrasov's concept.
Nekrasov enthusiastically accepted the liberation of peasants from serfdom as a result of the reform of 1861. The Sovremennik published the poem “Freedom,” where the poet proclaimed that for the first time he could finally be proud of his country.
Nekrasov’s poem combines many genres, including folk poetry (for example, folk songs, laments, fairy tales, parables), but the main genre is the travel genre.
Starting from the chapter “Happy”, a turn is planned in the direction of the search for a happy person. On their own initiative, the “lucky” ones from the lower classes begin to approach the wanderers.
Based on Nekrasov's poem "Who Lives Well in Rus'."
The poem "Who lives well in Rus'?" - a work about the people, their life, work and struggle. A poet of peasant democracy, a comrade-in-arms of Dobrolyubov and Chernyshevsky, Nekrasov could not pass by in his poem those who selflessly fought for the freedom of the people.
In verse two The mid-1940s often directly pitted oppressors against the oppressed. The poems are acutely conflicting in nature. Along with describing the tragic fate of his heroes, Nekrasov could not help but write about the perpetrators of national disasters. Thus, “Hound Hunt” (1846) is built on the collision of the landowner’s ironically described delights in lordly fun and the gloomy gloominess, even open protest, of the serfs. And the landscape with which the poem opens is designed in dull, sad colors. True, the poet further mentions the awakening of nature, but this is necessary for contrast, in order to show the complete indifference of the poor and tired hounds to all the beauties of nature.
Irony, skillfully used in “Dog Hunt”, is also characteristic of other satirical poems created by Nekrasov in the mid-40s (“Modern Ode”, “Lullaby”, 1845; “Moral Man”, 1847). Nekrasov's new satirical poems are an important stage in his creative development. Continuing to some extent the traditions of his initial experiments, the poet at the same time refuses the light tone of vaudeville chatter. His satire becomes more harsh, angry, and irreconcilable. Nekrasov's innovation was also evident in the field of intimate lyrics. The lyrical hero, who appeared in his poems in the second half of the 40s, was a kind of discovery in Russian poetry. This is a typical commoner who finds it very difficult to break with his noble past. No less important is the appearance of Nekrasov’s image of the lyrical heroine. The thoughts and actions of the lyrical characters of the democratic poet are socially conditioned. They are depicted in conditions of a very specific time and space. Such, for example, is the poem “Am I Driving at Night...” (847), about which many years later, already from Siberia, he wrote: “It was the first to show: Russia is acquiring a great poet.” The story of the death of an extraordinary woman is told in this poem with sincere humanity, with deep respect for the heroine, who is highly characterized by an unbridled desire for freedom.
Late 40s Nekrasov wrote the first poems dedicated to A. Ya. Panaeva and which later formed the so-called “Panaev cycle”, which researchers rightly compare with the famous “Denisyev cycle” by F. Tyutchev. Independently of each other, the two great poets created love poems that were amazing in their openness of feeling. They expressed the true drama of the experiences, the complex and painful relationship between the hero and the heroine (“If tormented by a rebellious passion...”, 1847; “You are always incomparably good...”, 1847; “Struck by an irrevocable loss...”, 1848; “Yes, our life flowed rebelliously...", 1850, and others, up to "Three Elegies", written in 1874 and seeming to complete the cycle).
IN Nekrasov’s poems of the second half of the 40s already outlined many features that will become characteristic of his subsequent work: a combination of lyrical and satirical principles, a violation of the usual genre system in lyrics, an appeal to
the world of everyday life, to the image of ordinary people from the village and city. Sociality becomes the basis of Nekrasov’s poetry. The years of the “dark seven years” were very difficult for Nekrasov as a poet and editor of Sovremennik. He writes much less poetry and almost never publishes it. To support the magazine, Nekrasov, together with Panaeva, composed two novels: “Three Countries of the World” (1848-1849) and “Dead Lake” (1885). These novels are, of course, of a certain interest, but Nekrasov nevertheless entered the history of Russian literature not as a playwright or prose writer, but as a poet.
Among the relatively few poems written and published by Nekrasov in the early 50s, the response to Gogol’s death is of particular importance: “Blessed is the gentle poet” (1852). This is one of the first manifestos of the “Gogolian” movement in literature, around which a lively controversy soon arises. It is no coincidence that the main idea of the poem
- "He preaches love
- With a hostile word of denial..."
caused sharp criticism from Druzhinin, but was enthusiastically taken up by Chernyshevsky. One of the most significant poems written by Nekrasov in the first half of the 50s, “Excerpts from the travel notes of Count Garansky” (1853), could only be published in 1856, when the “gloomy seven years” had already ended and censorship was somewhat oppressive. weakened
Nekrasov entered Russian poetry not only as a poet-citizen, patriot, folk singer, but also as a satirist. Irony is a powerful weapon of Nekrasov's poetry. In “Lullaby” (1845), the poet satirically depicts the typical career of an official
What is the tone of the poem?
What is the poet's attitude towards his hero?
Students listen to the reading of the poem “A Moral Man.”
What is the hero of this poem?
(The hero speaks for himself, but the reader is indignant. The poet also treats the hero with mockery. Sometimes he exposes himself, shows his vile soul).
What did the author want to tell us about morality?
(Nekrasov wanted to show how flexible the concept of morality has become, how easy it is to apply it to any person, even someone like the hero of the poem.)
Nekrasov's love lyrics
Speaking about Nekrasov’s poetry, one cannot fail to note his love lyrics. The poet's predecessors preferred to depict this feeling in beautiful moments. Nekrasov, while poeticizing the ups and downs of love, did not ignore the “prose of life,” which is inevitable in love.
The poem reads: “You and I are stupid people...”
What kind of love do we see in Nekrasov’s works?
(Love in Nekrasov’s poems warms a person and helps him survive in a cruel world.)
Teacher's word
The love of the poet himself was also dramatic, connecting him for many years with Avdotya Yakovlevna Panaeva. She was his happiness and torment, giving rise to a whole series of love poems known as the Panayev cycle. Lovers meet, quarrel, make up, part, remember, and in this “novel” the ideal of a caring, affectionate woman is affirmed - a friend as a support in the difficult struggle of life, as a healer of a poet experiencing creative and heartache.
Homework
1. Make a written analysis of any poem.
2. Individual task. Prepare a message “Genre and composition of the poem “Who Lives Well in Rus'.”
Lesson 59. The bitter lot of the people of post-reform Russia
Lesson objectives: create the necessary emotional mood, help students feel the social tragedy of the peasantry; arouse interest in the poem.
During the classes
I. Recording the topic, epigraph, lesson plan
Spectacle of national disasters
Unbearable, my friend...