Poetry of the mid-19th century, characteristics of Tyutchev's lyrics. Poetry of the second half of the 19th century. Lecture plan for the course

Class: 10 Topic: “Russian poetry of the second half of the 19th century” List of works:

F. Tyutchev “Silentium”, “Not what you think...”, “The earth still looks sad...”, “K.B.” , “Whatever life teaches us..”; A. Fet “To the Poets”, “Still fragrant bliss of spring..”, “The night was shining...”, “Whisper, timid breathing...”, “On the railway”; N. Nekrasov poem “Who Lives Well in Rus'.”

1. F. Tyutchev. Essay on life and creativity. Poet-philosopher and singer of native nature. Thoughts about life, man and the universe. Homeland theme. ("Silentium", "Not what you think...", "The earth still looks sad.."). Love is like a “fatal duel.”(“K.B.”, “Whatever life teaches us..”).

WITH leave a thesis plan for the article.

In the mid-50s of the 19th century, over a hundred poems were published in Nekrasov’s Sovremennik Fyodor Ivanovich Tyutchev. His first works, published in almanacs and magazines of the 20-30s of the 19th century, including in Sovremennik, published Pushkin, remained unappreciated by the general public.

Literary fame came to Tyutchev in his sixth decade of life. In one of his articles Nekrasov named Tyutchev "paramount poetic talent" A Dobrolyubov described him as a poet who “is accessible... to sultry passion, to severe energy, and to deep thought, aroused not only by spontaneous phenomena, but also by moral issues and the interests of public life.”

Tyutchev's literary heritage is small in volume, but Fet in the inscription on Tyutchev’s collection of poems he rightly said:

Muse, observing the truth,

She looks and on the scales

This is a small book

There are many heavier volumes.

F.I. Tyutchev is one of the largest Russian lyric poets, a poet-thinker. His best poems still excite the reader with the poet’s artistic vigilance, depth and power of thought.

Tyutchev’s entire work bears the stamp of complexity, painful thoughts and contradictory social life, of which the poet was a participant and thoughtful observer. Calling yourself "a fragment of old generations" Tyutchev wrote:

How sad a half-asleep shadow is,

With exhaustion in the bones,

Towards the sun and movement

To wander after a new tribe.

Tyutchev calls man “helpless,” “insignificant dust,” “a thinking reed.” Fate and the elements rule, in his opinion, over the life of man, “the grain of the earth,” “a homeless orphan,” the fate of a person is like an ice floe melting in the sun and floating “into the all-encompassing sea” - into the “fatal abyss.”

And at the same time, Tyutchev glorifies the struggle, courage, fearlessness of man, the immortality of human feat:

Take courage, fight, O brave friends,

No matter how cruel the battle, no how stubborn the struggle!

Silent circles of stars above you,

Below you are mute, deaf coffins.

Let the Olympians have an envious eye

They watch the struggle of unyielding hearts.

Who, while fighting, fell, defeated only by fate,

He snatched the victorious crown from their hands.

The stamp of duality also lies on Tyutchev’s love lyrics. On the one hand, love and its “charm” are “wonderful captivity”, “pure fire”, “the union of the soul with the dear soul”; on the other hand, love seems to him like “violent blindness,” “an unequal struggle of two hearts,” “a fatal duel,” in which

We are most likely to destroy,

What is dear to our hearts.

One of the most remarkable phenomena of Russian poetry is Tyutchev’s poems about the captivating Russian nature. Nature in his poems is always spiritual, thinks, feels, says:

Not what you think, nature -

Not a cast, not a thoughtless face.

She has a soul, she has freedom,

It has love, it has language.

The poet strives to understand and capture the “soul,” the life of nature, in all its manifestations. With amazing artistic observation and love, humanizing the life of nature, Tyutchev created unforgettable poetic pictures of the “original autumn”, spring thunderstorm, summer evening, night sea, morning in the mountains. An excellent example of such a deep, heartfelt image of the natural world can be the description of a summer storm.

Everything in nature seems alive to the poet, full of deep meaning, everything speaks to him “in a language understandable to the heart.”

With images of nature, he expresses his innermost thoughts and feelings, doubts and painful questions:

Equanimity in everything,

There is complete harmony in nature, -

Only in our illusory freedom

We are aware of the discord.

Where and how did the discord arise?

And why in the general choir

The soul doesn’t sing like the sea,

And the thinking reed murmurs?

“The faithful son” of nature, as Tyutchev called himself, he exclaims:

No, my passion for you

I can’t hide it, Mother Earth!

In the “blooming world of nature” the poet saw not only “an excess of life”, but also “damage”, “exhaustion”, “a smile of withering”, “spontaneous discord”. Thus, Tyutchev’s landscape lyrics express the most contradictory feelings and thoughts of the poet.

2. The artistic originality and rhythmic richness of the poet's verse.

t/l artistic originality and rhythmic richness of the poet’s verse.

The poetry of F. Tyutchev is poetry of thought, philosophical poetry, poetry of cosmic consciousness. The most important theme for Tyutchev is the chaos contained in the universe, this is the incomprehensible secret that nature hides from man. Tyutchev perceived the world as ancient chaos, as a primordial element. And everything visible and existing is only a temporary product of this chaos. The poet’s appeal to the darkness of the night is connected with this. It is at night, when a person is left alone in front of the eternal world, that he acutely feels on the edge of the abyss and especially intensely experiences the tragedy of his existence. The poet uses the technique of alliteration:

Quiet dusk, sleepy dusk,

Lean into the depths of my soul...

What are you howling about, night wind?

Why are you complaining so thoughtlessly?

"Silentium" is a philosophical poem. The lyrical hero appears in it as a thinker. The main idea is the endless loneliness of man. Man turns out to be powerless before the omnipotence of nature. Based on this, Tyutchev comes to the idea of ​​​​the insufficiency of all human knowledge. This leads to the tragic collision of a person’s inability to express his soul, to convey his thoughts to another. The poem is structured as a kind of advice, an appeal to the reader, to you. The first stanza begins with the advice “be silent” and ends with the same. By you we mean me:

How can the heart express itself?

How can someone else understand you?

The poet concludes that the human word is powerless: “A thought expressed is a lie.” The poem ends with a call to live in the world of your own soul:

Just know how to live within yourself

There is a whole world in your soul...

