Nekrasov's poetry main themes and specifics of artistic creativity. Artistic features of N. Nekrasov's poetry. ON THE. Biography: a brief description of creativity
New times required new subjects, styles, intonations and rhythms. Nekrasov not only significantly expanded the thematic range of Russian lyrics - new themes appeared, and traditional ones acquired an unexpected sound in his work - but also significantly transformed poetic speech.
The democratization of poetic language is associated with a reorientation towards the mass reader, with the author’s close attention to another person, whose joys and sorrows may be more important to him than his own. “A person is thrown into life as a mystery to himself, every day he is brought closer to destruction - there is a lot of terrible and offensive in this... But then you notice that another (or others) need you - and life suddenly receives meaning, and the person no longer feels that lonelyness... Man was created to be a support for others, because he himself needs support” - one of the moral principles that explains the essence of Nekrasov’s poetry was formulated by him in a letter to L.N. Tolstoy.
Nekrasov’s lyrics, unlike the works of his predecessors, are distinguished by their polyphony: along with the lyrical author’s “I,” poems often contain one or more characters. This is no longer just an expression of the author’s feelings and thoughts - it is a vision of a polyphonic, disharmonious world through different eyes, a reflection of the experiences of another hero. In Nekrasov's poems, the street spoke - petty officials, peasants, soldiers, while the poet does not use jargon and rude colloquial expressions: given the proximity of the language to the colloquial, it is still poetic language, characterized by rich intonation diversity.
One of the striking features of Nekrasov’s poetic language is its focus on folklore elements. This is especially true for poems dedicated to the peasant theme. There are constant epithets familiar to you from folk songs and fairy tales, lexical repetitions, and words with diminutive suffixes. In addition, researchers identify stable signal words in Nekrasov’s lyrics, which he most often uses in various poems. These are epithets such as “dull”, “fatal”, “gloomy”, “severe”, and the words “moan”, “moan”, which define the melancholy and gloomy tonality of Nekrasov’s lyrics. However, in Nekrasov’s poems there is also a focus on the future, and although thoughts about the near future are also pessimistic, the lyrical hero sees a more distant time as bright and beautiful - remember the poem “ Railway».
The pathos of the future is also determined by the fact that many of the poet’s poems are addressed to children.
A life of free impressions
Give me your soul freely,
To human aspirations
Don't bother waking up in it.
You were born with them by nature -
Cherish them, save them!
Brotherhood, Equality, Freedom
They are called...
“Song to Eremushka”, 1859
The ability to penetrate into the world of other people determined a completely new approach to depicting the character of a simple person from the people. Before Nekrasov, familiarization with the national character came through song, but in his poems it is sometimes absent - there is a bitter, artless story about life, as, for example, in the poem “ On the road" Instead of the traditional song “about recruitment and separation,” we hear the coachman’s sad confession about himself and his wife, destroyed by the masters. The reader is not presented with a peasant fate generalized with the help of folklore, but with an individual, deeply personal tragedy. “Millions of living beings stood before me, never depicted,” said Nekrasov. - They asked for a loving look. And every man is a martyr, every life is a tragedy!”
The appearance of various heroes in poetry has led to the fact that not the lyrical, but the narrative plot begins to play an important role. Many poems, including the poem “On the Road,” are original poetic stories, poetic short stories. In addition, they include dramatic elements: dialogue or stage action is actively introduced. Remember the poem " Peasant children“, in which we hear, in addition to the author’s voice, the voices of peasant children, and the work itself originally had the subtitle “Children’s Comedy”.
However, Nekrasov's lyrics do not lose their lyricism: this is not a story, not an essay, or a drama. The poem “On the Road” is a genuine discovery of Nekrasov, not only because it has a pronounced social orientation and denounces landowner tyranny: first of all, it reflects the complexity and contradictions of the peasant character. Not only the story of the unfortunate Grusha is terrible, but also the way her husband tells about it, artlessly and naively admitting:
And, listen, I almost never hit you,
Unless under the influence of a drunken...
Not only is a young woman, brought up in a manor house, able to play the piano and read, possessing an awakened consciousness and self-esteem, but at the whim of a new owner sent to the village and forced into marriage unhappy, her husband is also unhappy, who suffers because he was “crushed by his villainous wife”; common grief peasant life is reflected in this poem.
The verisimilitude of the story is emphasized by the accurate reproduction of the folk dialect, which is unusual not only for the poetry of that time, but also for Nekrasov’s lyrics. This technique might seem unnecessary if it were used outside the monologue of a simple peasant: “You see, sew and knit, / Play and read on the jew’s harp,” “he keeps looking at some pattern...”, etc. Apollo Grigoriev wrote that “it was not a pastiche of folk speech, but the speech of a man from the people that was heard in this poem.”
The last two lines:
- Well, that's enough, coachman! Overclocked
You are my persistent boredom!.. -
They introduce the author’s lyrical “I” into the poem, an emotional assessment that allows one to feel the compassion of the lyrical hero and his involvement in the people’s grief.
As a rule, the author’s position in Nekrasov’s poems is extremely clearly expressed. For example, in the poem “ coffin“We see a soldier carrying a child’s coffin under his arm. The author’s attitude towards the hero is indicated by the words “baby” and “kruchinushka”, such a detail as the tears in his eyes. And the character is also outlined in two strokes: “severe eyes”, into which melancholy “squeezed” tears - before us is a man of few words, not inclined to sensitivity, a stern man. In the second stanza, we already hear the words of the soldier who scolded the child, and we understand that the tears are caused not only by grief, but also by repentance, and the author with all his soul sympathizes with the hero who is experiencing the death of the child. The motive of suffering is one of the main ones in the poet’s work.
One of the views on Nekrasov that has developed in literary criticism is the perception of him as a poet-journalist who writes poetry between editing proofs. Many of his poems are structured as reports from the scene of an incident that the poet witnessed. Hence the illusion of the authenticity of the situation, the poetic word, the emotions expressed in the poem. Such, for example, are the cycles of poems “ On the street», « About the weather" (including the poem "The Coffin"), the poem " Reflections at the front door" and many others. One of the most indicative poems in this sense is “ Yesterday, at about six o'clock...", dated 1848, but lost in Nekrasov’s papers for almost a quarter of a century.
