“The theme of the poet and poetry in Russian literature of the 19th century. The theme of the poet and poetry in Tyutchev's lyrics The theme of the poet and poetry in creativity

The article presents a small selection of poems devoted to the theme of poetry and the fate of the poet, and their brief analysis. This selection will help graduates taking the Unified State Exam in Literature when writing a detailed answer to task 16, where it is necessary to compare the given excerpt from the lyric text with other poems with similar themes and quote them.

He is being pursued by blasphemers:
He catches the sounds of approval
Not in the sweet murmur of praise,
And in the wild cries of anger...

Nekrasov's poem is built on an antithesis. The first part is dedicated to poets who do not touch on current, topical topics, do not use satire in their work and, thus, find a large number of admirers of their work: “And his contemporaries are preparing a monument to him during his lifetime...”. The second part of the poem reflects the creative life of a rebel poet, one who writes sharply, sincerely, and does not try to please. He remains honest with readers and, above all, with himself, and in his works he shows the truth of life without embellishment. Despite the fact that such a poet does not find recognition during his lifetime (“And every sound of his speeches produces harsh enemies for him”), Nekrasov notes that after his death, great works will be understood and appreciated even by those who previously criticized them. Thus, the author of the poem reflects the following point of view: genius poet is the person who is not afraid to express his civil position, is not afraid of being misunderstood and does not strive for fame, and who sees the meaning of his life in the opportunity to speak through his creativity.

Mayakovsky "An Extraordinary Adventure..."

I will pour my sunshine,
and you are yours,
in poetry.

The author depicts a dialogue between the poet and the sun, thereby as if likening the person who creates the poems to a luminary shedding light on the earth. The poet, just like the star, dispels the darkness, but only does this in the soul of each individual reader. Mayakovsky’s message is important: you need to work hard and hard, and then the constructions can become for people that very sunshine, warming and illuminating the path of life:

Always shine, shine everywhere,
until the last days of the Donetsk,
shine - and no nails!
This is my slogan and the sun!

Tvardovsky “The whole essence is in one single covenant...”

During my lifetime I worry about one thing:
About what I know better than anyone in the world,
I want to say. And the way I want.

In most of his poems, Tvardovsky calls on people to always be honest, to say only what they think. He portrayed contemporary life and a Russian man with an open soul. Lyrical work“The whole essence is in one single covenant...” was no exception, but here Tvardovsky draws attention to the special purpose of the poet. The only purpose of creativity for him is to express thoughts and feelings through his lines. The creator must speak openly and directly, without lies and falsehood - this is the only possible condition for the existence of art. The work is structured as a monologue-declaration, that is, as a proclamation of one’s truth, which for the lyrical hero is an indisputable truth.

Pushkin "Poet"

But only the divine word
It will touch sensitive ears,
The poet's soul will stir,
Like an awakened eagle.

In Pushkin’s view, the poet is a sublime, heavenly creature - this is exactly how Alexander Sergeevich describes him in his works. Therefore, at the beginning of the poem, the life of the creator in the everyday world is reflected, in which there is no place for sublime ideas and dreams. He suffocates and feels worthless, being part of this routine and prosaic life: “And among the insignificant children of the world, perhaps he is the most insignificant of all.” The second half of the poem is devoted to the very moment of creativity, when the muse comes to the poet and he becomes not involved in the world of ordinary people. The author emphasizes that a creative person cannot live without inspiration; only in the presence of it does he become truly free and happy; the usual earthly life is alien to him. And it is at the moment of creating his works that he can be alone with his art.

Balmont "Higher, higher"

Higher, higher, everything is behind me,
Enjoy the heights
Get caught in my net,
I sing, I sing, I sing.

In the poem "Higher, Higher" Balmont described the creative process. He portrays the poet as a creator, a creator who touches the soul of everyone who reads his poem: “I touched the souls of strangers, like strings, but my strings.” Another image that Balmont’s metaphorical nature suggests to us is that of a lyricist as a musician who, with the help of words, creates a work that plays on the strings of a person’s soul. The poem can also be considered as the process of reading this work: “With the fluttering of sonorous wings, I fogged, intoxicated.” Indeed, with each line you read, you become more and more immersed in the artistic world of Balmont and you yourself unconsciously become a part of it.

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The topic of our lesson is the theme of the poet and poetry in Pushkin’s lyrics of the late 1820s. We will talk about two poems: the poem “The Prophet,” written in 1826, and the poem “The Poet and the Crowd,” written in 1828.

Topic: Russian literature of the 19th century

Lesson: The theme of the poet and poetry in the lyrics of A.S. Pushkin. ("The Prophet", "The Poet and the Crowd")

Judging by the chronology, we are in Pushkin’s second St. Petersburg period, after Mikhailovsky exile, where, according to the established tradition, the source of which was Pushkin himself, his muse began to acquire more and more life-like features, reminiscent of Pushkin’s realism. However, some themes in Pushkin's work begin to be developed based on romantic traditions. And first of all, this concerns the topic of the poet and poetry. Let us recall that in Pushkin’s work it is precisely the themes of poetry that acquire the character of the world in which the highest degree of human freedom can be realized. That is why this romantic tradition becomes an important support for the implementation of the plans that will be discussed. Before starting a conversation about specific Pushkin works, let us recall that in the poetry of the romantics, in the poetry of Pushkin’s teachers (Zhukovsky, Batyushkin), among the civil romantics (Ryleev) and Pushkin’s closest lyceum friend V.K. Kuchelbecker's theme of the poet and poetry acquired a special character. She went beyond the ideas of what poets and poetic creativity could imagine. Under the pen of the romantics, the poet acquired the appearance of an ideal person who perceives the world around him in his own way. His poetic talent is not a conversation about poetry, it is not a conversation about writing poetry, it is a conversation about a special vision of the world, about a special experience of the world, which is not accessible to everyone. Romantic poets, of course, separated from the crowd and turned into a rather lonely, on the one hand, and on the other hand, a circle of people united by a common sacred union who turned out to be close and related to each other, rather in such a spiritual sense. It is no coincidence that Pushkin chooses some metaphorical moves to develop the theme of the poet and poetry. In one case, the figure of a poet appears before us, metaphorically represented by the figure of a prophet, in another case - by the image of a priest. There is something in common between them, because both of them are intermediaries between the world of gods and the world of people. The language of the gods is incomprehensible to an ordinary person, because the gods speak a language inaccessible to ordinary human understanding. Between the world of divine language and the world of people, an intermediate figure necessarily arises - the figure of the prophet, the figure of the priest, whose mission and goal is to make that language intelligible and understandable to at least some extent, because it is inaccessible to the human mind to fully decipher and understand the full extent of the divine idea . In all Pushkin's poems, the effect of understatement, a certain mystery and inaccessibility to ordinary human understanding is preserved, because in the concept the poet retains his mystery and incomprehensibility to ordinary human consciousness. In order to somehow get closer to understanding these Pushkin's works, there is reason to turn to the direct meanings and meanings of these metaphors, which Pushkin refers to.

It was clear to a literate reader of the 19th century, well acquainted with the biblical tradition, that many of the motifs of Pushkin’s poem go back to the text of the Old Testament, namely to the book of the prophet Isaiah.

Therefore, it makes sense to turn to this text to see what exactly Pushkin borrowed from there and how he revised the text of this book. There is also a need to note the fact that the very figure of the prophet in the biblical tradition arises in an unexpected way, in the sense that the biblical prophets are not some outstanding personalities, but ordinary Hebrew shepherds, on whose heads this divine mission suddenly fell unexpectedly : go and tell the Jewish people the necessary words of God. Therefore, in almost all biblical books one and the same close plot is found, which is familiar to us as the election of the prophet. This is the first encounter of an unexpecting man with God. It was this very place that attracted Pushkin’s attention. The first thing Isaiah experiences when he hears the voice of God is his own uncleanness. He, being an ordinary person, turns out to be sinful, at least original sin. And when he finds out that he needs to carry the Word of God, the first thing he asks is to cleanse his unclean lips from this sin. And then a six-winged seraph appears, who takes coal from the altar and burns Isaiah’s lips with it, removing this sin from him and making it possible for these human lips to carry the Word of God. And then Isaiah hears the text that he needs to carry to the rebellious house of Israel: “You will see with your eyes and will not see, with your ears you will hear and will not hear, for the heart of this people has become hardened, and they will not come to me so that I can heal them.”.