Nature is the main theme of Tyutchev’s work. The idea of ​​the animation of nature, the belief in its mysterious life are embodied by the poet in his desire to depict nature as a kind of animated whole. She appears in his lyrics in the struggle of opposing forces, in the continuous change of day and night. It's not so much a landscape, it's space. The main device used by the poet is personification. The poem “Spring Waters” is a poetic description of the awakening of nature. Nature (streams) becomes animated, finding a voice:

They shout all over the place

Spring is coming, spring is coming!

The poem conveys a young, cheerful feeling of spring and renewal. Tyutchev was especially attracted to transitional, intermediate moments in the life of nature. In the poem “Autumn Evening” there is a picture of evening twilight, in the poem “I love a thunderstorm in early May...” - the first thunder of spring.

Tyutchev's love lyrics are also original. “Oh, how murderously we love...” Poem from the Denisievo cycle. Tyutchev blames himself for the suffering caused to Elena Denisyeva by her ambiguous position in society. Love sometimes sounds like the union of a soul with a dear soul, sometimes like anxiety, sometimes like a sorrowful confession. Love cannot be absolutely happy. One heart triumphs, the other, weaker, perishes.

Fate's terrible sentence

Your love was for her.

But without love, without internal struggle, there is no human life.

Read the poem F. Tyutchev “Here, where the vault of heaven is so sluggish...”

Here, where the vault of heaven is so sluggish

He looks at the skinny earth, -

Here, plunged into an iron sleep,

Tired nature sleeps...

Only here and there pale birches,

Small bush, gray moss,

Like fever dreams

They disturb the deathly peace.

3. RR Reading by heart and independent analysis of poems by F. Tyutchev.

4. A. Fet. Accuracy in conveying human perception of pictures of native nature, shades of feelings and emotional movements of a person. Fet and the theory of “pure art”. The magic of rhythms, sounds and melodies.

t/l theory of "pure art"

Make a thesis plan for the article “The Life Path of Fet.”

Afanasy Afanasyevich Fet-Shenshin lived a long life. As we see, the entire development of classical literature of the 19th century takes place within the chronological framework of his life.

The life of Fet the student, officer, landowner, chamberlain of the court of His Imperial Majesty took place in full view of everyone. However, some of the main points were shrouded in a thick, almost impenetrable mystery, which has not yet been fully revealed and has painted it in deeply tragic tones.

Fet was born on November 10, 1820 in the family of a wealthy and enlightened (adherent of Rousseau's ideas) Oryol landowner Afanasy Neofitovich Shenshin and his wife, née Charlotte Becker, whom he met in Germany and brought with him to his homeland. And suddenly an unexpected thunder thundered over the head of the fourteen-year-old boy: his baptism by the son of Shenshin was declared illegal. In a German boarding school, located in one of the Baltic cities and considered an exemplary educational institution, where he, with some participation of Zhukovsky, had been placed shortly before that time, a letter from his father came addressed to him with a strange inscription - not to Shenshin, as always, but to Fet. The letter stated, without specifying the reasons, that from now on he should be called that way from now on. The first thing that followed was the evil guesses and mockery of his comrades. And soon Fet felt the dire consequences associated with his new surname. This was the loss of everything that he inherently possessed - the title of nobility established in society, property rights, even nationality, Russian citizenship. An old hereditary nobleman, a wealthy heir, suddenly turned into a “man without a name” - an unknown foreigner of very dark and dubious origin. And Fet perceived this as a most painful shame, casting a shadow not only on him, but also on his dearly beloved mother, as the greatest catastrophe that “disfigured” his life. To return what was so irreparably lost to him, to return by all means, if necessary, sacrificing everything, became a kind of obsession that determined his entire life path. This had an influence, sometimes fatal, on literary destiny.

The ancients said that poets are born. And Fet, indeed, was born a poet. Artistic talent was the essence of his soul. Already from childhood he was “greedy for poetry”; experienced incomparable pleasure, “repeating the sweet poems” of the author of “The Prisoner of the Caucasus” and “The Bakhchisarai Fountain.” In a German boarding school he began writing poetry.

He continued to compose his poems with increasing zeal and in the boarding house of a historian, writer, journalist close to Pushkin and Gogol, Professor Pogodin, where he entered to prepare for Moscow University.

This was facilitated by friendship with Apollon Grigoriev- his peer, a future poet, a unique and outstanding critic. Both friends "reveled in poetry." In the Grigorievs’ house, which Fet called the “true cradle” of his “mental self,” a circle of students gathered, which included: the future poet Ya. Polonsky, future historian S. Solovyov.

Fet received his first blessing for serious literary activity from Gogol, to whom, through Pogodin, he transferred samples of his creativity. The famous writer advised to continue: “This is an undoubted talent.”

The young poet decided to publish his poems as a separate collection, borrowing 300 rubles in banknotes from his sisters’ governess: the young people were in love with each other, dreamed of getting married and naively hoped that the publication would not only quickly sell out, but would also bring literary fame to the author, which would ensure their “independent future”. In 1840, the collection was published under the title "Lyrical Pantheon". The poems from this collection were influenced Zhukovsky, Batyushkov, Pushkin, Lermontov, Benediktov. Belinsky noticed the poems Feta:“...of all the poets living in Moscow, Mr. Fet is the most talented,” among his poems “there are truly poetic ones.” The critic's reviews were a ticket to literature. Heavily printed.

Undoubtedly, the joy of creativity and literary success in many ways healed his “sick spirit,” but they could not tame the “rebellious” idea-passion that possessed him. A. Grigoriev, in one of his autobiographical stories, vividly talks about the severe mental torments that tormented Fet at this time and from which he, fearing that Fet would commit suicide, saved him with great difficulty, often spending whole nights at his bedside.

And so, in the name of his goal, the poet abruptly breaks his life path - in 1845 he leaves Moscow and the highly intellectual atmosphere that developed in Grigoriev’s circle. Soon after graduating from the university, he entered the lower rank of one of the provincial regiments stationed on the distant southern outskirts (Kherson province). Fet himself subsequently gave a precise explanation for this. In military service, rather than in any other, he can begin to realize his goal - to rise to the rank of hereditary nobleman and thereby, at least partially, regain his lost citizenship. However, this was bought at a high price. In his memoirs, he will tell in what difficult conditions - complete isolation from his usual environment, literary life, new books and magazines, and, moreover, in what material “constraint”, sometimes bordering on poverty, he now found himself.

He continued to write poetry, but his literary activity weakened. But in the name of his goal, Fet endures these conditions for 8 years.