Yesterday, at about six o'clock,
I went to Sennaya;
There they beat a woman with a whip,
A young peasant woman.
Not a sound from her chest
Only the whip whistled as it played...
And I said to the Muse: “Look!
Your dear sister!
1848 (?)
It seems that a reporter in a hurry to somewhere, who visited Sennaya, documented a certain incident: the place, time, and event were indicated. However, the poems, written as if “on the topic of the day” for a newspaper issue, are subject to a special poetic logic: in the last lines the suffering peasant woman and the Muse are compared, thus, a specific image is united with a symbol, and both of them are transformed. Time also becomes symbolic - “yesterday” becomes vague and unclear, a specific date ceases to matter. The documentation turns out to be imaginary: no public punishments have been carried out on Sennaya Square since 1845, the specific date ceases to matter. A young peasant woman, a whistling whip, a silent Muse become symbols, and the observer becomes a lyrical hero.
The lyrical hero of Nekrasov’s poetry is a passionate and contradictory personality. In the contrast of internal strength and external physical imperfection, proud will and weakness, an image of a person is created who is stern and demanding of himself and others, acutely aware of his powerlessness and possessing a sensitive, responsive heart. Nekrasov's poetry is confessional and frank: the author constantly conducts an invisible dialogue with the reader, openly admitting his mistakes and punishing himself for the “wrong sound” of the lyre. The special intonation of Nekrasov’s poems gave rise to numerous imitators.
In the poem " I'll die soon...”, already in the first phrase declaring a tragic tone, “fatal events” and bitter facts leading to callousness of the soul are listed. The lyrical hero has a hard time monologue: the intonation is intermittent and difficult, there are many transfers of poetic lines. Emotional tension is emphasized by repetitions and exclamations, a refrain that sounds like a sob. However, the hero does not look for excuses: the pathos of the poem lies in the love for the Motherland, which the poet has preserved in his soul, a blood connection with the people.
Nekrasov's later lyrics reflect the author's more pessimistic, gloomy moods. The motives of general ill-being and catastrophism are heard in poems in which the image of a tragic world is created - not the peasant world, but the world as a whole. The poet starts from specific facts and impressions and comes to deep philosophical generalizations:
The honest ones who fell valiantly fell silent.
Those who cried out for the unfortunate people,
But cruel passions are unbridled.
A whirlwind of anger and rage rushes
Above you, unresponsive country.
Everything living, everything good is askance...
1872-1874
The only thing the poet sees as an ideal is the image of a mother. Appearing in the poem “ Knight for an hour"and created on a biographical basis, this image becomes more and more abstract in later lyrics: this is both the motherland and the mother - the highest eternal moral principle, the last consolation.
The landscape is innovatively rethought in Nekrasov's lyrics. The realm of the poetic is expanded: the squeak of jackdaws, the creaking of carts, the cry of frogs, and the crackling of grasshoppers merge “into the harmony of life.” The poet's attentive gaze notes not only the rustle of green grass and the talkative murmur of the wave, but also a chewing bull tearing out the ground with grass, and a white-headed child calling the invisible Paraskovya. Nekrasov’s landscape always includes a person and is not the goal of exclusively aesthetic admiration; he is closer to Tyutchev and Pushkin than to Fet. Nature never exists in isolation from human sorrows and joys - just remember the poem “ Uncompressed strip" or " Before the rain».
The poet selects precise realistic details to create landscape sketches, always achieving the verisimilitude of the descriptions. For example, in the poem " Knight for an hour"in the picture of the autumn evening there were the following lines:
That quietly float through the air...
However, the poem depicts a later time than the time of flying cobwebs, and in the last version, created shortly before his death, the poet changes the line and achieves not only the imagery of the description, but also the accuracy of the artistic detail.
...To the thinnest networks of the web,
That they lay like frost on the ground...
One of Nekrasov’s favorite poetic meters is the trimeter anapest, which gives the poems a melodious quality and brings them closer to a song.
Nekrasov's lyrics in many ways continue the traditions of Pushkin's work and develop the theme of the poet and poetry, connecting it with the theme of serving the people. In addition, Nekrasov inherited from Pushkin the courage to mix styles and the realism of images.
In many ways, Nekrasov was a follower of Gogol - he transferred the traditions of the “natural school,” which was often called Gogol’s, into Russian realistic poetry. The relevance of the issues, the images of “little people” and St. Petersburg, a sympathetic attitude towards the humiliated and disadvantaged, caustic satire towards the powerful, natural, living language - these features of Gogol’s creativity are reflected in Nekrasov’s lyrics. Lines from a poem dedicated to Gogol, “ Blessed is the gentle poet..."can also be attributed to Nekrasov himself.
And believing and not believing again
The dream of a high calling,
He preaches love
A hostile word of denial.<...>
They curse him from all sides
And just seeing his corpse,
They will understand how much he has done,
And how he loved - while hating!
1852
Source (abbreviated): Lanin B.A. Russian language and literature. Literature: 10th grade / B.A. Lanin, L.Yu. Ustinova, V.M. Shamchikova. - M.: Ventana-Graf, 2016
Features of creativity
[From a letter dated November 17, 1853] “My nerves are terribly irritable; every vein dances in my body as if they are having an eternal holiday. ...The Muse comes and turns everything upside down; It would be good for some benefit, otherwise it’s useless,” excitement begins, soon passing the boundaries of all moderation, “and before I have time to master the thought, much less express it well, I’m rolling around on the sofa with spasms in my chest, pulse, temples, the heart sounds the alarm - and so on until the boring thought calms down.” (Nekrasov, 1930 p. 183-184.)
“Nekrasov wrote prose while sitting at his desk and even lying on the sofa, but he composed poetry, mostly walking around the room, and pronouncing them out loud; when he finished the entire poem, he wrote it down on the first piece of paper that came to hand... Nekrasov could recite by heart any of his poems, ever composed, and no matter how long it was, he did not stop at a single stanza , I definitely read it from the manuscript.” (Panaeva, 1986, pp. 207-208.)