Rice. 2. Prophet Isaiah (J.B. Tiepolo) ()

From here it is clear that Pushkin uses some motifs from this book in his poem, but in a deeply transformed form.

If we are talking about the poem “Prophet”, then let us recall that in the 19th century in the popular anthology in which the best works of Russian poets were published, which was published by Galakhov,

this poem was once printed with the note - Isaiah. Pushkin actually reworks the book “The Prophet Isaiah,” thereby hinting that in his poem he does not at all strive to create a poetic image of the biblical prophet. Or, at least, not only that, because circumstances make us think that this is a metaphor for the poet and his poetic ministry:

We are tormented by spiritual thirst...

And this is already news, because if this divine mission fell unexpectedly on the biblical prophet, then Pushkinsky lyrical hero we are tormented by spiritual thirst. This means that the subsequent meeting with the seraphim and God arises as a response to his spiritual thirst, to his experiences, to the lack of spiritual support, the spiritual meaning of his life.

Rice. 4. Six-winged seraph (M.A. Vrubel, 1905) ()

Then, in response to spiritual thirst, a six-winged seraphim is sent to meet him. This character from the spiritual hierarchy is mentioned only once in the book “Prophet Isaiah”. Then a certain transformation occurs with the Pushkin prophet. It is easy to see that the transformation concerns the very parts that God remembers when offering Isaiah his prophetic mission - the eyes, ears and heart:

With fingers as light as a dream
He touched my eyes.
The prophetic eyes have opened,
Like a frightened eagle.
He touched my ears–
And they were filled with noise and ringing:

And he came to my lips,
And my sinner tore out my tongue,
And idle and crafty,
And the sting of the wise snake
My frozen lips
He put it with his bloody right hand.
And he cut my chest with a sword,
And he took out my trembling heart,
And coal blazing with fire,
I pushed the hole into my chest.

If in Isaiah this six-winged seraph still touched his lips with coal, then in Pushkin’s poem he suddenly appears instead of the heart. In the end, this amazing metamorphosis ends with a completely paradoxical image of a corpse appearing before us; a person is destroyed in his certain natural, human, natural quality. All his senses have changed. From the point of view of the prophetic book, they were cleansed. And then this lying corpse is resurrected by the voice of God:

“Arise, prophet, and see, and listen,
Be fulfilled by my will,
And, bypassing the seas and lands,
Burn people's hearts with the verb."

And still mysteries remain. One of the most significant is, of course, what was revealed to the prophet in the process of this transformation? Perhaps the only place that explains something is this fragment:

And I heard the sky tremble,
And the heavenly flight of angels,
And the reptile of the sea underwater,
And the valley of the vine is vegetated.

It would seem that we have before us a certain picture of the world, but pay attention, at least what can be extracted from Pushkin’s text is in itself surprising. Ordinary people still see the sea, but the prophet also discovers a “reptile underwater passage”, he sees the seabed. An ordinary person sees the sky, but Pushkin’s prophet sees the flight of angels, something beyond the scope of human vision. He sees a certain picture of the universe from top to bottom. And as if simultaneously, at the same time. Because when we look at the heavens, we do not see what is happening under our noses, under our feet; when we look at our feet, we do not see the heavens. And only the prophet is given the opportunity to see in a stereoscopic image at the same time everything that is impossible to see with human vision. There is another greater biblical tradition behind it all. You see, the entire universe is the creation of God, in which his wisdom is embodied. But again, in our ordinary human earthly practice we do not at all feel our life as filled with divine providence, divine meaning. Rather, on the contrary, all around us we see only inconsistencies, only troubles, evil, which every time prevents us from realizing our human dream. And you need to take some strange, unusual position in order to, through all the imperfections of the world, in such an unusual, almost fantastic way, discover the divine harmony behind it all and, of course, be ashamed of your own imperfection. Moreover, the theme that permeates this entire poem from its beginning to the final line, “With the verb, burn the hearts of people,” becomes the theme of fire, also represented by different metaphors. First, it is a six-winged seraphim (from Hebrew - fiery), because its function is precisely to incinerate the sins of the world with this divine fire. This is a coal, blazing with fire, which arises instead of the former human heart in the chest of the prophet. And finally, his mission is “to burn the hearts of people with the verb.” It becomes clear that this poet-prophet must perform almost the same operation on people as the seraphim performed on him. It must make people see, hear, and perceive the world around them differently. But in order for this transformation to occur, essentially each of us must kill the ordinary person within ourselves and revive the spiritual one. In the poem “Prophet”, after all, its lyrical hero conducts a conversation on his own behalf “I”.

When it comes to Pushkin and his works, each of them could play its own independent role in the history of Russian culture and poetry. What looks completely complete and harmonious in Pushkin’s work could diverge in different directions in the perception of subsequent poets. What we mean is the fact that, suppose, the theme of the poet and poetry, developed in the poem “Prophet,” subsequently served to develop that direction in Russian poetry, which is usually called civil poetry. This is understandable, because in this case the poet acted as a public figure whose purpose was to try to remake the world around him. And this fit well into a certain tradition, which Pushkin also relies on. First of all, these are the traditions of civil poetry, civil romanticism (the tradition of Ryleev) and his lyceum friend Kuchelbecker, who at that moment (in 1826) had already been convicted in the Decembrist case, and his further fate has not yet been determined. On the other hand, the poem “The Poet and the Crowd” will turn out to be a kind of symbol and basis for the development of a diametrically opposite direction in the development of Russian poetry, a direction that thought of itself and built itself in direct opposition to the socially significant understanding of the poet’s poetry. This is the so-called pure art. And the only authority and ideal embodiment of the poet in his pure form in our tradition will be the poetry of A.A. Feta:

Not for everyday worries,
Not for gain, not for battles,
We were born to inspire
For sweet sounds and prayers.

It is these lines that will become a kind of poetic symbol of Fet’s entire work.

But in the poem “The Poet and the Crowd” we see a slightly different situation, a different picture. This is not a lyrical monologue, which unfolds as if on behalf of a lyrical character. This is a kind of dramatic scene, which is now staged in the form of a dialogue, presented, on the one hand, by the priest, and on the other hand, by this very unenlightened crowd. Moreover, Pushkin paints this most dramatic scene, now relying on another tradition - not the Old Testament, not the Bible, not the Christian, but the ancient tradition, in this case the Greco-Roman one. This is not accidental, because it was antiquity that gave birth to this particularly cultural phenomenon, which is commonly called dialogue. Therefore, it is no coincidence that this dialogue unfolds between these characters. From an external point of view, the topic of this dialogue seems to unfold in connection with the fact that the priest’s song is being discussed here. One must believe that he nevertheless conveys a certain voice, a certain will of God, which he is trying to convey to people. On the other hand, this voice and this song turn out to be incomprehensible to the crowd:

Poet of inspired lyre
He rattled his absent-minded hand.
He sang– and cold and arrogant
There are uninitiated people around
I listened to him senselessly.

On the one hand, he listens, but on the other, he is meaningless, because he does not understand what he is singing. But this senseless crowd is trying to figure out what’s going on, trying to comprehend in their human categories what is happening before their eyes:

And the stupid mob interpreted:
“Why does he sing so loudly?
In vain hitting the ear,
To what goal is he leading us?
What is he strumming about? what does it teach us?
Why do hearts worry, torment,
Like a wayward sorcerer?
Like the wind, his song is free,
But like the wind and barren:
What good does it do us?”

The crowd is trying to pull out one of the criteria by which the poet’s song could be interpreted - benefit. And suddenly he hears in response:

Be silent, senseless people,
Day laborer, slave of need, of worries!
I can't stand your impudent murmur,
You are a worm of the earth, not a son of heaven;

You would benefit from everything - worth it's weight
Idol you value Belvedere.
You don’t see any benefit or benefit in it.
But this marble is God!.. so what?
The stove pot is more valuable to you:
You cook your food in it.

It becomes clear that the purpose of poetry is not benefit at all, but something else. Which one is not yet entirely clear. Then the unenlightened crowd will not calm down again. She still won't be able to understand what's going on. She will then try to draw a lesson from this poet’s song:

No, if you are heaven's chosen one,
Your gift, divine messenger,
For our benefit, use:
Correct the hearts of your brothers.
We are cowardly, we are treacherous,
Shameless, evil, ungrateful;
We are cold-hearted eunuchs,
Slanderers, slaves, fools;
Vices nest in a club within us.
You can, loving your neighbor,
Give us bold lessons,
And we will listen to you.