In this bleak life, a bright ray flashed: one of the most joyful and most tragic events happened. In the Kherson wilderness, Fet met a wealthy local landowner A.F. Brzhevsky, an educated man who even published poetry. Through him, Afanasy Afanasyevich met the daughter of a poor local nobleman, twenty years old. Maria Lazic(in letters Elena Larina). He didn’t come up with this surname for her by chance. Like Pushkin's Tatyana, Maria was an exception in the environment to which she belonged - an extraordinary, talented musician who earned the praise of the Liszt, passionate lover of poetry. The rapprochement with Fet itself occurred on the basis of a passion for creativity George Sand.

The young people were deeply happy that they met each other. Fet openly confesses to her everything that tormented and tormented him. “I was waiting for a woman who would understand me, and I waited for her,” he wrote to his friend Borisov. According to the testimony of contemporaries who knew the poet closely, he enjoyed great success with women and was always in love with someone, but love for Lazic really turned out to be his strongest and deepest feeling. The rapprochement with Maoria was prompted by one of the most fragrant creations of world lyricism - the poem “Whisper, timid breath...”.

But Lazic is poor. Maria knew that Fet would not marry her, but she begged him not to break off the relationship. Still, Fet goes to break. And soon Lazic died a terrible death, the mystery of which, like the circumstances of Fet’s birth, has not been fully revealed. The official version: the dress caught fire from an accidentally dropped match, but there is reason to think that this was done intentionally. Engulfed in flames, she exclaimed: “For God’s sake, save the letters.” It was not possible to save her; she died in terrible agony 4 days later. Her last words: “It’s not his fault, it’s mine.”

Fet did not rise to the nobility, did not find a rich bride, but circumstances began to turn out well for him. In 1853, he managed to escape from the “madhouse” - to achieve a transfer to a guards regiment, which was stationed not far from St. Petersburg, where he was able to leave.

In the same year, the poet’s second collection was published. Admiring responses; his poems are praised in magazines of all genres.

This enthusiastic meeting could not but inspire Fet. After the death of Maria Lazic, he almost completely stopped writing poetry, continuing only “out of boredom” to translate Horace. Now followed a new, even stronger than in the first half of the forties, influx of his creative forces. Fet develops active literary activity and systematically publishes in almost all major magazines. Clearly trying to expand the scope of the literary genre of short lyric poems that made him famous, he writes poems and stories in verse, tries his hand at prose fiction, translates a lot, and publishes a number of travel essays and critical articles. Accepted as one of his own among talented writers and literary modernity, Fet feels morally resurrected. Thanks to literary earnings, there is an undoubted improvement in his financial situation. However, he suffers another blow to his service.

Simultaneously with the publication of the collection, a decree was issued: the title of hereditary nobleman was given only by the rank of colonel. This delayed the implementation of his goal for such an indefinite period that the continuation of military service became completely useless.

What did Lieutenant Fet do?

His long-standing wish (a bride with a dowry) came true. Immediately after the new decree appeared, he took a year's leave and made a trip around the world with his accumulated literary fees. Europe (Germany, France, Italy). There, in Paris, in 1857 he married the daughter of a wealthy Moscow tea merchant Botkin - Maria Petrovna Botkina. This was not a marriage of cordial attraction.

Soon Fet retired and settled in Moscow. At first, in the name of his same goal-passion, he strives to replenish the received “chest of ducats” with even more literary activity, showing his inherent enormous capacity for work, but often clearly compromising the quality of his talent.

But nevertheless, it soon became clear that achieving a “living arrangement” the way he imagined it, through literary and journal earnings, was just as hopeless as it was in military service. And Fet again abruptly breaks his life path. Having overcome his wife’s resistance, he acquires a small estate in her name and funds - a farm Stepnovka, just in those places where the Shenshin family estates were located. He becomes, if not a Mtsensk nobleman, then, at first, a Mtsensk landowner.

In addition to his remarkable artistic talent, Fet was generally an extraordinary, richly gifted person. He was a great storyteller; Prominent minds of that time valued communication with him. In a lively and lengthy correspondence with him there was I.S. Turgenev.

When Afanasy Afanasyevich Fet achieved his goal, he was 53 years old. The passion idea came true. But the poet experienced an ever-growing sense of a terrible threat, not because with such efforts, renunciations and losses he acquired, mortal danger loomed over the entire noble-landed world - it was destroyed by the “nihilists.” This was manifested in the reactionary views of the poet Fet. But even in this Famusov the spirit of the poet continued to live. Since the late 70s, he began to write poetry in large quantities, no less than in his youth. He gave the new collection the title “Evening Lights.” Under this capacious, precise and poetic title he published three more collections of new poems in 1885, 1888, 1891. The title spoke of the evening of life, its decline.

The sign of a true lyricist, according to Fet, is the readiness to “throw from the seventh floor headfirst with an unshakable belief that he will not soar through the air.” And the poet’s faith was justified, Fet remembers with what joy his heart trembled when, after reading Tyutchev one of his poems, he heard: “How airy it is.”

Fet believes that the eternal object of art is beauty. But this beauty is not from some otherworldly world, but it is not an embellishment of reality - it is inherent in itself. “The world is equally beautiful in all its parts,” says the poet. “Beauty is spread throughout the entire universe.”

Fet had a sixth sense, a sophisticated, artistic eye, and the visual images of his poems are distinguished not so much by the variety and brightness of colors, but by their subtlest combinations, reproduced in motion - in a living play of shades, halftones, transitions.

"Pure art"

5. “Vigilance in relation to the beauty” of the surrounding world (A. Fet), “the ability to catch the elusive” (A. Druzhinin). The magic of rhythms, sounds and melodies.

(“To the poets”, “Still fragrant bliss of spring...”, “The night shone...”, “Whisper, timid breathing...”, “On the railway.”

A.V.Druzhinin notes that “obviously, it was not the abundance of external interest, not the drama of the events described” that caught the reader’s attention Fet. “Equally, in Fet we do not find any deep world thoughts, no witty aphorisms, no satirical direction, no special passion in presentation. His poetry consists of a number of paintings, of anthological essays, of a compressed image of a few elusive sensations of our soul. Therefore, the reader’s heart is worried... from the poet’s ability to catch the elusive, to give an image and name to what before him was nothing more than a vague, fleeting sensation of the human soul, a sensation without image or name... Fet's strength lies in the fact that our poet, guided by his inspiration, knows how to climb into the innermost recesses of the human soul. His area is not large, but in it he is a complete ruler.”