“In no one else, perhaps, did the inexorable force of heredity manifest itself with such, let’s say, mocking cruelty as in N. Nekrasov... The periodicity of the manifestation of Nekrasov’s poetic energy and the coincidence of this manifestation with the awakening of nature in the spring and life on the hunt speak for the fact that the pituitary gland of Nekrasov... largely received correlative support in the adrenal glands. So, despite the fact that Nekrasov hardly felt any spiritual kinship with his father, the adrenaline hyperfunction he inherited from his father certainly played a role in the development of his poetic talent.” (Galant, 1927 b, p. 218,221.)
There is no such person in Russian literature, in all literature, before whom one would bow lower with love and reverence than before the memory of Nekrasov
A.V.Lunacharsky
1. Childhood years. Grammar school (1821-1838)
Nikolai Alekseevich Nekrasov entered the history of Russian literature as a great poet, whose work is rooted in the deep layers of people's life, as a poet-citizen who devoted his entire life, all his enormous talent, to serving the people. With good reason, the poet at the end of his life could say: “I dedicated the lyre to my people.”
Nikolai Alekseevich Nekrasov was born on November 28 (December 10), 1821 in the town of Nemirovo, Bratslav district, Podolsk province in Ukraine, where the regiment in which his father served was stationed at that time.
In 1824, the Nekrasov family moved to Greshnevo, where the future poet spent his childhood. His childhood years left a deep imprint on Nekrasov’s consciousness. Here he first encountered many dark sides of the life of the people, here he witnessed the cruel manifestations of serfdom: poverty, violence, tyranny, humiliation of human dignity.
The poet's father Alexey Sergeevich Nekrasov (1788-1862) belonged to a rather old, but impoverished family. In his youth he served in the army, and after retiring he took up farming. A harsh and capricious man, he cruelly exploited his peasants. 3 and the slightest offense of the serfs was punished with rods. The poet’s father did not disdain fist reprisals.
That is why many years later the poet wrote with such bitterness about his childhood:
No! in my youth, rebellious and harsh,
There is no memory that pleases the soul;
But everything that entangled my life from the first years,
An irresistible curse fell upon me, -
Everything begins here, in my native land!..
("Motherland")
It is difficult to say what would have happened to young Nekrasov, whose upbringing took place in such an unsightly environment.
But Nekrasov was saved by the fact that his mother, Elena Andreevna (nee Zakrevskaya), was next to him. The poet said more than once that she saved his soul from corruption, that it was his mother who instilled in him the idea of living in the name of “ideals of goodness and beauty.”
An amazingly gentle, kind, well-educated woman, Elena Andreevna was the complete opposite of her rude and narrow-minded husband. Marriage with him was a real tragedy for her, and she gave all her love and tenderness to her children. Elena Andreevna was seriously involved in their upbringing, read to them a lot, played the piano and sang for them.
Little Nekrasov was passionately attached to his mother; he spent long hours with her, devoting his innermost dreams to her. In his poems, he more than once recalled the “sad gaze” and the “quiet step” of his mother, and the “pale hand” that caressed him.
Until the end of his days, Nekrasov remembered his mother with deep emotion, adoration and love. He wrote about her in the poems “Motherland”, “Knight for an Hour”, “Bayushki-Bayu”, “Recluse”, in the poems “The Unhappy” and “Mother”.
The poet saw a lot of grief and suffering in his childhood. But this did not harden his soul. And to a large extent this was facilitated by the fact that he grew up in close proximity to the common people. His father forbade him to make acquaintance with the children of serfs. However, as soon as his father went somewhere, the boy secretly ran away to the village, where he had many friends.
Communication with peasant children had the most beneficial effect on Nekrasov, and he retained warm feelings for his childhood friends throughout his life. And, already as an adult, coming to Greshnevo, he could rightfully say:
Still familiar people
Whatever the guy, he's a buddy.
In 1832, Nekrasov, together with his brother Andrei, entered the Yaroslavl gymnasium. Nekrasov studied unevenly. And this is not surprising. He, like many other students, was deeply antipathetic to the education system in the gymnasium, and the teachers did not arouse in him either respect for themselves or interest in the disciplines they taught. His comrades loved Nekrasov for his lively and sociable character, for his erudition and ability to tell stories.
Nekrasov really read a lot, although rather randomly. He borrowed books from the gymnasium library and sometimes turned to the gymnasium teachers.
Nekrasov’s interest in creativity awoke very early. As he himself said, “I started writing poetry at the age of seven. But before entering the gymnasium, he wrote poetry only occasionally, and of course these were weak, naive attempts to rhyme a few lines. Now he began to take poetry more seriously. At first Nekrasov tried to write satires on his comrades, and then lyric poems. “And most importantly,” the poet recalled, “whatever I read, I imitate.”
In the summer of 1837, Nekrasov left the gymnasium.
Nekrasov lived at home in Greshnev for a whole year. And all this time he was relentlessly haunted by the thought: what to do next. The father wanted his son to join the Noble Regiment (that was the name military educational institution for children of nobles) and received a military education. But the future poet was not at all attracted to a military career. Nekrasov dreamed of studying at the university and then engaging in literary work.
2. Petersburg. Beginning of literary activity
Nekrasov was not yet seventeen years old when, filled with the most rosy hopes, he arrived in St. Petersburg.
It was not possible to enter the university: the knowledge acquired at the gymnasium turned out to be too scanty. I had to think about my daily bread. There were acquaintances who tried to help the young poet and get his poems published. Several of Nekrasov’s works were published in the magazines “Son of the Fatherland”, “Literary Additions to the Russian Invalid” and later in the “Library for Reading”. But beginning authors were paid little there. A life full of hardships began. Nekrasov wandered through the St. Petersburg slums, lived in basements and attics, earned money by copying papers, drawing up all kinds of petitions and petitions for poor people.
But life’s adversities did not break Nekrasov, did not shake his passionate desire to learn. He continued to dream of entering university and studied hard for exams. However, despite the help of friends, he failed to realize his dream. True, Nekrasov was accepted as a volunteer and was even exempted from paying for listening to lectures.