Amazing recognition from the crowd. Firstly, it suddenly turns out that she is all filled with a bunch of vices, but she does not at all object to poets correcting these same vices. Still, the theme is that some benefit, some meaning must be discovered in this meaningless song. And suddenly in response the poet says something unexpected:

Go away– what's the matter
To the peaceful poet before you!
Feel free to turn to stone in depravity,
The voice of the lyre will not revive you!
You are as disgusting to my soul as coffins.
For your stupidity and malice
Have you had so far
Scourges, dungeons, axes;
–Enough of you, crazy slaves!
In your cities from the noisy streets
Sweep away the rubbish– useful work!–
But, forgetting my service,
Altar and sacrifice
Do the priests take your broom?
Not for everyday worries,
Not for gain, not for battles,
We were born to inspire
For sweet sounds and prayers.

Only in the poet’s very last answer does he refer to the figure of the priest, to the figure of the mediator between the world of the Gods and the world of people. Symbols of this priestly service appear - an altar, a sacrifice. And if you do not understand the meaning of the divine work of the priest, then it is not his duty to explain it to the unenlightened crowd. The riddle still remains unsolved, unless one imagines the most obvious. The goal of poetry is poetry, the goal of art is art, self-sufficient within itself, not requiring any justification for its existence.

The story of the creation of the poem “The Prophet” may itself look like a separate story. Let us remember that Pushkin wrote this poem when the news of the Decembrist uprising reached him. Sitting in Mikhailovskoye, he knew about the impending uprising from I.I., who once came to visit him. Pushchina. Therefore, when the news of the uprising reached Pushkin, Pushkin’s closest friends, who were in the thick of events, informed him about the events that were unfolding in St. Petersburg. It was obvious that the lion's share of the Decembrists, telling Nicholas I about where they got their freedom-loving ideas from, quite openly named Pushkin and quoted his poems. Therefore, how Pushkin’s subsequent fate could unfold was a problem and a mystery for Pushkin himself. And it is on this occasion that he composes “The Prophet,” because the impetus for writing this poem will be the news of the tragic defeat of the Decembrist uprising, of Pushkin’s friends who suffered in this story. Here there is reason to remember Kuchelbecker, in whose work the image of the poet primarily came into contact with the image of the prophet and whose tradition is continued by Pushkin. In general, Pushkin was preparing a worthy response to the emperor. True, later many specific historical circumstances associated with the creation of this poem were excluded by Pushkin from the text of “The Prophet,” and he himself acquired a broader, universal, symbolic meaning than history itself.

Before us are two poems with two diametrically directed ideas of the poet and poetic service. If in the poem “The Prophet” the poet, fulfilling a divine mission, must “burn the hearts of people with his verb,” that is, carry out a socially significant task of correcting people, then in the case of the poem “The Poet and the Crowd,” a diametrically opposite situation emerges before us. We are talking about art as such, which exists in a form that does not require any additional justification for its existence. Let me remind you that, from Pushkin’s point of view, this does not have to be perceived as some kind of contradiction, which is difficult to resolve by the poet himself. In reality, both topics will one day come together in one place. This will be the famous poem “I erected a monument to myself not made by hands”,

Rice. 6. Autograph of the poem “Monument” ()

where the immortality of the poet and his work will be represented in the form of glory:

And I will be glorious as long as I am in the sublunary world

At least one piit will be alive.

Because it is clear that poets will first of all appreciate that same artistic mastery, that same highest aristocratism of the artist, which brilliantly unfolds in the poetic form of Pushkin’s works. But as for the rumor that will spread throughout Rus', this great Rus' will appreciate the poet for something completely different. For that:

That in my cruel age I glorified Freedom

And he called for mercy for the fallen.

It is no coincidence that “Monument” will end with an amazing combination of Christian and ancient traditions:

By the command of God, O muse, be obedient.

We will talk later about how the theme of the poet and poetry developed in other, later works of Pushkin.

1. Sakharov V.I., Zinin S.A. Russian language and literature. Literature (basic and advanced levels) 10. M.: Russian word.

2. Arkhangelsky A.N. and others. Russian language and literature. Literature (advanced level) 10. M.: Bustard.

3. Lanin B.A., Ustinova L.Yu., Shamchikova V.M. / ed. Lanina B.A. Russian language and literature. Literature (basic and advanced levels) 10. M.: VENTANA-GRAF.

1. Russian literature and folklore ().

1. Swipe comparative characteristics some poems by different authors of the 18th-19th centuries. and tell us what is new and unique about the theme of the poet and poetry in Pushkin’s work.

2. Analyze Pushkin’s poems (“The Prophet”, “The Poet and the Crowd”) from the point of view of their imagery.

3. *Based on the analyzed poems of Pushkin, write an essay-reflection on the topic: “Personal qualities that a true poet should have.”

The theme of the purpose of a poet and poetry in literature is fully revealed in the lyrics of the following poets:

1. In the lyrics of A. Pushkin. Pushkin considered it his duty to sing of freedom to the world and to defeat vice on the thrones (ode “Liberty”, 1817). He said that not everyone can be a poet, that this is a very difficult path in life (“To a Poet Friend,” 1814), that a poet is obliged to burn people’s hearts with his verb, to serve his people and to raise people to fight for truth and freedom (“The Prophet” , 1828). He called on the poet to be free from the opinions of the crowd: You yourself are your own highest court (“To the Poet,” 1830) and compared yourself to an echo that responds to all the sounds of life (“Echo,” 1831).
2. In the lyrics of M. Lermontov. Following Pushkin, Lermontov recognizes the special mission of the poet, inspiring the people to fight for freedom (The Prophet, 1841), and compares the poet with a dagger: he must also be firm and unbending in serving his ideals (The Poet, 1839).
3. In the lyrics of N. Nekrasov. Nekrasov’s muse descended from the poetic Olympus onto city streets and rural arable lands - he compared his muse to a young peasant woman (“Yesterday, at six o’clock,” 1848). All his work is permeated with the thought: You may not be a poet, But you must be a citizen (“Poet and Citizen”, 1856).
4. In the lyrics of V. Mayakovsky. Mayakovsky argued that today the poet’s rhyme is a caress and a slogan, and a bayonet, and a whip. The poet’s word heals and burns, so his duty is to roar like a copper-throated siren (“Conversation with the financial inspector about poetry,” 1926). In the poem “At the top of his voice” (1930) he says that poetry is a weapon, and the poet is not a chosen one and a priest, but a performer of the most difficult work (a sewer man and a water carrier, mobilized and called up by the revolution), his word should not only convey the idea to the reader , but also to excite, motivate to immediate action - building a new world.
5. In the lyrics of A. Akhmatova. For Akhmatova, the process of composing poetry is a disease, languor: If only you knew from what rubbish / Poems grow without knowing shame (“I don’t need odic armies...”, 1940). She considers her main task to be recording poetry under the dictation of the muse, and this ability is bestowed on poets from above. Creativity is a thorny path on which the poet encounters misunderstanding, deafness and blindness on the part of people. The poet’s mission is to go alone and heal the blind (“We have freshness of words and simplicity of feelings,” 1915).

An example of a poem on the topic of the poet and poetry - “I erected a monument to myself, not made by hands” by A.S. Pushkin. Let's try to briefly analyze it.

Subject. The poem is considered Pushkin's poetic testament. This is a hymn to poetry, which affirms the high purpose of the poet and poetry. The theme of freedom was introduced: the monument was raised higher than the Alexandrian pillar (the symbol of royal power).

Composition. Consists of five stanzas. The 1st stanza asserts the importance miraculous monument. In the 2nd - the immortality of art. The 3rd stanza is devoted to the theme of the wide posthumous fame of Pushkin himself. In the 4th stanza, the poet defines the essence of creativity. In the 5th - he is ready to accept fate, whatever it may be.

Means of artistic expression. The solemn sound is conveyed by the introduction of the anaphora (And every language that exists in it will call me. And the proud grandson of the Slavs, and Finn ...), the choice of sublime epithets (not made by hands, rebellious, cherished, sublunar). A lot of
Slavicisms: erected, head, drink, until. The author uses only the past and future tense - he cannot evaluate himself in the present, hopes for the future and says what he did in the past.