Fet's poems are difficult to analyze, because they address not the mind, but the feeling with its irrationality, with its tendency to unexpected and sometimes capricious connections and associations.

Read the poem A. Fet “After the Storm” and determine what artistic techniques he used in it

A gray thunderstorm passed by,

Scattering across the azure.

Only the swell of the sea breathes,

Not having recovered from the storm.

Sleeping, tossing, the wretched boat,

Like someone sick from a terrible thought,

Only forgotten by anxiety

The folds of the sail drooped.

Refreshed coastal forest

Covered in dew, it doesn’t move. –

The hour of salvation, bright, gentle,

It's like she's crying and laughing.

What do the following words mean: swell, azure, canoe?

6. RR Reading by heart and independent analysis of A. Fet’s poems.

Analysis plan for a lyrical work:

1. Creative history 2. Theme and genre 3. Central image or system of images 4. Features of poetic speech 5. Figurative means 6. Composition 7. Ideological content 8. Aesthetic content caused by the poem.
7. Seminar "Two poets of the realistic era."

8. A.K. Tolstoy. A brief overview of life and work. The originality of the artistic world. Leading themes of the lyrics. A look at Russian history in his works. The influence of the romantic folklore tradition on the poetry of A.K. Tolstoy.

t/l influence of folklore on 19th century lyrics

A BRIEF CHRONICLE OF THE LIFE AND WORK OF A. K. TOLSTOY

1817, August 24 (September 5) born in St. Petersburg Count Alexey Konstantinovich Tolstoy. Father - Count Konstantin Petrovich Tolstoy (1780-1870), adviser to the State Assignation Bank. Mother - Anna Alekseevna (1796 or 1799-1857). Maternal uncle, who raised A.K. Tolstoy from infancy - Alexey Alekseevich Perovsky (1787-1836), writer (pseudonym - Anthony Pogorelsky), author of the famous book “The Black Hen, or Underground Inhabitants (A Magic Tale for Children),” the first reader of which, according to reasonable assumptions, was his nephew. Gap between parents. Six-week-old Alexei Tolstoy is transported by his mother to Chernigov province to your estate Blistava, and then in Krasny Rog Mglinsky district- the estate of his brother, A. A. Perovsky.

1823-1824 The first poetic experiments of A.K. Tolstoy.

1826 , winter A. A. Perovskaya with her son and brother return to St. Petersburg.

Acquaintance of A.K. Tolstoy with the heir to the throne, the future emperor Alexander P. End of August In Moscow, he becomes the heir's “playmate.”

1827, summer Trip with mother and A. A. Perovsky to Germany. Dating in Weimar Goethe. There is evidence that the author of Faust warmly greeted the future poet and gave the boy a fragment of a mammoth tusk with his own drawing of a frigate on it.

1831. Trip with mother and uncle to Italy. Tolstoy keeps a diary. Dating in Rome with K. P. Bryullov, who makes a drawing in Tolstoy's album.

1834, March 9 Enrolled in the civil service - as a “student” in Moscow Main Archive of the Ministry of Foreign Affairs, in which many famous figures of Russian culture served at different times - the Venevitinov and Kireevsky brothers, S.P. Shevyrev, A.I. Koshelev...

1835, March V. A. Zhukovsky speaks favorably of the poems of A.K. Tolstoy. There is evidence that the creative experiments of the young poet were also supported by A.S. Pushkin. After suffering from a fever, he receives leave to improve his health and goes abroad (Germany). Return to Moscow. Submits a petition to Moscow University for admission to take the university exam - “from the subjects that make up the course of the Faculty of Literature, to obtain an academic certificate for the law of officials, first category.”

1836, January 4 The Moscow University Council issues Tolstoy a certificate for entry into the first category of civil service officials. Love to Princess Elena Meshcherskaya and refusal, under the influence of the mother, from his feelings. Receives foreign leave to accompany him in Nice patient with “chest disease” (obviously tuberculosis) A. A. Perovsky. July 9 Death of A. A. Perovsky in Warsaw in the arms of my nephew. Tolstoy inherits his uncle’s entire fortune, including the Pogoreltsy estate in the Novo-Zybkovsky district of the Chernigov province. After the troubles of Tolstoy and his mother, he was transferred to St. Petersburg in Department of Economic and Accounting Affairs. Nominated to the rank of collegiate registrar.

1838-1839. Lives in Germany, Italy, France. Writes first stories (in French) - “The Ghoul Family”, “Meeting after Three Hundred Years”.

1840 Committed to collegiate secretaries. By the highest order, he was moved by a “junior official” to II Department of His Imperial Majesty's Own Chancellery.

1841 Censorship permission was given to publish the book "Ghoul. Krasnorogsky's essay" (St. Petersburg) - the literary debut of Tolstoy the prose writer (pseudonym - from the estate “Red Horn”). Published an essay in the Journal of Horse Breeding and Hunting (No. 5) "Two days in the Kyrgyz steppe."

1843 Awarded the title of chamber cadet. Autumn. A. K. Tolstoy’s poetic debut in “Sheet for Secular People (No. 40): the poem was published without a signature “Serebryanka” (“A pine forest stands in a lonely country...”).

1845 Committed to collegiate assessor. In the literary collection of Count V. A. Sollogub “Yesterday and Today” he publishes a story "Artemy Semenovich Bervenkovsky."

1846 Promoted to court councillors. In the second book of the collection “Yesterday and Today” appears "Amena" - fragment from Tolstoy's novel "Stebelovsky" about which nothing more is known.

1847-1849 He is working on ballads from Russian history, and is conceiving the novel “Prince Silver.” In the 1840s. Tolstoy leads the life usual for a socialite of that time: frequent leaves from work, travel, balls, hunting, fleeting novels... A contemporary describes him as “a handsome young man, with blond hair and a blush all over his cheek”; Tolstoy is famous for his strength: “he rolled tablespoons and forks into tubes, drove nails into the wall with his finger and straightened horseshoes.”

1850 Sent to the Kaluga province to participate in the commission for its renovation. In one of the letters he calls this business trip “exile.” In Kaluga, in the governor's house, in the salon of his wife A. O. Smirnova-Rosset, he meets and becomes closely acquainted with Gogol. Here he reads his poems and excerpts from "Prince Silver". Spring. Acquires an estate Pustynka near St. Petersburg. Returns from Kaluga to St. Petersburg.