On the advice of one of his acquaintances, Nekrasov decided to collect his printed and handwritten poems and publish them as a separate book called “Dreams and Sounds.”
The collection “Dream and Sounds” was published in early 1840. Nekrasov hid his name under the initials N.N.
The poet himself judged his early work very harshly. “I wrote a lot of rubbish because of bread,” he noted in “Autobiographical Notes,” “especially my stories, even my later ones, are very bad - just stupid...”
3. Commonwealth with Belinsky. The beginning of Sovremennik
In 1842, an event occurred that was a turning point in Nekrasov’s life: he introduced and soon became friends with Belinsky. By that time, the great critic was at the center of the literary movement of the era and his worldview was already acquiring a revolutionary-democratic character. Belinsky took the most ardent part in the fate of the young poet. He recognized an extraordinary person in Nekrasov and contributed in every possible way to the development of his talent.
Nekrasov had many things in common with the great critic.
Later, Nekrasov spoke about the beneficial influence of Belinsky on the formation of his views:
You taught us to think humanely,
Almost the first to remember the people,
You were hardly the first to speak
About equality, about brotherhood, about freedom...
("Bear Hunt")
According to F. M. Dostoevsky, Nekrasov “revered Belinsky and, it seems, loved him more than anyone else in his life.”
Belinsky closely followed Nekrasov’s work, helped with advice, and tried to attract him to more active cooperation in the journal Otechestvennye Zapiski, where he headed the critical department.
From now on, every poem by Nekrasov was perceived in Belinsky’s circle as an event.
One after another, Nekrasov’s poems about peasant life appear: about the fate of the “Vakhlak peasant” who dared to love a noble daughter (“The Gardener”), about the poor man for whom only one road is prepared - “to the tavern” (“The Drunkard”), about a rural beauty who faces the bitter fate of a Russian woman (“Troika”).
In the mid-1840s, Nekrasov began his active work as a publisher. In 1844-1845, Nekrasov published two volumes of the almanac “Physiology of St. Petersburg”, and in 1846 - “Petersburg Collection”.
The almanacs “Physiology of St. Petersburg” and “Petersburg Collection” were warmly received by the public and were highly appreciated by progressive critics in the person of Belinsky.
Success inspired Nekrasov, and he conceived a new literary venture - publishing his own magazine. With the help of friends, the poet, together with the writer I. I. Panaev, rented the Sovremennik magazine at the end of 1846. Nekrasov carried out a complete reorganization of the magazine. The leading employees of Sovremennik were V. G. Belinsky, A. I. Herzen, I. S. Turgenev, I. A. Goncharov and other leading writers and poets of that time.
The first issue of the updated Sovremennik was published in January 1847.
4. Nekrasov’s work in the 1850s
Back in the early 1850s, Nekrasov became seriously ill. The disease progressed every year: years of poverty, hunger, hard, exhausting work took their toll. The poet was convinced that his days were numbered, and decided that it was time for him to take stock of his creative path. To this end, he undertook the publication of a collection of poems, for which he selected the best works written by him in the period from 1845 to 1856 and which most fully reflected the characteristic features of his poetic muse.
The collection “Poems by N. Nekrasov” was published in the spring of 1856. Its appearance became an important social and literary event.
The collection opened with Nekrasov’s programmatic poem “The Poet and the Citizen,” which clearly conveyed the idea that poetry is an important public matter, that a poet has no right to shy away from the struggle for progressive ideals, that his duty is to be a citizen of his homeland, fearlessly going to fight “for the honor of the fatherland, for convictions, for love”:
Be a citizen! serving art,
Live for the good of your neighbor,
Subordinating your genius to feeling
All-embracing love...
The composition of the collection “Poems by N. Nekrasov” was deeply thought out by the poet. At the beginning of it, Nekrasov placed works depicting the life of representatives of the people. These are poems such as “On the Road”, “Vlas”, “Gardener”, “Forgotten Village”, etc.
The second section of the collection consists of works that depict those who exploited and enslaved the people: landowners, officials, bourgeois capitalists. These were, as a rule, satirical poems: “Hound Hunt”, “Lullaby”, “Philanthropist”, “Modern Ode”, “Moral Man”.
In the third section, Nekrasov included the poem “Sasha”, in which he was one of the first in Russian literature to raise the question that in the conditions of a powerful social upsurge that had come in the country, a new hero was needed, that the time when the leading role in public life belonged to representatives noble intelligentsia, passed, because they turned out to be unstable in their convictions and were unable to translate word into deed. The poem paints a charming image of the girl Sasha, striving to find her place in life and be useful to people:
Poor people are all her friends:
Feeds, caresses and treats ailments.
The collection “Poems by N. Nekrasov” was a huge success. The entire publication sold out in a few days. This, according to Turgenev, “hasn’t happened in Russian literature since the time of Pushkin.”)
The main, fundamental theme of Nekrasov’s work has always been the theme of peasant life. It is not for nothing that the poet was called the singer of the plowman people, the peasant democrat. He wrote about the hard, joyless life of village workers throughout his entire creative career. The poet dedicated many of his works to the bitter lot of the rural working people: “The Uncompressed Strip”, “The Forgotten Village” and others.
In 1860, “Reflections at the Main Entrance” was published in Herzen’s “Kolokol” (No. 61) with the following note: “We very rarely publish poems, but there is no way not to include this kind of poem.” This fact once again confirms the enormous socio-political significance of Nekrasov’s poem.
The poet always spoke about national disasters with sadness and pain. It was bitter for him to see the submission of the people, who did not even dare to grumble about their fate.
The worse your fate would be,
When would you be less patient?
("On the Volga")
In a number of his works, Nekrasov paints charming images of village children, strives to show their immediate and lively reaction to everything that happens around them, their harmonious perception of nature and life. The poet does not close his eyes to the difficult life of children in the village, to the fact that sometimes they have to join the difficult peasant labor too early.
Nekrasov’s poem “Peasant Children” is permeated with boundless love for village children. The poet talks with tenderness about the Savos, Kuzyakhs, Glashkis and other children. Looking at them, he remembers his childhood, spent in direct communication with peasant children, about the mushroom raids that he made with them, about the attention with which his little friends listened to the stories of experienced people, and watched the work of the artisans.