Poetic meter and rhyme. Iambic hexameter with cross rhyme.

Pushkin is the first Russian poet who devoted himself entirely to art, moreover, the first who refused all public service for the sake of the right to be a poet. With all his creativity he sought to answer the question “what is poetry?” The topic of the purpose of poetry and the mission of the poet has two aspects: social and philosophical. From the lyceum bench, defending his right to study literature and literature only, Pushkin entered into an open conflict with society. Society never came to terms with this: a striking example of this is the awarding of the title of chamber cadet to Pushkin by Nicholas I - decent for a young man and unworthy for an adult man. The tsar sought to “squeeze” the free poet into a certain social unit, making it clear that he did not recognize any social status for the writer. To a sufficient extent, the reluctance of the state system to “recognize” literature was caused by fear of its impact on the minds and played a role in the formation of a special attitude towards creators in Russia. Indeed, no literature in the world was as aware of its prophetic mission as Russian. And here the social and philosophical aspects of the problem of the purpose of poetry come together. Young Pushkin, influenced by the ideas of the Enlightenment, which Professor Kunitsin preached at the Lyceum, under the influence of conversations with Chaadaev, with the future Decembrists, sees the purpose of poetry in serving the common cause - the cause of liberating Russia from the outdated state system. In the ode "Liberty" he defines it this way:

I want to sing Freedom to the world,

Smite vice on thrones.

From the Mikhailov period, a cycle of poetic declarations opens in Pushkin's work, affirming in the minds of Russian readers a new high social status of the poet and poetry, not yet seen in Russia.

Pushkin endured the second exile hard and painfully. The poet not only survived, but also rose to a new level in his creative development. The poet was saved from death by his closeness to people's life, faith in his own creative powers, in the great significance of the artistic word.

Poetry is like a comforting angel,

She saved me, and I was resurrected in soul, -

He later wrote in a draft of the poem “Again I visited...”. The theme of creativity has attracted many poets. It occupies a significant place in Pushkin's lyrics. He speaks about the high purpose of poetry, its special role in more than one poem. Poetry is a difficult and responsible matter, Pushkin believes. And the poet differs from mere mortals in that he is given to see, hear, understand what he does not see, does not hear, does not understand an ordinary person.

The poet influences him with his gift. His influence on people is so great that the poet himself should be an example of civil behavior, showing steadfastness, intolerance to social injustice, and be a strict and exacting judge in relation to himself. True poetry, according to Pushkin, should be humane, life-affirming, awaken good humane feelings. In his poems "The Poet and the Crowd", "To the Poet", "Echo", "Prophet", "I erected a monument to myself not made by hands" he talks about the freedom of poetic creativity, about the complex relationship between the poet and the authorities, the poet and the people.

G. Krasnukhin believes that "Pushkin's poet is not a preacher, who is reverently listened to by the audience, but their opponent, defending their own sovereignty from them, not recognizing their right to the so-called" social order ". Finally, the poet is like an echo, which, although and responds “to every sound,” but does not itself know the response—there is “no response” to it.

The poet should not delight or surprise the crowd either with angry invectives against her, or with her monstrous revelations. Pushkin compared this with trickery, with trickery, realizing what curiosity arouses in the crowd each such mentor of morality and how easily such curiosity is sated. The poet's trickery here will be to dress all this in an artistic form that can amaze the imagination with an unusual rhyme, an unprecedented path, an exciting paraphrase. That is why Pushkin refuses the “social order” of the crowd, because such an order has nothing to do with the moral nature of poetry.

In his poems about the duty of a poet, Pushkin wrote about the three commandments of art that make up the moral trinity: to awaken good feelings in souls, to affirm freedom as the main human value and to call for mercy.

Pushkin wrote: “Poet! Do not value the people’s love,” but this only meant: do not allow yourself to be made an idol and remember that such love is transitory. Do not be deceived by enthusiasm, flattery, or the exalted heed of the crowd: “You yourself are your own highest court,” so judge yourself according to the eternal laws of art! Grossman L., “Notes of D'Arshiak: St. Petersburg Chronicle of 1836.” M., “TERRA”, 1997, pp. 20-25.

The poem "The Prophet" was written in 1826. The content of the poem was inspired by the events of December 14, 1825 and Pushkin’s grief over the death of “brothers, friends, comrades.” This poem is narrative, it depicts the process of gradual rebirth into a wise prophet. The text is full of Slavicisms, giving the speech a solemn, upbeat tone, which is organically connected with the biblical theme. But the Christian myth, the biblical coloring is just a garment, an artistic device. Behind the allegory and symbolism, reality itself clearly emerges, Pushkin’s thoughts about the high purpose of the poet. All that everyday content that fills the hearts and minds of busy people, their whole world should become a dark desert for a true poet... He thirsts for spiritual satisfaction and drags towards it. Nothing more is required on his part: the hungry and thirsty will be satisfied...

The poet-prophet, with sophisticated attention, penetrated into the life of nature, higher and lower, contemplated and heard everything that happened, from the direct flight of angels to the winding course of reptiles, from the rotation of the heavens to the vegetation of plants. What's next? He who has gained his sight to see the beauty of the universe feels the more painfully the ugliness of human reality. He will fight her. His action and weapon is the word of truth. But in order for the word of truth, coming from the thorn of wisdom, not only to sting, but to burn the hearts of people, it is necessary that this thorn itself be kindled by the fire of love.

As we see, Pushkin attaches exceptional importance to the worldview of the poet-prophet. Without clear views on life, on creativity, a poet cannot bring the truth to people, awaken "good feelings" in them, and influence their morality.

In the poem, the final quatrain acquires special significance, where each word is full of deep meaning. These lines contain an explanation of what happened to the prophet. "Prophetic apples" were given to him in order to see the whole diverse, colorful world; sensitive hearing is needed in order to hear the pulse of life, in whatever forms it manifests itself, and to equally sing of both "lofty" and "low" objects.

The idea of ​​the citizenship of creativity is expressed with particular force in the lines: "Burn people's hearts with the verb."

They argue a lot about who is hiding behind the main character of the poem - a poet or a prophet. Apparently, it’s both. Pushkin for the first time felt in mature Russian literature its special purpose in Rus', inherited from pre-Petrine literature - to be the Word, combining the artistic image and the gift of prophecy.

The poet, who is a faithful servant of God, is the echo of the Russian people, for he is the bearer of the people's shrine. But at the moment of creativity, the poet must be incorruptible. "A true poet is not something separate from the people; he is his own organ, his ear, eye and voice," says V.S. Nepomnyashchy. And the “Monument” to Pushkin is not an act of the artist realizing his “merits,” but an act of affirming the great mission of the poet, that he, the poet, is subject only to the command of God. Literature. Textbook-reader. M., "Enlightenment" 2005, p. 142-146.

The poem "The Wanderer" was written in 1835. in its concept it is close to such poems as “To the Poet” and “Echo”, in its figurative system and allegorical form it is close to “The Prophet”, and in general it is closely connected with Pushkin’s late lyrics, in which he affirmed the ideal freedom of the artist and his the right to independent creativity, emphasized the special place of the creator in society. The problem of a genius misunderstood by his contemporaries was often developed by the poet and found artistic embodiment in “The Wanderer.”

"The Wanderer" differs from other poems in that in it the poet resorts to a narrative form, which helps to more fully reflect the reality and world around him.

“The Wanderer” is based on the plot of the book “The Pilgrim’s Progress” by the English writer Puritan John Bunyan (1628-1688). Pushkin deviated far from the original, retaining only the allegorical form of the narrative. His wanderer is a “spiritual worker,” in other words, a creator, a thinker. The theme of the poem is a reflection on the fate of the creator. His fate is not easy; it is difficult for him to choose the “right path” in the world around him. Who will help the wanderer in choosing the path? Only he can make your choice. And he does it. This is the idea of ​​the poem.

In Rus', wanderers were people who made a pilgrimage on a pilgrimage. In other words, a wanderer is a person close to God, who prefers spiritual life to everything worldly and vain. Pushkin also calls him a “spiritual worker.” That inner work that does not allow the wanderer to live peacefully, the way everyone else lives, brings him closer to the heroes of the poems “Poet”, “Echo”, “Prophet”.