1851, January 8. Scandal after the premiere of the play "Fantasy" at the Alexandria Theater - Nicholas I did not like the production and was removed from the repertoire. At the same time, he met the wife of a Horse Guards colonel at a masquerade at the Bolshoi Theater. Sofia Andreevna Miller(1827?-1892). This woman with a beautiful voice, a beautiful figure and lush hair, smart, strong-willed, well educated (she knew 14 languages), becomes Tolstoy’s strongest passion.

1851-1852 , winter. A trip to V. A. Perovsky in the Orenburg province and a visit on the way there and back to the Smalkovo estate in the Penza province, where S. A. Miller, who separated from her husband, lives in the family of her brother, P. A. Bakhmetev.

1852, spring. Return to St. Petersburg. Efforts to mitigate the fate I. S. Turgeneva, arrested in April for an article in memory of Gogol. New meetings with S. A. Miller, which continue next year.

1854 Publication in "Contemporary" poems by Tolstoy and "Leisure" Kozma Prutkov. Stay in the regiment (the village of Medved near Novgorod). Acts as battalion commander. Sick with typhus. Alexander II is informed daily by telegram about Tolstoy's health. S. A. Miller, who came to Odessa, is caring for him. Autumn Getting closer to A. S. Khomyakov and K. S. Aksakov. Appointed as a clerk in the Committee on Cases of Dissenters. Death of L. A. Perovsky, with whom Tolstoy had a warm family relationship. Getting to know L.N. Tolstoy.

1857, June 2. Death of Tolstoy's mother. Son and father, K. P. Tolstoy, spend the night at the countess’s coffin. From now on, A.K. Tolstoy sends his father a monthly pension (about 4,000 rubles per year). Tolstoy telegraphs S. A. Miller to Paris about the death of his mother (Anna Alekseevna was against this union, as, indeed, she was very jealous of any filial chosen one). Tolstoy and S.A. Miller, together with her brother’s family and servants, settle in Pustynka.

1858, January 1. Tolstoy's return to St. Petersburg and reunion with S.A. Miller, who at this time is pursuing a divorce case from her husband. The poem is published in the magazine “Russian Conversation” (No. 1) "John of Damascus."

1859, March 11. Lives and works in Pogoreltsy. He was dismissed on indefinite leave from his duties as aide-de-camp. Accepted into the Society of Lovers of Russian Literature. Working on a poem "Don Juan". Opens a school for boys in his village Pyany Rog. S. A. Miller sets up a school for girls in Pogoreltsy. He goes to England, where in August on the island. White is dating Turgenev, Herzen, Ogarev and others. They founded the “Society for the Spread of Literacy and Primary Education” (Turgenev writes the program). Meets a poetess in Dresden Karolina Pavlova, who became the translator of his “Don Juan” into German. He comes to Krasny Rog and personally reads the liberation manifesto to his peasants. Then he distributes money to the crowd for refreshments. Writes a letter to Alexander II asking for his resignation. “Dismissed from service, due to domestic circumstances, by his former rank of state councilor, which he served before entering military service, with appointment to the post of huntsman.” Dismissed from the rifle battalion.

December - until half of January 1862. Reads the novel with great success at evening meetings with the Empress "Prince Silver". At the end of the readings, he receives from the empress a massive golden keychain in the shape of a book. On one side her name is written in Slavic font - “Maria”, on the other - “In memory of Prince Silver”. Inside, on folding golden pages, there are miniature photographs of female listeners.

1863, April 3. In the Orthodox Church Dresden marries S.A. Miller. The wife returns to her homeland. The first signs of asthma and other diseases in Tolstoy. He is being treated at resorts in Germany.

1865 . During a royal hunt in the Novgorod province, he tries to intercede with Alexander II on behalf of someone exiled to Siberia Chernyshevsky. Failure and quarrel with the emperor. The magazine “Otechestvennye zapiski” (No. 1) publishes “a tragedy in five acts” "The Death of Ivan the Terrible." 1867, January 12. Premiere of “Tsar Fyodor Ioannovich” at the Alexandria Theater. The only lifetime edition of the works of A.K. Tolstoy is published in St. Petersburg - "Poems"; included in it 131 poem.

1869 . Lives in Krasny Rog. Exacerbation of the disease.

1871 . While hunting woodcock he catches a cold. New exacerbation of the disease. Writes the poem “On the Traction.” During the year he travels to Germany for treatment.

1872-1873. Italy. Exacerbation of headaches. 1873, December 23, on the same day as L.N. Tolstoy, was elected corresponding member of the St. Petersburg Academy of Sciences in the department of Russian language and literature. He is being treated in Krasny Rog for neuralgic pain. 1875. Deterioration of health. Starts taking morphine.

September 28 (October 10). He died in Krasny Rog (now Pochepsky district, Bryansk region) after an excessive injection of morphine. He bequeathed to bury himself in a hollowed-out oak coffin, but the custom-made coffin delivered from Bryansk turned out to be too short. He was burned, and the poet was buried in a pine coffin in the family crypt near the Assumption Church in Krasny Rog.

The world is thus for him a pale reflection of the ideal living in the sky. The more greedily the poet catches a glimpse of eternal beauty in the world: he looks for it both in nature and in the human soul. For him, love, even the strongest and most immediate, is not in itself, but as a link in a general harmonious combination: it enlightens his “dark gaze” and makes his “prophetic heart” understand,

That everything born of the Word

Rays of love are all around,

Wants to return to him again

And everywhere there is sound, and everywhere there is light,

And all the worlds have one beginning,

And there is nothing in nature

Whatever breathes love...

Earthly love seems to Tolstoy, like earthly beauty, and like earthly harmony, a pale, imperfect reflection of an ideal living in the blue ether. Earthly love is fragmented, petty love. He says, responding to jealous reproaches:

And we love with a fragmented love

And the quiet whisper of the willow over the stream,

And the sweet maiden’s gaze is inclined towards us,

And the starry shine, and all the beauties of the universe,

And we won’t merge anything together.

Life is only a short captivity. Beyond its borders, people will all merge into one love, wide as the sea, for which the boundaries of the earth would seem too pathetic.