Nekrasov wrote not only about children, but also for children. In the late 1860s and early 1870s, he created two cycles of poems “dedicated to Russian children,” which included such well-known works as “General Toptygin,” “Grandfather Mazai and the Hares,” and others.
5. Split in Sovremennik. Nekrasov's work in the 1860s
On one of his trips to his homeland, Nekrasov met a peasant woman who told him “her great sadness” about the death only son. The poet based her story on the short poem “Orina, Mother of a Soldier.”
By its nature, the poem “Orina, Mother of a Soldier” is very close to the genre of folk lamentations.
Nekrasov also writes about the tragic and powerless situation of the Russian peasant woman in one of his best works of the 1860s - in the poem “Frost, Red Nose.” Fate main character Daria's poems are in many ways similar to the fate of Orina. Both of them lost their breadwinners. But in the poem “Frost, Red Nose,” Nekrasov decided to depict not only the harsh lot of the Russian peasant woman, but to show her endurance, greatness and dedication. At the very beginning of the work there is a genuine hymn to the glory of the Russian woman:
There are women in Russian villages
With calm importance of faces,
With beautiful strength in movements,
With the gait, with the look of queens...
6. Historical and revolutionary poems
Nekrasov's creativity in the years 1868-1877 was distinguished by amazing diversity. At this time, he wrote lyrical poems, historical and revolutionary poems “Grandfather”, “Russian Women”, “Contemporaries” and, finally, the greatest epic of folk life “Who Lives Well in Rus'”.
While working on the poems “Grandfather” and “Russian Women”, Nekrasov strove not to deviate from historical truth in any way, and at the same time every historical fact or the event received a certain interpretation in his works.
The poem “Russian Women” consists of two parts - “Princess Trubetskaya” (1871) and “Princess M.N. Volkonskaya” (1872).
In the first, Nekrasov recreated the character of a courageous woman who fully shares the views of her Decembrist husband, who, overcoming many difficulties - resistance from parents, obstacles caused by the authorities - ultimately achieves the right to be with her chosen one. She knows that her husband’s actions were based on a fiery love for his homeland:
Oh, if only he forgot me
For another woman, I would have enough strength in my soul
Don't be his slave! But I know there is love for the homeland
My rival, And if necessary, again
I would forgive him!..
The central episode of this part of the poem is the meeting of Princess Trubetskoy with the Irkutsk governor, who received the strictest order: to restrain her by any means and not allow her to follow her husband. The governor tells the princess about the horrors that await her on the road and in hard labor, that she must “sign a renunciation” of all rights, property and become a “simple woman.” But nothing stopped the brave woman:
It will be terrible, I know
My husband's life.
Let it be mine too
No happier than him!
Trubetskoy is convinced that she should be close to her husband, that she will be able to help him and support him in difficult times:
I will save the pride, the pride in him,
I will give him strength!
“Who lives well in Rus'”
From 1863 until his death, Nekrasov worked on the main work of his life - the poem “Who Lives Well in Rus'.” The poet told the journalist P. Bezobrazov: “I decided to present in a coherent story everything that I know about the people, everything that I happened to hear from their lips, and I started “Who Lives Well in Rus'.” This will be an epic of modern peasant life."
The poem “Who Lives Well in Rus'” is a work of enormous scale. It can rightfully be called “an encyclopedia of peasant life.
Like Russian heroes folk tales, seven men set off on a journey in the hope of finding a happy person, “who lives a cheerful, free life in Rus'.” Such a plot allowed the poet to reveal to the reader all the diversity of post-reform life in Russia, take him through devastated villages and rural fairs, introduce him to representatives of various classes: peasants, landowners, clergy - to show the hopelessly hard peasant work, poverty and wretchedness of village life.
The men met a lot of people during their travels and each one was asked what life was like for him. They did not find happy ones among the clergy, “and they did not find them among the landowners. They were not among the peasants either.
The poem “Who Lives Well in Rus'” is one of the most perfect works in all Russian literature. Nekrasov managed to achieve a harmonious fusion of form and content in it. Talking about folk life, trying to make his work accessible and understandable to the broad masses of readers, Nekrasov used in his poem all the riches of oral folk art and living spoken language.
7. “Last Songs.” Illness and death
In the mid-1870s, Nekrasov fell ill.
In rare moments when the pain subsided, Nekrasov continued to work. He wrote his dying poems, which he called “Last Songs.” Most of them were published in the journal Otechestvennye zapiski. And in March 1877, a collection was published, which the poet called “The Last Songs.”
The collection “Last Songs” is a poetic testament in which Nekrasov, as it were, sums up his life.
In the fall of 1877, Nekrasov became very ill.
V. A. Panaev, who had known the poet for many years, and writers P. V. Zasodimsky and F. M. Dostoevsky gave speeches over Nekrasov’s grave. They all spoke about the feat of the poet-citizen, whose entire work was devoted to serving the ideals of goodness and happiness of the people, about the high moral character of the deceased.
Characteristics of Nekrasov’s creativity, about Nekrasov’s creativity, Nekrasov’s creativity, Nekrasov’s creativity
N. Nekrasov - permanent magazine editor "Contemporary" and "Domestic Notes". He was a prominent representative of the “natural school”. This literary direction 40s of the 19th century, based on the work of N.V. Gogol. The term “natural” was substantiated by V. G. Belinsky as a truthful, unembellished image of reality.
Lyrics Nekrasova N.A.
N. A. Nekrasov is a prominent representative civic poetry in Russian XIX literature century. This is poetry whose main themes are aimed at protecting public interests. The role of the poet is to awaken public consciousness, reflect the mood of society, and call it to action. In contrast to “pure art,” civic poetry addressed the phenomena of modern reality, drew attention to social injustice, denounced social vices. The pathos of civic poetry lies in selfless devotion to public causes.
Main themes the lyrics of N. Nekrasov - the theme of the people and people's suffering; the theme of the poet and poetry, which is revealed as a theme of civil service and responsibility to the people and to oneself; theme of love.