The wanderer’s suffering is explained not only by the awareness of the inevitability of death and the short duration of human existence, but also by the misunderstanding that arises between the “spiritual worker” and the people around him.

A detailed description of the hero’s mental torment conveys not only the degree of hopelessness and despair, but also the enormous internal work happening in the soul:

I was suddenly overcome with great sorrow

And crushed and bent with a heavy burden,

Bowing his head, wringing his hands in anguish,

I poured out my souls of pierced torment in screams

And he repeated bitterly, tossing about like a sick person:

"What will I do? What will become of me?"

Even the consolations of loved ones, “the healing peace of sleep,” did not reduce the wanderer’s despair:

But grief from time to time hampered more;

My soul is full

Longing and horror; painful burden

Pulls me.

I lay down, but all night long wept and sighed

And not for a moment did he close his heavy eyes.

Everyone wept and sighed in despondency.

The twice repeated “everything cried and sighed” is intended to emphasize the hopelessness of the position of the “spiritual worker.” The fear of death weighs down with a “heavy burden,” a “painful burden.” The word “despondency” is used by the poet three times: “my despondency,” “close despondency,” and finally, “languishing with despondency.” The last phrase is not perceived as tautological, because its purpose is to draw our attention to the mental state of the wanderer. Sorrow (“great sorrow”, “sorrow was more oppressive from hour to hour”), melancholy, horror - this is the range of feelings that the wanderer experiences. He no longer “wanders,” but wanders.

I went wandering again...

Why, wandering alone, am I crying so bitterly?

The noun “wanderer” is formed from the verb “to wander”; from the verb “to wander” another noun is formed - “tramp”; in Ozhegov, “tramp” is an impoverished, homeless person wandering without specific occupations. The transformation of a wanderer into a vagabond occurs literally before our eyes: a person who has lost his life’s guidelines is incapable of a full spiritual life; sad, depressing thoughts and feelings dominate him.

Comparisons (“like a slave plotting a desperate escape”, “a traveler hurrying to spend the night before the rain”) used by the poet also reduce, already at the lexical level, the idea of ​​the high mission of the former wanderer. Suffering is compared to a “chain rope,” and this confirms our idea that the image of the wanderer is, of course, allegorical, that Pushkin in his poem affirms the creator’s right to freedom and independence.

Pushkin often addresses the theme of freedom and independence in his works. For him in the thirties this issue became especially important. At this time, the poet was overcome by a feeling of alienation from the environment, an irresistible desire to escape from it. There was only one way of liberation from the hostile atmosphere - escape. It was impossible, but Pushkin dreamed about it. He wrote to his wife: “God grant that I see you healthy, your children safe and alive! Don’t give a damn about St. Petersburg, resign, run away to Boldino, and live as a master.” It is clear why the theme of loneliness appeared in a number of Pushkin’s poetic works in the thirties.

The theme of loneliness can be seen in "The Wanderer". Misunderstanding is shown not only by those people surrounding the wanderer, but also by those whom he considers closest. They do not fully understand it, they do not see the “right path” chosen by the hero of the poem:

Both the children and the wife shouted to me from the doorway,

May I come back soon. their screams

My friends were attracted to the square;

One scolded me, the other scolded my wife

He gave advice, others regretted each other,

Who reviled me, who made me laugh,

Who suggested turning back the neighbors by force;

Others were already chasing me...

He scolded, pitied, reviled, made fun of him, offered to turn him back by force... No one remained indifferent to the act of the wanderer. But among these strong human passions there is only one thing missing - understanding.

poet poetry Pushkin creativity

There is another image in the poem - a young man with a book. The image is symbolic. The book is a symbol of wisdom and omniscience. It is the young man who gives the wanderer advice to leave the alien world and thereby gain immortality. But the “gate of salvation” is called “narrow.” The symbolic path is barely illuminated, the “narrow gates of salvation” clearly cannot accept the crowd, this path of the chosen ones. The wanderer must decide for himself whether he will follow this path, despite the fact that everyone dissuades him, considers him crazy, and is not going to follow him. And he makes his choice:

...but I'm even more

I hurried to cross the city field,

In order to see quickly - leaving those places,

Salvation is the right path and the narrow gate.

Resorting to allegorical form and allegorical images, Pushkin reflected on both his own fate and the fate of the poet in general in Russia.

Pushkin often resorts to archaisms in his poems. The significance of the topic raised required a high style, so the poet turns to archaic, solemn vocabulary: sorrow, bent, heavy, revered, listening, gaze, dragging, asked, know, finger, behold, etc. At the same time, the wanderer is the flesh of those people , among whom he is destined to live. Therefore, the words of high style are clearly contrasted with colloquial words and colloquial expressions: exposed, with head down, wringing hands, screams, horror, if, with a wave of my hand, I collapse, from here, thorn, go, vilify, turn back by force.

The fate of the prophet ("Prophet") and the fate of the wanderer can be compared. In “The Wanderer,” the poet continues to reflect on the fate of a genius, persecuted and misunderstood by his contemporaries (“Poet,” “To the Poet,” “Echo”). These reflections, despite the allegorical form chosen by Pushkin, are closely related to reality and testify to the poet’s creative maturity and realistic orientation. Literature. Textbook-reader. M., "Enlightenment" 2005, p. 147-154.

The poem "The Poet", written in 1827, is the quintessence of Pushkin's reflections on the essence of the poet. The poet appears in the poem as a complex being, marked by God, endowed with part of his creative power, but at the same time as an ordinary, earthly person. The author even fully admits that the poet may be “the most insignificant of all” among the “insignificant children of the world.” Changes begin in him only when God sends him inspiration.

The poet is transformed - he is no longer one of many people drawn into the everyday bustle, but an extraordinary person: his hearing becomes sensitive, he is able to hear the “divine verb”. He evaluates his former life as “the fun of the world”; people’s rumors depress him - he is preparing to utter new words about the world. This is no longer a rumor, but the words of a poet, in which there is nothing ordinary, vulgar. The poet's soul awakens:

The poet's soul will stir,

Like an awakened eagle.

He becomes proud, “wild and harsh,” that is, he plunges into himself, into his creative thoughts. A poet cannot create when he is among ordinary people, in the bustle of the world. Inspiration requires solitude, freedom from everyday life. Let us remember the wonderful words from the poem “October 19,” written in 1825:

The service of the muses does not tolerate fuss;

The beautiful must be majestic...

The poet runs away from the bustle of the world “to the shores of desert waves, /Into the wide, noisy oak groves...”. Of course, the banks and oak groves where the poet is directed are a poetic convention. These "geographical" points are symbols of peace and solitude. The poet runs away from the bustle so that “the lyrical voice becomes louder, / Creative dreams become more vivid.” You can hear the world and express it in words only away from human noise and small everyday worries.

Pushkin, as it were, “stops the moment” - before the poet, captured at the moment of inspiration: he is “full of both sounds and confusion.”

There is no visual image here. It is replaced by psychological details that convey the beginning of the creative process, when chaotic, discordant sounds crowd into the poet’s soul, overwhelmed by the “confusion” of thoughts and feelings. Literature. Textbook reader. M., "Enlightenment" 2005, p. 154-156.

One of last poems Pushkin “I erected a monument to myself not made by hands,” was written on August 21, 1836.

V.F. Khodasevich believed that this poem was a belated response to Delvig’s Lyceum poem “Two Alexanders,” where Delvig predicted that Alexander I would glorify Russia as a statesman, and Pushkin as the greatest poet.

However early XIX century will subsequently be called the Pushkin era, and not the era of Alexander I. Delvig died in 1831, Alexander I - in 1825.

The leading theme in the poem is the theme of the poet and poetry. It puts forward the problem of poetic glory, poetic immortality and overcoming death through glory.

The genre specificity of the poem is dictated by tradition: the poems are written as a kind of imitation of Derzhavin’s poem “Monument”, which, in turn, is a reworking of Horace’s ode “To Melpomene”, known to the Russian reader from Lomonosov’s translation.

Pushkin borrowed the epigraph to his poem from Horace: “Exegi monumentum” (“I erected a monument…”).

Horace (Lomonosov translation):

I erected a sign of immortality for myself

Higher than the pyramids and stronger than copper.

What stormy Aquilon cannot warm,

Neither many centuries, nor the caustic antiquity.

I won’t die at all, but death will leave me

Great is my part, as soon as I end my life

I will grow in glory everywhere,

While great Rome controls the light.