The happiness that is given to a person by poetic feeling and creativity is precisely this temporary detachment from life for the contemplation, even if momentary and incomplete, of the world of heavenly ideals. Feelings of compassion, caring, joyful enthusiasm, disappointment or jealousy are weakened in the poet by this uncontrollable desire for heaven. The love for harmony and beauty, a special form of this harmony, was reflected not only in the content and spirit, but also in the form of Tolstoy’s poetic works. His smallest plays are distinguished by their harmony and some special grace. His sense of proportion is remarkably developed: he will not let us worry too much, will not make us laugh for too long, or be horrified: he will never close the play with dissonance, although on the other hand we never risk that in his poetry the hard-won verse, piercingly sad, will strike hearts with unknown strength.

Of all the major personalities of the Russian past, Tolstoy was especially fascinated Ivan groznyj. His poetry does not know Ivan IV as anything other than old and formidable, in the difficult era of executions and oprichnina. Three epic poems depict this dark figure for us: Staritsa voivode, Prince Mikhail Repnin and Vasily Shibanov. Tsar Ivan, of course, was both cruel and often theatrical in his executions, but it would be a big mistake to limit ourselves to this idea of ​​a major historical figure. It is necessary to compare poetic images with history and folk memory. For the people's fantasy, the Terrible Tsar is not a mad, unbridled tyrant, but a severe punisher of treason, no matter where she makes her nest, at least in her own family. He is fair in his soul, because when he sees a mistake, he always repents. Very often, popular imagination does not even allow him to commit cruelty: he wants to execute the gunners near Kazan because the gunpowder does not ignite for a long time, but the threat is not carried out: the cellars fly up into the air earlier; he wants to kill his son, suspecting him to be a traitor, but Malyuta’s machinations are thwarted in time by Nikita Romanovich - the prince is saved.

In the well-known ballad "Vasily Shibanov" the center is not in Tsar Ivan, but in the tortured hero - the stirrup of the traitor prince. It would be an extreme injustice to see in Shibanov the personification of a servile, almost dog-like affection. With his silence under torture, with his dying prayer for the king and his homeland, is he serving his master? No, Prince Kurbskaya is safe, and his selfless servant serves Russia, in which he does not want to multiply the victims of the royal wrath. Shibanov embodies that popular force of heroism and patience that helped Rus' endure all its disasters.

Conclusion:

His poetry was for its time a phenomenon so original, so unusual that the readers of those years, meeting it for the first time, did not want to recognize it as an original product of Russian life and thought that it was a song from someone else’s foreign voice. Meanwhile, in Tolstoy’s poems only a universal voice sounded/ “I do not belong to any country,” the poet said in one intimate letter, “and at the same time I belong to all countries at once. My flesh is Russian, Slavic, but my soul is only human.” And it was this universal humanity that his contemporaries did not appreciate enough in him and seemed unwilling to understand that the general things that Tolstoy spoke about also included the particular things that they valued so much. They expected to find in Tolstoy a “modern” poet (which he was in his own sense) and began to look for confirmation of their likes and dislikes in his work, but the poet’s views and tastes did not coincide with their demands. In Tolstoy's poetry there was not enough of that analytically sober attitude towards the surrounding reality that the realists of that time were striving for. It did not have that subjective alienation from the moment being experienced, which the creators of various gentle songs then flaunted. In our artist, both of these tendencies were combined in the romantic symbolism that unites them.

9. N.A. Nekrasov. Essay on life and creativity. Poet of "revenge and sorrow." Civility of the lyrics, heightened truthfulness and drama in the depiction of the people.

date

The originality of Nekrasov's lyrics: sermon, confession, repentance, sincerity of feelings, lyricism. Citizenship and high humanity, folk basis and motives of folk song. Proseization of lyrics, strengthening the role of the plot element. Social tragedy of the people in the city and in the countryside. The present and future of the people as the subject of the lyrical experiences of a suffering poet. The intonation of crying, sobbing, moaning as a way of confessional expression of lyrical experiences. Nekrasov's satire. Heroic and sacrificial in the image of a commoner-loving people. Psychologism and everyday concretization of love lyrics.

10. City and village in Nekrasov’s lyrics. Image of the Muse. Civil poetry and lyrics of feelings. Nekrasov’s artistic discoveries, the simplicity and accessibility of the verse, its closeness to the structure of folk speech. The solution to “eternal themes” in Nekrasov’s poetry.

t/l folk creativity

Nationality- the conditioning of literary works by the life, ideas, feelings and aspirations of the masses, the expression in literature of their interests and psychology. The idea of ​​the nationality of literature is largely determined by what content is included in the concept of “people”.

Image of the city in Nekrasov’s lyrics.

Image of the city in Nekrasov's lyrics The main character of Nekrasov's poetry is a man of the people: a peasant, a recruit, a city dweller. Many of the poet’s poems are dedicated to the city, in which he shows poverty, hopeless life and suffering. The capitalist city and the fate of the people living in it are reflected in Nekrasov’s poem “Am I Driving at Night...”. In it, the poet depicts the life of a big city, in which living is even more difficult than in a village. In the poem, the author shows a family deprived of their livelihood, desperately struggling to survive. Nekrasov also vividly reflects the high sacrifice of the Russian intelligentsia. So, a woman sells herself to buy a coffin for her child and dinner for her husband. In another poem called “On the Street”, the author reveals to the reader sketches and miniatures telling about the life of unhappy townspeople. In the sketch “The Thief,” the author shows the image of a man who steals a kalach. He has no money and it is for this reason that he is forced to commit a crime. The second sketch, entitled “Seeing Off,” shows the horror of the recruiting system: a soldier is escorted into the army, deprived of his only breadwinner. In the third miniature, the soldier carries the coffin of his son and curses himself for his rude attitude towards his son, caused by the eternal lack of money. The tragedy is that people blame life in the city. The plight of urban children is also shown in the poem “The Cry of Children,” in which the author talks about children deprived of childhood and forced to earn their living. The work is difficult and unbearable for young and weak children. But joy does not await them at home either, since life there is no different from the cruel world around them. The theme of the city is an integral part of Nekrasov’s lyrics, showing the hard life of not only peasants, but also townspeople forced to do the most desperate things in order to survive.

Image of the Muse.

Nekrasov’s muse surprisingly listens to the people’s worldview, to the different, sometimes very distant from the poet, characters of people. This quality of Nekrasov’s talent manifested itself not only in lyrics, but also in poems from folk life, and in science it was called poetic “polyphony.”

Nekrasov’s muse is “the muse of revenge and sadness,” “sister of the people.” Her calling is to “burn the hearts of people with a verb.” She was “the sad companion of the sad poor, born to labor, suffering and chains.”