N. Nekrasov writes about the Russian people with respect and admiration. In peasant poetry, the image of suffering occupies one of the central places. He called his Muse “the sad companion of the sad poor, born to work, suffering and chains.” Destroyed forces, broken hopes, death - all this is present in the poet’s poems about the peasant lot. N. Nekrasov is traditionally called the “singer of the people’s suffering.” However, behind these sufferings lies the bright, ideal beginning of people's life, the heroic forces of the Russian peasantry.
In the poem “Elegy” N. Nekrasov expressed his attitude towards the reform of 1861 and showed that it did not bring changes. Here the poet raises his angry voice for the true liberation of the people. "Elegy" is a programmatic work. Here N. Nekrasov expressed his poetic and political credo: “I dedicated the lyre to my people.” The poet freed elegy (Greek for “lamentable song”) from romantic sorrow. His sadness is optimistic, as he believes in a bright future for the people.
Nekrasov's lyrics in many ways continue the traditions of Pushkin's work and develop the theme of the poet and poetry, connecting it with the theme of serving the people. In many ways, N. Nekrasov was a follower of N. Gogol - he transferred the tradition of the “natural school,” which was often called Gogol’s, into Russian realistic poetry. In the poem “The Poet and the Citizen,” speaking against “pure art,” N. Nekrasov declares that a true poet cannot and should not remain indifferent to the grief and torment of the people, but, using his poetic gift, is obliged to participate in the struggle for the happiness of the people . N. Nekrasov demanded that the poet be, first of all, a citizen, a faithful son of his homeland: “You may not be a poet, / But you must be a citizen.”
The theme of most lyrical poems about love was the poet’s relationship with Avdotya Yakovlevna Panaeva. They constitute the “Panaev cycle” and are the pinnacle of N. Nekrasov’s intimate lyric poetry. Each poem is a fragment of a unique lyrical novel: this emphasizes the unresolved situation and the inexhaustibility of the plot. One of these lyrical poems can be called. N. Nekrasov's lyrics, dedicated to the theme of love, are closely connected with the classical tradition of Russian poetry, inheriting Pushkin's clarity and specificity in depicting the experience of love. An innovation was the “prose of life”, which was the basis of N. Nekrasov’s artistic method.
N. Nekrasov introduces not only new themes and new heroes into poetry, but also enriches poetic language . In the poet's lyrics, folklore elements are combined with colloquial and high vocabulary.
N. Nekrasov used a variety of poetic forms and genres in his work:
- songs (“Song to Eremushka”, “Lullaby”, “Troika”, “Oh, the box is full, full” (from the poem “Peddlers”);
- N. Nekrasov - master of poetic short stories (story or story in verse) “Sasha”, “Russian Women”;
- worked in the genre of accusatory satire (“Reflections at the Front Entrance”);
- in the form of declamatory, pathetic speech, he created such poems as “Elegy”, “Muse”, etc.
The poet uses different “speech masks”: most of his poems are dialogical - these are genre scenes, colored with civic pathos and deeply personal experience of the author.
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The work of N.A. Nekrasov constitutes an entire era in the history of Russian literature. His poetry was an expression of the new time, when commoners came to replace the outgoing class of nobles in the public life of the country. For the poet, the concepts of the Motherland and the working people - the breadwinner and defender of the Russian land - merged together. That is why Nekrasov’s patriotism is so organically combined with a protest against the oppressors of the peasants.
In his work, N. Nekrasov continued the traditions of his great predecessors - M. V. Lomonosov, K. F. Ryleev, A. S. Pushkin, M. Yu. Lermontov - who considered the “civil rank” to be the highest.
Back in 1848, in one of his poems, the author compared his poetry with the image of a peasant woman. His muse is close to the troubles and suffering of ordinary people. She herself is one of many thousands of disadvantaged and oppressed:
Yesterday, at about six o'clock,
I went to Sennaya;
There they beat a woman with a whip,
A young peasant woman.
Not a sound from her chest
Only the whip whistled as it played,
And I said to the Muse: “Look!
Your dear sister."
With this poem, Nekrasov began his path in poetry, from which he never turned back. In 1856, the poet’s second collection was published, which opened with the poem “The Poet and the Citizen,” printed in a larger font. This seemed to emphasize the role of verse in the collection.
“A noble and strong thing. So the motive of his entire muse hums,” wrote one of the poet’s contemporaries A. Turgenev, having become acquainted with the works of this book.
“The Poet and the Citizen” is the most vivid, clear and definite expression of Nekrasov’s civic position, his understanding of the goals and objectives of poetry... The poem is a dialogue between the Poet and the Citizen, from which it becomes clear that the Citizen is sensitive to the changes taking place in society.
“What a time it is,” he says enthusiastically. The citizen believes that everyone has a duty to society not to be indifferent to the fate of their homeland. Moreover, this is the duty of a poet, whom nature and fate have awarded with talent and who must help discover the truth, ignite the hearts of people, and lead them along the path of truth.
“Boldly smash the vices,” the Citizen Poet calls.
He tries to awaken the indifferently sleeping soul of the Poet, who explains his social passivity by the desire to create “real,” “eternal” art, far from the burning issues of our time. Here Nekrasov touches on a very important problem generated by the new era. This is the problem of contrasting socially significant poetry with “pure art.” The dispute between the heroes of the poem is ideological, a dispute about the poet’s life position, but it is perceived more broadly: not only of the poet, but of any citizen, person in general. A true citizen “bears on his body all the ulcers of his homeland like his own.” The poet should be ashamed
In a time of grief
The beauty of the valleys, skies and sea
And sing of sweet affection.
Nekrasov’s lines became an aphorism:
You may not be a poet
But you have to be a citizen.
Since then, every true artist has used them to check the true value of his work. The role of the poet-citizen especially increases during periods of great social storms and social upheavals. Let's turn our gaze to today. With what passion, despair and hope, with what fury our writers and poets, artists and performers rushed to fight against outdated dogmas for the creation of a renewed, humane society! And even though their views are sometimes diametrically opposed and not everyone can agree with them, the attempt itself is noble, albeit with difficulty, through mistakes and stumbles, to find the right path to move forward. For them, the “rank of citizen” is as high as in Lomonosov, Pushkin and Nekrasov times.