Where Avfid makes noise with fast streams,

Where Davnus reigned among the common people,

My fatherland will not remain silent.

That my ignorant family was not an obstacle to me,

To bring Aeolian poetry to Italy

And be the first to ring the Alcean lyre.

Proud of righteous merit, muse

And crown the head with the Delphic laurel.

Derzhavin:

I erected a wonderful, eternal monument to myself,

He is harder than metals and higher than the pyramids,

Neither a whirlwind nor a fleeting thunder will break it,

And time's flight will not crush it.

So! - all of me will not die, but part of me is big,

Fleeing from decay, after death he will live,

And my glory will increase without fading,

How long will the universe honor the Slavic race.

Rumors will spread about me from the White Waters to the Black Waters,

Where the Volga, Don, Neva, the Urals flow from Riphean;

Everyone will remember this among countless nations,

Like in obscurity I became famous for that

That I was the first to dare in a funny Russian syllable

Proclaim the virtues of Felitsa,

Talk about God in simplicity of heart

And tell the truth to kings with a smile.

Oh Muse! be proud of your just merit,

And whoever despises you, despise them yourself;

With a relaxed, unhurried hand

Crown thy forehead with immortality.

("Monument", 1795) A.S. Pushkin. Selected works. M., " Fiction" 1978, T. - 1, pp. 283-285.

Pushkin, continuing the tradition, is trying to show what his services to Russia are:

And for a long time I will be kind to the people,

That I aroused good feelings with lyre,

That in my cruel age I glorified freedom

And he called for mercy for the fallen.

But in Pushkin’s understanding, the poet is not a descriptor in honor of nobles and tsars, he is “an echo of the Russian people.” “Free pride”, “modest, noble lyre”, the desire to serve only freedom with his poetry, the refusal to glorify kings, the consciousness of a deep connection with the people - all this remained unchanged in Pushkin’s views throughout his entire creative life. Literature. Textbook reader. M., "Enlightenment" 2005, p. 156-159.

In many of Pushkin’s poems we see the poet’s opposition to the secular society among which he lives. He calls this society contemptuously and angrily: “crowd” and “rabble”, that is, from the ignorant persecutors of the poet, from secular society, from “proud ignoramuses” and “noble fools”.

In Pushkin’s time, not only almost all lyceum students wrote poetry, but also the highly educated layer of the nobility was quite strong in literature, poetry was revered in salons; the inability to write poetry was considered bad manners.

In 1826-1836, Pushkin created a number of poems on the topic of the poet and poetry, in which the author develops his views on the tasks of the poet: freedom of creativity, following his own path determined by his high calling, independence from serving the secular crowd.

In addition, the idea of ​​the poet’s tragic fate in life runs through all his creativity. Zhukovsky once developed this same topic. He was talented, but nevertheless, poets used to be kept at the “court” as lackeys and jesters. Pushkin avoided the fate of his childhood idol. Already early poetry Pushkina, in terms of the richness of her thoughts and artistic level, was almost no different from the works of the then recognized masters of Russian poetry. Assembling the achievements of contemporary literature into his poetry, Pushkin, already at the Lyceum, strives to follow “his own path.” Pushkin demands truth and expression of feelings from poetry, he is far from the classicism of Zhukovsky, he does not agree with his teacher Derzhavin, who believed that poetry should “soar” above the world, Pushkin is a poet of reality. He is strong in all genres of poetry: ode, friendly message, elegy, satire, epigram - everywhere Pushkin was brave, his poetic style cannot be confused with other poets.

In the work of every poet, sooner or later a turning point begins, when he must comprehend why he writes poetry? Pushkin had no such choice; he knew that everyone needed poetry to bring light and freedom to this world. Later, a hundred years later, Mayakovsky very accurately assessed the poet’s work, saying: “Poetry is the same mining of radium, mining in a gram, labor in a year, you exhaust a single word for a thousand tons of verbal ore.” Grossman L., "Notes of D'Arshiac: St. Petersburg Chronicle of 1836". M., "TERRA", 1997, pp. 48-51.

Lesson Plan

1. The theme of the poet and poetry is traditional, cross-cutting in European culture.
2. The theme of the poet's civil mission in the poem "Licinius".
3. The idea of ​​a select circle of poets as “sacred truth of friends”, opposed to the crowd (“Zhukovsky”)
4. The poem "A conversation between a bookseller and a poet."
5. Two images of the poet in Pushkin's late lyrics:
   a) a poet as a prophet (“Prophet”); the prevailing idea of ​​the image of the poet - prophet - the ethical idea of ​​\u200b\u200bduty to people
   b) the poet as a priest (“The Poet and the Crowd”, “To the Poet”); the prevailing idea of ​​the image of the poet-priest is aesthetic.
6. The fate of the poet in the work of Pushkin.
   a) a symbolically expressed thought about the special fate of the poet in the poem “Arion”.
   b) creativity elevates an ordinary person in life above others (“Poet”).
   c) posthumous glory, identified with eternal life (“I have erected a monument to myself...”).

Educational.

• Show that the theme of the poet and poetry is traditional, cross-cutting in European culture.
• Show the evolution of this theme in the lyrics of A.S. Pushkin.
• Show the ambiguity of interpretations of A.S. Pushkin’s poems.
• Determine the philosophical aspect in Pushkin’s lyrics.
• To clarify and deepen the poet’s feelings, to get closer to the author’s position.

Developmental.

• Develop skills in analyzing a lyric poem, the ability to draw generalizing conclusions.

Educational.

• Develop skills in mastering cultural norms and traditions of Russian speech.
• To foster a reading culture among schoolchildren.

Equipment.

A stand with portraits, illustrations, books on the topic of the lesson.

During the classes

Teacher's opening remarks:

This theme is traditional, cross-cutting in European culture. The poet's monologue about himself is found in ancient poetry.

Key aspects:

The creative process, its purpose and meaning
- the relationship between the poet and the reader (the “crowd” motif)
- the relationship between the poet and the authorities (the “poet and the king” situation)
- the poet’s relationship with himself (guilt, conscience, justification)
All these areas of the topic are widely represented in Pushkin. During the lyceum period of creativity, we encounter the image of a poet - an idle sloth (goes back to Batyushkov). But already in the poem “Licinius” the theme of the poet’s civil mission is heard, his tasks before posterity are spoken of:

In satire I will depict righteous vice
And I will reveal the morals of these centuries to posterity.

The theme of the poet and poetry in Pushkin's lyrics is closely connected with the theme of freedom - in the aspect of freedom of creativity - and is revealed in different ways at different stages. The same theme will be decisive in the poems “Liberty” (1817) and “Village” (1819).
In “Liberty,” the poet seems to renounce the theme of love that previously worried him and devotes his talent to chanting freedom:
Run, hide from sight,
Cytheras are a weak queen!
Where are you, where are you, thunderstorm of kings,
Freedom's proud singer?
Come, tear off the wreath from me,
Break the pampered lyre...

Further in the text of “Liberty” the image of the poet is concretized: we see a pensive singer who reflects on the fate of the tyrant, looking at the “abandoned palace” of Paul I, boldly gives a “lesson” to the kings in the last stanza of the poem.
In the elegy “Village,” the poet, free from vanity and delusion in a sweet rural solitude, surrounded by the works of great writers and thinkers, wants to give his poetry civic pathos:

There's a barren heat burning in my chest
And hasn’t the fate of my life given me a formidable gift?

In addition to the motive of civil service, during this period the motive of the internal (“secret”) freedom and independence of the poet (“N.Ya.Plyusova”) acquired special significance:
Only by learning to glorify freedom,
Sacrificing poetry only to her,
I was not born to amuse kings
My shy muse.
………………………………………
And my incorruptible voice
There was an echo of the Russian people.

The idea of ​​a select circle of poets as initiates, “friends of the sacred truth”, opposed to the crowd (“Zhukovsky”):

You're right, you create for the few,
Not for envious judges,
Not for the poor collectors
Other people's judgments and news,
But for the strict friends of talent,
Sacred truth friends.

These motives remain significant for Pushkin throughout his work.
Subsequently, new motives appear in Pushkin’s reading of the theme of the poet and poetry.

In the poem “Conversation between a bookseller and a poet,” which is written in the form of a dialogue,

What explains this choice?