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!

Nekrasov’s artistic discoveries, the simplicity and accessibility of the verse, its closeness to the structure of folk speech.

The poet's poems truthfully reproduced life in all its complexity and completeness, explained life, taught how to pronounce an honest verdict on it, and became a textbook for becoming a citizen.

11. Poem “Who Lives Well in Rus'.” The history of the creation of the poem, the plot, the genre originality of the poem, its folklore basis, the meaning of the name. The plot of the poem and the author's digressions. Travel as a method of organizing a narrative.

The plot and composition of the poem.

WITH

south-travel: the starting point is the decision of the men to go on a journey in search of those “who live well in Rus'.”

The plot space of the poem combines the “talking” convention of toponyms (Gorelovo, Neelovo, Neurozhaika, Bosovo, etc.) and realistic life-likeness, generalization and specificity. The spatial uncertainty of the beginning (“In which land - guess”) is refuted by the recognition in every detail of the peasant world of Rus'.

Compositionally independent fragments of the poem are songs in which the lyrical beginning of Nekrasov’s epic is concentrated.

Until now, researchers are arguing in what order the parts of the poem should be arranged. The dispute is about the location of all parts except the first, because Nekrasov did not have time to finish the poem and did not build it. But the fact that the parts can be arranged this way or that means that the panoramic image turned out to be more important than the plot sequence. In this sense, the poem is like an art gallery, the value of which is in the paintings themselves, and not in how they are hung on the walls.

Epic depicts long period of historical time or significant historical event in its scale and inconsistency. The epic depicts events in which the fate of the nation, the people, the entire country is decided, reflects the life and way of life of all layers of society, their thoughts and aspirations.

Folklore elements in the poem.

Elements of folklore

13. The variety of folk types in the gallery of heroes of the poem. Satirical images of landowners.

Peasant types.

Crowd scenes are an indicator of the writer's skill. Nekrasov introduces us to the very thick of peasant life, and the reader does not even have time to see how he does it. Meanwhile, Nekrasov uses a number of artistic techniques. The panorama of Rus' is created through the image of villages and landscapes, the human crowd - with the help of entire chains of verbs, adjectives, adverbs:

Intoxicatingly, vociferously, festively,

Colorful, red all around!

…………………………………………

He makes noise, sings, swears,

Swaying, lying around,

Fights and kisses

People are celebrating!

Generalized portraits are created:

The guys' pants are corduroy,

Striped vests,

Shirts of all colors;

The women are wearing red dresses,

The girls have braids with ribbons,

They float with winches.

Nameless dialogues are heard, individual figures are picked out. But in this mass there are persons who, according to Nekrasov, should be specially highlighted, and then detailed stories about individual characters appear.

!!! Prepare oral reports about Yakima Nagy and Ermil Girin.

How do they stand out from the peasant masses, how are they inextricably linked with them? How are their images related to the search for truth and happiness? Do you agree with K.I. Chukovsky’s statement that Yakim’s appearance is “not individual, but, so to speak, common to the peasants”?

14. “People of servile rank” and “people's intercessors.” Grisha Dobrosklonov.

"People of servile rank"

!!! Create a characterization of the image of Grisha Dobrosklonov based on this article.

G Risha Dobrosklonov is fundamentally different from the other characters in the poem. If the life of the peasant woman Matryona Timofeevna, Yakim Nagogo, Savely, Ermil Girin and many others is shown in submission to fate and prevailing circumstances, then Grisha has a completely different attitude to life. The poem shows Grisha's childhood and tells about his father and mother. His life was more than hard, his father was lazy and poor:

Poorer than seedy

The last peasant

Tryphon lived.

Two closets:

One with a smoking stove,

Another fathom- summer,

AND everything here is short-lived;

No cow, no horse,

There was a dog Itchy,

There was a cat- and they left.

This was Grisha’s father; he cared least of all about what his wife and children ate.

The sexton boasted about his children,

And what do they eat -

And I forgot to think.

He himself was always hungry,

Everything was spent on searching,

Where to drink, where to eat.

Grisha's mother died early, she was destroyed by constant sorrows and worries about her daily bread. The poem contains a song that tells about the fate of this poor woman. The song cannot leave any reader indifferent, because it is evidence of enormous, inescapable human grief. The lyrics of the song are very simple, they tell how a child suffering from hunger asks his mother for a piece of bread and salt. But salt is too expensive for poor people to buy it. And the mother, in order to feed her son, waters a piece of bread with her tears. Grisha remembered this song from childhood. She made him remember his unfortunate mother, grieve over her fate.

And soon in the boy's heart

WITH love for the poor mother

Love for all the wahlacina

Merged- and about fifteen years old

Gregory already knew for sure

What will live for happiness

A wretched and dark Good Corner.

Gregory does not agree to submit to fate and lead the same sad and wretched life that is typical of most people around him. Grisha chooses a different path for himself and becomes a people's intercessor. He is not afraid that his life will not be easy.

Fate had in store for him

The path is glorious, the name is loud

People's Defender,

Consumption and Siberia.

Since childhood, Grisha lived among wretched, unhappy, despised and helpless people. He absorbed all the people's troubles with his mother's milk, so he does not want and cannot live for the sake of his selfish interests. He is very smart and has a strong character. And it leads him onto a new path, does not allow him to remain indifferent to the people’s disasters. Gregory's reflections on the fate of the people testify to the liveliest compassion that makes Grisha choose such a difficult path for himself. In the soul of Grisha Dobro-slonov, the confidence is gradually maturing that his homeland will not perish, despite all the suffering and sorrows that befell it:

In moments of despondency, O Motherland!

My thoughts fly forward.

You are still destined to suffer a lot,

But you won't die, I know.

Gregory’s reflections, which “poured out in song,” reveal him to be a very literate and educated person. He is well aware of the political problems of Russia, and the fate of the common people is inseparable from these problems and difficulties. Historically, Russia “was a deeply unhappy country, depressed, slavishly lawless.” The shameful seal of serfdom turned the common people into powerless creatures, and all the problems caused by this cannot be discounted. The consequences of the Tatar-Mongol yoke also had a significant impact on the formation of national character. The Russian man combines slavish submission to fate, and this is the main cause of all his troubles.