Nekrasov called “Elegy” - one of his last poems. In it, the poet reflects with deep bitterness on the causes of disharmony in society. Life has been lived, and Nekrasov has come to a wise, philosophical understanding of existence.
But the powerless situation of the people, their life, the relationship between the poet and the people still worries the author.
Let changing fashion tell us,
That the old theme is “the suffering of the people”
And that poetry should forget her,
Don't believe it, boys!
She doesn't age
he claims.
Responding to all those who hesitate and doubt that poetry can somehow seriously influence people’s lives, he wrote:
But everyone go into battle! And fate will decide the battle...
And Nekrasov, until the last moments of his difficult life, remained a warrior, striking blows at the tsarist autocracy with every line of his works.
Nekrasov’s muse, so sensitive to the pain and joy of others, has not laid down her poetic weapons even today; she is at the forefront of the struggle for a free, happy, spiritually rich person.
Most of Nekrasov's lyrics are devoted to the theme of the suffering of the people. This topic, as the author states in the poem “Elegy,” will always be relevant. He understands that many generations will continue to pose the question of restoring social justice, and that while the people “languish in poverty,” the only companion, support, and inspirer will be the Muse. Nekrasov dedicates his poetry to the people. He affirms the idea that victory goes to the people only if everyone goes into battle.
Let not every warrior harm the enemy,
But everyone go into battle! And fate will decide the battle...
I saw a red day: there is no slave in Russia!
And I shed sweet tears in tenderness...
With these lines, the author calls for the fight for freedom and happiness. But by 1861 the issue of freedom for the peasants had already been resolved. After the reform of the abolition of serfdom, it was believed that the life of the peasants went along the path of prosperity and freedom. Nekrasov sees the other side of this aspect; he poses the question like this: “The people are liberated, but are the people happy?” This makes us wonder whether the people have gained real freedom?
In the poem “Elegy,” written at the end of his life, Nekrasov seems to sum up his thoughts on the topic of the purpose of a poet and poetry. Nekrasov devotes the main place in his poetry to the description of the life of the people, their difficult fate. He's writing:
I dedicated the lyre to my people.
Perhaps I will die unknown to him,
But I served him - and my heart is calm...
But still, the author is depressed by the thought that the people did not respond to his voice and remained deaf to his calls:
But the one about whom I sing in the evening silence,
To whom are the poet’s dreams dedicated?
Alas! He doesn’t heed and doesn’t give an answer...
This circumstance worries him, and therefore he sets himself the task of becoming “an exposer of the crowd,” “its passions and delusions.” He is ready to go through a difficult thorny path, but to fulfill his mission as a poet. Nekrasov writes about this in his poem “Blessed is the gentle poet...”. In it, he shames the lyricists who remain aloof from the most “sick”, most pressing and controversial problems of the peasantry. He ridicules their detachment from the real world, their head in the clouds, when such troubles are happening on earth: children are forced to beg, women take on the unbearable burden of being the breadwinner of the family and work from dawn to dusk.
The author argues that in any, even the most difficult times, the poet is not free to ignore what worries the Russian people most. A real poet, according to Nekrasov:
Armed with satire, he walks a thorny path
With your punishing lyre.
It is precisely such a poet who will always be remembered, although they will understand late how much he did...
Poems on the topic of the purpose of a poet and poetry occupy an important place in Nekrasov’s lyrics. They once again confirm his boundless devotion to the Russian people, his love for them, his admiration for his patience and hard work, and at the same time the pain that the author experiences, seeing his inaction and resignation to his cruel fate. All his work is an attempt to “awaken” the spirit of the people, to make them understand how important and good freedom is, and that only with it the life of the peasants can become truly happy.
Features: 1. Epic plot in a lyrical poem. The poem includes the story of a person’s life, not a moment, not an episode, but a biography, fate (“Troika”, “Wedding”, “For a Fortune Telling Bride”, “Schoolboy”). Interaction of personal character with given social conditions. the characters intervene in the sphere of consciousness of the narrator, who openly and continuously evaluates what is depicted. Episodes as units of an epic plot are included in a lyrical plot, formed by a sequence of directly evaluative verbal units. Subjectivity: sensitivity to the fate of a person from the people, the ability to get used to his fate and tell about it in such a way that the narrator’s thought is felt behind the story... this is not just a story, but a prediction of the future of a common person, which is placed in the form of a direct appeal to the hero. The narrative is rich in visual details, depictions of gestures and things.2. Dramatization of a narrative is the creation of the illusion that the action is taking place in front of the reader (viewer). Real details - N. does not draw the entire visibly external world, but uses them to give an idea of the definition. everyday life. N. uses simple, traditional words (righteous husband, damp grave) - words that are surrounded by a thick emotional atmosphere. The social explanation of the biographies and characters of the characters determines the content of the scenes (the hero behaves this way because..) the characters are shown with a complex mental conflict, a clash of characters is given. The biography is told concisely, quickly, the images are not expanded, but outlined. (“I visited your cemetery” - the heroine is persistent, cheerful, strong. “A difficult year has broken me with illness” - hot temper, irritability, imbalance. There is no vitality in her, despair manifests itself even in the gesture “she is silent, wringing her hands..”) n. depicts his heroines at such moments when the environment with the greatest force reveals what is leading in their x-re. 3. Montage (the concept of aesthetics, a swarm of paintings, strictly selected and reduced to the utmost lacanism of 2-3 details) N.’s montage: one of essential means introducing social content into the lyrics, deepening the volume of the lyrical image, enrichment. N. creates a new type of lyric poem: it includes, as structural elements of a single artistic content, heterogeneous thoughts, descriptions, portraits, feelings... the desire for cyclization (for example, the poem “Wine” (3 hours) - the combination of completed poems into more complex architectural .education.in the cycle the richer content is expressed and can exist as elements of a new unity. 4. Direct speech is a means of reproducing the inconsistency of the inner world of the lyrical hero. A means of introducing into the lyrics heroes different from the main bearer of consciousness. Monologue with a smooth, intermittent development of the lyrical plot, conveying: sudden changes in mood, sharp turns of thought. The lyrical plot moves in jerks, in series, interrupting one another. A monologue is a medium of dramatization (transforms a lyrical outpouring into a scene), a medium of characterization of a hero, not a coincidence. with the narrator. Functions of direct speech: a means of recreating the inner world of the hero, allows the author to express a direct view of what is depicted, the ability to present several T.Z. – life is presented not in a plane-rectilinear, but in a three-dimensional picture. 5. Poetic polyphony or improperly direct speech - direct speech, the synthetic one does not stand out from the original speech. That. the story speaks and thinks for the hero. The voice of the main speaker (narrator) is complicated by the voices of the characters. The introduction of many socially diverse heroes into the lyrical monologue with the help of someone else's speech was based on a realistic approach to the hero. N.'s innovation (content, themes, approach to action, fearlessness of realism, truthfulness) determined a new form. He turned to the language of the people, prose, and journalism. N. created a special poetic form, which marked the overcoming of Roman tradition. He introduces psychologism, his characteristics are socially typological: images of the environment arise, manifest themselves in life circumstances... nationality is an expression of national culture, peasant themes (peasants without idealization). Synthesis of structural features of prose and poetry, the relationship between image and thought. Traits of a prose writer: precise correlation between words and content, plot organization of the narrative, laconicism, love for precise, expressive detail. Poetic means: energetic verse, harsh in simplicity, overcoming the artificial smoothness of verse, heaviness is imperceptible to the modern reader, everyday colloquialism, synth transfers beyond the boundaries of the verse line.