The dialogue form of the poem conveys the conflicting points of view of the bookseller and the poet on issues of art.

we encounter the image of a romantic poet who makes high demands on art and speaks of the selflessness of his creativity.
- Carefully re-read the first 5 answers of the poet. What three aspects of creativity does the poet reject, and why? Which answer is the meaningful climax of the poem? What autobiographical motives are heard in these answers?
The poet rejects three aspects of creativity:
1) for the sake of money;
2) for the sake of fame;
3) for the sake of a woman.
Disillusioned with his work (neither the crowd nor his beloved are able to comprehend it), the poet chooses freedom.

What will you choose?

Freedom (!!! – culmination).

But to be free, you must sell your labor:

Inspiration is not for sale

But you can sell the manuscript.

This is how freedom and dependence on the public turned out to be connected

What demands does time make?
Our age is a huckster; in this iron age
Without money there is no freedom.
What's glory? – Bright patch
On the singer's shabby rags.

But what if the poet agrees with the demands of cruel times?

The poet will cease to be himself!!!

What becomes the embodiment of this?

The intrusion of prose into the final line of the poem: “You are absolutely right. Here's my manuscript. Let's agree."

Teacher's word.

It is impossible to protect poetry only by human forces from the onset of cruel human vulgarity, and therefore the search for the highest protection for the creative freedom of art leads to the appearance of philosophical motives in Pushkin’s poems about the poet and poetry.

Thus, in “The Prophet” (written in 1826 on the road from Mikhailovskoye to Moscow, where the disgraced poet was traveling to meet the Tsar) biblical motifs are heard. The poem is directly related to the topic of the poet and poetry, because the word “verb” is the main weapon of both the prophet and the poet.

Conversation.

What philosophical meaning does the poet put into the motifs “spirit of thirst”, “desert”, “crossroads” at the beginning of the poem?

Pushkin’s poem “The Prophet” is interesting to compare with its biblical source. The “Book of the Prophet Isaiah” talks about how a person wanted to become a prophet (a prophet is a messenger of God’s will in the Bible, a predictor; prophets cultivated faith and piety among the people, led civil rulers, performed miracles, wrote sacred books). In Pushkin, the hero does not at all consider himself superior to people and does not want to oppose himself to them. This man did not at all consider himself a being of a higher order and was not preparing to be a prophet. He was chosen by the six-winged seraphim, and this angel of the highest rank will perform all actions with a person without asking his desire.

Why was this person chosen?

He was “tormented by spiritual thirst” and was not satisfied only with the blessings of the material world. The “crossroads” where Seraphim met him is also a sign of the spiritual quest of the future prophet.

What is special about the construction of the poem? Why physical Is most of the poem devoted to the hero’s transformation? How do you think this is due to the ideological meaning of the poem?

As a result of Seraphim’s actions, the human senses and body are transformed: the prophet must have inhuman vigilance, special hearing, a tongue and heart different from those of an ordinary person. And the angel’s mission is to transform the body of the future prophet. Towards the end, this operation becomes more and more painful and bloody: if he touches the eyes “with fingers as light as a dream,” then in order to remove the heart, he cuts the chest with a sword.

What happens to the human senses and body at the moment of transformation?

The eyes of the future prophet became “prophetic” and began to look like the eyes of a “frightened eagle”: they saw too much. And he began to hear what is inaccessible to human hearing: sounds come to him from heights, depths, and distances:

And I heard the sky tremble,
And the heavenly flight of angels,
And the reptile of the sea underwater,
And the valley of the vine is vegetated.

The sinful tongue (and “idle and wicked”) has been replaced by the sting of a wise snake - the merciless truth will henceforth be spoken by this tongue. The human heart, too, it turns out, is not suitable for fulfilling the new mission: it is too tender, “quivering.” Instead, “a coal blazing with fire” will be inserted into the chest. The heat and light of this heart is necessary for the new transformed being to boldly proclaim his prophecies, the height and power of which is given by the will of God:

Arise, prophet, and see and listen,
Be fulfilled by my will,
And, bypassing the seas and lands,
Burn the hearts of people with the verb.

Who did Pushkin present in his hero: a distant biblical prophet or a poet who accepted the prophetic gift?(the poem is called not “Poet”, but “Prophet”.)

Different points of view:

1) “Who did he (Pushkin) give us in his “Prophet”? This is the ideal image of a true poet in his essence and highest calling.”

V. Soloviev. The meaning of poetry in Pushkin’s poems. 1899.

2) “The Bible and the Koran gave Pushkin, at the time of his mature formation, the opportunity to establish himself in his new self-awareness as an artist of unprecedented responsibility and high missionary work. And - accordingly - freedom and independence from anything other than his calling... Pushkin raises himself to the status of a prophet..."

N. Skatov. Pushkin. 1990.

3) “In “The Prophet” they saw and see the image of a poet, for which, in essence, there is no data... The Prophet is only one of Pushkin’s heroes, comprehended with genius, but not adequate to Pushkin... “The Prophet” is by no means a self-portrait or a portrait at all poet... Pushkin portrayed the poet in “The Poet”, and not in “The Prophet”. Knowing very well that a poet is sometimes more insignificant than the most insignificant children in the world, Pushkin recognized himself as a great poet, but did not in the least lay claim to the “important rank” of prophet.

V. Khodasevich. “Pushkin’s Lot.” Article by S. Bulgakov. 1937.

4) “His (Pushkin’s) “Prophet”, which confused everyone and was so famous by Dostoevsky, is a wonderful biblical stylization... Pushkin almost never took the pose of a prophet.”

A. Kushner. Among the insignificant children of the world: Notes on the margins. 1994.

“This poem, as a truly perfect poetic work, allows for several interpretations. We are not obliged to make a choice between a prophet - a preacher of the word of God, and a divinely inspired poet; both of these meanings flicker through one another with “the same artistic authenticity.”

V.S.Baevsky. History of Russian poetry: 1730 – 1980. 1994.

The prophet and the poet have in common the ability to see the world as a simple person will never see it: they both see its hidden, secret sides. The prophet “corrects” the world; the poet reflects the world. The prophet brings the word of God to people - the poet creates his words (maybe when he becomes inspired by God?) They both address people, revealing to them the truth about earth and heaven.

Teacher's word.

In 1827 – 1830 Pushkin created three program poems on the theme of the poet and poetry. He needed to defend creative freedom.

The 1828 poem “The Poet and the Crowd,” constructed in the form of a dialogue, is devoted to the problem of the poet’s relationship with the “crowd.”

Conversation.

What is the significance of the dialogic form of the poem?

By the way, the “senseless people” are called a “crowd” only in the title, but directly in the text of the poem they are called “rabble.” It is unlawful to mean by “rabble” the so-called “black people”, the common people. Literary historians have long come to the idea that “rabble” is a broader concept: these are all those who tried to infringe on his creative freedom.

What is the image of the crowd, the mob?

The “rabble” gives the poet orders that are by no means new: after all, she only asks the poet to “teach” her, to give her “bold lessons,” because she is mired in vices. But in the words of the “rabble” there are only consumer notes:

You can, loving your neighbor,
Give us bold lessons,
And we will listen to you.
- What does the poet reproach her for?

There is no desire to change in this at all. And the poet answers the crowd with dignity:

You would benefit from everything - worth it's weight
Idol you value Belvedere.
You don’t see any benefit or benefit in it.
But this marble is God!.. so what?
The stove pot is more valuable to you:
You cook your food in it.

This is the kind of denial of art that one can come to if one proceeds from the requirement of benefit.

Is it possible to involve art in eradicating crimes?

Who does Pushkin liken the poets to?

Over the many centuries of the existence of civilization, Pushkin believes, crimes on earth have only increased, and it is futile to involve art in their eradication, since “scourges, dungeons, and axes” could not do this. And in general, “sweeping away the rubbish” is the job of the cleaners, not the priests. This is what Pushkin likened poets to – priests. “Service, altar and sacrifice” is the high mission of both.

What does Pushkin see as the true calling of poetry?

The purpose (not the goal!) of poetry is:

Not for everyday worries,
Not for gain, not for battles,
We were born to inspire
For sweet sounds and prayers.

Denial of the “everyday” - the topic of the day, any benefits, calculations in art and the affirmation of the beauty (“sweet sounds”), divine meaning (“inspiration”, “prayer”) of his service - this was Pushkin’s position in 1828 at the most fundamental issue of art.