Lyrical hero N.A. Nekrasova: For lyric poetry, the most subjective kind of literature, the main thing is the state of a person’s soul. These are feelings, experiences, reflections, moods expressed directly through the image of the lyrical hero, who acts as a confidant of the author. Nekrasov's lyrical hero, possessing many of the author's traits (civicism, democracy, passion, honesty), embodies the traits of the time, advanced ideals and moral principles of the “new people”. If the poet himself, “hate shamefully hidden in his soul,” was a landowner in his village, then his lyrical hero is cleared of these weaknesses characteristic of man. If Nekrasov believed that... the struggle prevented him from being a poet, the Songs... prevented him from being a fighter, that he “walked towards the goal with a hesitant step, // For her he did not sacrifice himself,” then the lyrical hero of his poems, suffocating along with the people “without happiness and will,” rightly rejecting these thoughts. It is the lyrical hero who tells us what a powerful revolutionary spirit lived in Nekrasov, what made his muse “the muse of revenge and sadness,” what a thirst for struggle burned in him, what honesty, purity, and self-demandingness this man had! In the works of N. A. Nekrasov, certain themes can be distinguished: the depiction of the hard working life of the Russian people, the satirical exposure of all kinds of oppressors, the creation of sublime images of “people's defenders”, themes of love, nature, the purpose of the poet and poetry. The lyrical hero of each of these cycles deeply sympathizes with the people, sees life through their eyes, calls for struggle: “Will you wake up, full of strength?” Its purpose is “to remind the crowd that the people are in poverty.” Even in intimate lyrics, in stories about difficult, bitter, sometimes tragic love, civic motives never cease to sound (“Zine”, “Am I Driving at Night... “... There will not be a worthy citizen // Cold at heart for the fatherland..." That’s why they are so full pain for the oppressed and unfairly offended, many poems. Nekrasov, “who sensed Russian life with a rare instinct” (N. S. Leskov), saw everywhere blatant injustice, when everyone with power tries to deceive the peasant. And the German manager from “The Forgotten Village” , and the cruel landowner from the poem “Motherland”, and the official from “Reflections at the Front Entrance”, and not only Count Kleinmichel, but every “literate foreman” (“Railroad”). Therefore, everywhere you can hear the groan of a peasant: “where are the people - there is a groan...” And the people, the Russian peasants, in whom you will find such daring and resourcefulness in the complete absence of boasting, such hard work, kindness, responsiveness, wit and, most importantly, courage - these people endure. The poet is indignant: How much worse would your lot be, If only you had endured less! At the same time, he feels pain for this endless Russian patience: The literate foremen robbed us,
The authorities flogged us, the need pressed... We, God's warriors, endured everything, Peaceful children of labor!.. The lyrical hero and the author are united in the cycle of poems dedicated to Belinsky, Dobrolyubov, Pisarev, Chernyshevsky, Shevchenko. The poet bowed to those who went “into the fire for the honor of the fatherland, // For conviction, for love.” The image of the “people's defender” always inspired Nekrasov, his lyrical hero was like that. His “teacher” was Belinsky, who “taught many people to think humanely.” “What a lamp of reason has gone out!//What a heart has stopped beating!” - this is what Nekrasov said about Dobrolyubov. The poet wrote about the “people's defenders”: Whoever, serving the great goals of the century, gives his life entirely to the fight for his human brother, Only he will outlive himself... In many poems, the poet sang the image of a Russian woman and the Motherland... will stop a galloping horse, // He will enter a burning hut.” And although Nekrasov saw “poor” and “downtrodden” Rus', he deeply believed:
He will endure everything - and pave a wide, clear road for himself. Nekrasov’s muse felt her blood relationship with the suffering people (“Yesterday, at about six o’clock…”), which is why it is so close in expression to folk songs. Having adopted these traditions, Nekrasov’s poetry often merges with a song in which “the soul of the Russian people.” The poet directly calls many of his poems songs: “Song to Eremushka”, “Songs about Free Speech”, “Hungry”, “Salty” (from the poem “Who Lives Well in Rus'”). In the formation of a hero - a fighter, a citizen, a patriot - Nekrasov's active influence on his contemporaries and subsequent generations is enormous. There is no doubt that Nekrasov influenced the poetry of Blok, Yesenin, Mayakovsky, Tvardovsky and other modern poets. The traditions of Nekrasov the lyricist and epic poet are a great school of artistic excellence for a fighter and citizen. And the words of the poet sound like a covenant:
Sow what is reasonable, good, eternal,
Sow, my heart will thank you