Teacher's word.

Pushkin was able to defend his creative freedom in 1828 by rejecting the “educational” role of literature. But several years will pass, Pushkin, realizing himself in a different, much broader social environment, will pose the question of the purpose of the poet and poetry somewhat differently.

In the sonnet “To the Poet” (1830), Pushkin, calling the poet “tsar” (precisely as a tsar, the poet must live alone and not depend on anyone), not only proclaims the poet’s freedom (“the free road”), but also introduces a significant restriction this freedom:

...On the road to freedom
Go where your free mind takes you.

“A free mind” is a guarantee of faithfulness to the poet’s path. Once the mind is free, the road is free. And so, having gained freedom, without being distracted by anything (neither the noise of “enthusiastic praise,” nor the “judgment of a fool,” nor the “laughter of a cold crowd,” “not demanding rewards for a noble deed”), evaluating himself ( “You are your own highest court”), “a discerning artist” must follow life path. And if he is satisfied with the result, then let him not be bothered by the scolding of the crowd, which “spits on altar where your fire burns, and in children's Your tripod shakes with agility.” Once again, as in the poem “The Poet and the Crowd,” an association arises poet - priest. But there is no irritation at the “childish”, unconscious behavior of the crowd, because it does not know what it is doing.

What does the poet see as the true calling of poetry?

“Pushkin was convinced that poetry is a self-sufficient phenomenon that does not need justification or anyone’s approval. She has no tasks outside of herself. He wrote to Zhukovsky: “Are you asking what the goal of the Gypsies is? here you go! The purpose of poetry is poetry - as Delvig said (if he didn’t steal it). Thoughts are aiming at Ryleev, but it’s all wrong.”

V.S.Baevsky. History of Russian poetry: 1730 – 1980. 1994.

Teacher's word.

During these years, the poet acutely felt the attacks on his freedom. A poet is a vocation and profession, the subject of Pushkin’s thoughts in 1827 - 1831. Who is this poet? Is he different from other people or the same as everyone else? Pushkin’s answer, which he gives in the sonnet “The Poet,” is not simple.

What is the nature of a poet?

Pushkin expresses a paradoxical opinion on this matter:

1) it turns out that his soul is not alien to anything human. He, just like others, is immersed in the vanity of the world; his “soul tastes a cold sleep”; the author even fully admits that a poet may be “more insignificant than all” among the “insignificant children of the world,” that is, he can be an ordinary, earthly person, because his “holy lyre is silent.” Until the moment when Apollo demands the poet to the sacred “sacrifice”.

How did the poet hear “Apollo’s demands”?

It comes in the form of a “divine verb”, intelligible to the “sensitive ear” of the poet. The beginning of the creative process, according to Pushkin, is unexpected for the poet and inspired by the deity (that is, creative inspiration is from God). It is the powerful force of inspiration, to which the poet is subject, that takes his life in a different direction, tearing the poet away from the vanity, from the “cold sleep” of the soul.

The poet’s powerful transformation immediately begins, his sleeping soul awakens:

The poet's soul will stir,

Like an awakened eagle.

How does a poet change?

2) After this event, the poet changes dramatically.

He distances himself from human vanity (at the same time he has no contempt for people);

Stops worshiping the “people's idol”;

He “yearns”, surrounded by the amusements that captivated him.

How does the relationship between the poet and society develop at this moment?

Does he become proud, “wild and harsh”, plunges into himself, cannot be among ordinary people, in the bustle of the world?

Inspiration requires solitude, freedom from everyday life:

The service of the muses does not tolerate fuss;
The beautiful must be majestic.

He runs... “to the shores of desert waves, into the noisy oak forests” - this, of course, is a poetic convention, symbols peace and solitude. There it is easier to transform into poetry the “sounds” and “confusion” with which he found himself filled.

And Pushkin seems to “stop the moment” - before us is a poet captured at the moment of inspiration. Therefore there is no visual image, it is replaced psychological details.

Is Vl. Solovyov right when he asserts that “the second half of it takes us back to the “Prophet”?

How, as a result of the actions of the seraphim, the senses and body of a person are transformed: a prophet must have inhuman vigilance, special hearing, a tongue and heart different from those of an ordinary person; So the mighty power of inspiration (“divine verb”) before our eyes transforms the poet’s life (which no longer belongs to him) into a different direction.

But speaking about Pushkin’s ideal of the poet and poetry, one cannot help but recall his following statement: “poetry ... should not have any goal other than itself,” “the goal of art is an ideal, not moral teaching.” These two ideals (prophet and priest) contradict each other, but in Pushkin they harmoniously complement each other. The next generation of poets lost this harmony and divided into supporters of the idea of ​​“pure art” and supporters of the idea of ​​social poetry.

Teacher's word.

At the end of his life, Pushkin finds a powerful way to express his cherished thoughts about the purpose of poetry. In 1836, his famous poem “I erected a monument to myself not made by hands…” was written, which is usually called simply “Monument”.

Conversation.

Which poets were Pushkin’s literary predecessors in the development of this theme?

Pushkin had brilliant predecessors in interpreting his poetry as a monument: the ancient Roman poet Horace, whose epigraph opens the poem. In Russian literature, this idea was continued by Lomonosov and Derzhavin.

What does Pushkin compare his miraculous monument to?

Pushkin begins with a comparison: he compares his “monument not made by hands,” erected by poetry, with the “Pillar of Alexandria.” What is meant here - the lighthouse in Alexandria or the Alexander (in honor of Alexander I) column on Palace Square in St. Petersburg, erected shortly before the poem was written? By the way, Pushkin found an excuse not to appear at the celebration of the opening of this column. The divine meaning of true poetry begins to be revealed from the first lines of the poem: this monument is “not made by hands,” it “ascended” as if not by the will of people, but by its own power. But Pushkin also emphasized that his miraculous monument has “an unruly head.”

What is meant?

Independence and freedom are characteristic of Pushkin's poetry.

What thought is the spiritual and philosophical center of the poem?

A majestic thought about overcoming death. The eternal life of man is ensured by true poetry:

No, all of me will not die - the soul is in the treasured lyre
My ashes will survive and decay will escape...

Let's think about how Pushkin called his poetry here - “treasured lyre.” This name has sincerity and love.

- What does Pushkin see as the guarantee of the immortality of his poetry?

If predecessors connected the idea of ​​the poet's posthumous glory with the greatness and power of the state (“As long as great Rome rules the world...”, “As long as the Slavic race will be honored by the universe...” - the magic of the poet’s name extends to this time among Lomonosov and Derzhavin). Pushkin rethinks this motif and fundamentally changes the scale of the relationship between poetry and statehood. His poet rises above state borders and symbols of sovereign power; the priests of art seem to have their own Fatherland, and therefore the “monument” - poetry exists until it itself disappears from the face of the earth:

And I will be glorious as long as I am in the sublunary world
At least one piit will be alive.

What does Pushkin see as the main reason for his long life among the people, the source of his love?

1) In the good (“good feelings”) that his poetry awakens. Goodness is the absolute quality of great poetry. In the process of working on the poem, Pushkin rejected the line “I have found new sounds for songs,” which was closer to the original source. High ethical the meaning of poetry seems extremely important to him, and it is the thought of the moral power of poetry that allows Pushkin to identify another source of his posthumous fame -

2) This is a glorification of freedom. It is in it that the guarantee of “independence”, the poet’s independence from the “cruel century” in which he had to live, lies.

3) “And he called for mercy to the fallen.” The Christian concept of mercy, "mercy" becomes very important in the late Pushkin, connecting with the people's pity for those who stumbled, "fallen." Mercy to those who have sinned is one of the main moral values ​​among the people. In the poet's invocation of "mercy" - the justification of his life and poetry, loyalty to the friends of youth, regret for all those suffering, humiliated, lost.

Appeal to the muse in the last stanza. How do you understand its meaning?

At the end of the poem there are calls - exhortations to your muse. In order to provide yourself with senselessness, you must be obedient to the "command of God" and learn not to react to insults, honors, or unjust judgment.

Conclusion.

Thus, at the end of Pushkin's life, his early demands for genuine poetry were combined.

• Liberty;
• independence from the opinions of the crowd;
• doing the will of God;

with late ideas about the rootedness of real poetry in folk soil, its involvement in imperishable folk values

• of good;
• freedom;
• mercy.