The image of Grigory Dobrosklonov is closely connected with revolutionary democratic ideas that began to appear in society in the middle of the 19th century. Nekrasov created his hero, focusing on the fate of N.A. Dobrolyubov. Grigory Dobrosklonov is a type of commoner revolutionary. He was born into the family of a poor sexton, and from childhood he felt all the disasters characteristic of the life of the common people. Grigory received an education, and besides, being an intelligent and enthusiastic person, he cannot remain indifferent to the current situation in the country. Grigory understands perfectly well that for Russia there is now only one way out - radical changes in the social system. The common people can no longer be the same dumb community of slaves that meekly tolerates all the antics of their masters:

Enough! Finished with past settlement,

The settlement with the master has been completed!

The Russian people are gathering strength

And learns to be a citizen.

The image of Grigory Dobrosklonov in Nekrasov’s poem “Who Lives Well in Russia” inspires hope in the moral and political revival of Russia, in changes in the consciousness of the ordinary Russian people.

The ending of the poem shows that people's happiness is possible. And even if it is still far from the moment when an ordinary person can call himself happy. But time will pass and everything will change. And not the least role in this will be played by Grigory Dobrosklonov and his ideas.

15. Image of Savely, “the hero of the Holy Russian.” The fate of Matryona Timofeevna, the meaning of her “woman's parable”.

Read the text about Savely, highlight his character traits.

The reader recognizes one of the main characters of Nekrasov’s poem “Who Lives Well in Rus',” Savely, when he is already an old man who has lived a long and difficult life. The poet paints a colorful portrait of this amazing old man with a huge gray mane,

Tea, twenty years uncut,

With a huge beard

Grandfather looked like a bear

Especially, like from the forest,

He bent over and went out.

Savely's life turned out to be very difficult; fate did not spoil him. In his old age, Savely lived with the family of his son, Matryona Timofeevna’s father-in-law. It is noteworthy that grandfather Savely does not like his family. Obviously, all members of the household do not have the best qualities, but the honest and sincere old man feels this very well. In his own family, Savely is called a branded convict. And he himself, not at all offended by this, says: “Branded, but not a slave.” It’s interesting to watch how Savely is not averse to making fun of his family members, and when they really annoy him, they make fun of him:

- Look at this

Matchmakers are coming to us! Unmarried

Cinderella to the window

but instead of matchmakers there are beggars!

From a tin button

Grandfather sculpted a two-kopeck coin,

Tossed up on the floor

Father-in-law got caught!

Not drunk from the pub

The beaten man trudged in!

What does this relationship between the old man and his family indicate? First of all, it is striking that Savely differs both from his son and from all his relatives. His son does not possess any exceptional qualities, does not disdain drunkenness, and is almost completely devoid of kindness and nobility. And Savely, on the contrary, is kind, smart, and outstanding. He shuns his household; apparently, he is disgusted by the pettiness, envy, and malice characteristic of his relatives. Old man Savely is the only one in his husband’s family who was kind to Matryona. The old man does not hide all the hardships that befell him:

Eh, the share of Holy Russian

Homemade hero!

He's been bullied all his life.

Time will change its mind

About death the torments of hell

They are waiting for that bright life.

Old man Savely is very freedom-loving. It combines qualities such as physical and mental strength. Savely is a real Russian hero who does not recognize any pressure on himself. In his youth, Savely had remarkable strength; no one could compete with him. In addition, life was different before, the peasants were not burdened with the difficult responsibility of paying dues and working off corvée. As Savely himself says:

We did not rule the corvee,

We didn't pay rent

And so, when it comes to reason,

We'll send you once every three years.

In such circumstances, the character of young Savely was strengthened. No one put pressure on her, no one made her feel like a slave. Moreover, nature itself was on the side of the peasants

There are dense forests all around,

There are swampy swamps all around,

No horse can come to us,

Can't go on foot!

Nature itself protected the peasants from the invasion of the master, the police and other troublemakers. Therefore, the peasants could live and work peacefully, without feeling someone else’s power over them. When reading these lines, fairy-tale motifs come to mind, because in fairy tales and legends people were absolutely free, they were in charge of their own lives. An old man talks about how peasants dealt with bears

We were only worried

Bears... yes with bears

We managed it easily.

With a knife and a spear

I myself am scarier than the elk,

Along protected paths

“I’m coming, my forest!” I shout.

Savely, like a real fairy-tale hero, lays claim to the forest surrounding him. It is the forest with its untrodden paths and mighty trees that is the real element of the hero Savely. In the forest, the hero is not afraid of anything; he is the real master of the silent kingdom around him. That is why in old age he leaves his family and goes into the forest. The unity of the hero Saveliy and the nature surrounding him seems undeniable. Nature helps Savely become stronger. Even in old age, when years and adversity have bent the old man’s back, remarkable strength is still felt in him. Savely tells how in his youth his fellow villagers managed to deceive the master and hide their existing wealth from him. And even though they had to endure a lot for this, no one could blame people for cowardice and lack of will. The peasants were able to convince the landowners of their absolute poverty, so they managed to avoid complete ruin and enslavement.

Savely is a very proud person. This is felt in everything in his attitude to life, in his steadfastness and courage with which he defends his own. When he talks about his youth, he remembers how only people weak in spirit surrendered to the master. Of course, he himself was not one of those people:

Shalashnikov tore excellently,

And I received not so much great income

Weak people gave up

And the strong for the patrimony

They stood well.

I also endured

I kept quiet and thought

Whatever you do, son of a dog,

But you can’t knock out your whole soul,

Leave something behind!

Old man Savely bitterly says that now there is practically no self-respect left in people. Now cowardice, animal fear for oneself and one’s well-being and lack of desire to fight prevail.

These were proud people!

Now give me a slap

Police officer, landowner

They're taking their last penny!

Savely's young years were spent in an atmosphere of freedom. But peasant freedom did not last long. The master died, and his heir sent a German, who at first behaved quietly and unnoticed. The German gradually became friends with the entire local population and gradually observed peasant life. Gradually he gained the trust of the peasants and ordered them to drain the swamp, then cut down the forest. In a word, the peasants came to their senses only when a magnificent road appeared along which their godforsaken place could be easily reached. Free life is over, now the peasants have fully felt all the hardships of a forced existence. Old man Savely speaks about people's long-suffering, explaining it by the courage and spiritual strength of people. Only truly strong and courageous people can be so patient as to endure such bullying, and so generous as not to forgive such an attitude towards themselves.

That's why we endured

That we are heroes.

This is Russian heroism.

Do you think, Matryonushka,

Isn't the guy a hero?

Nekrasov finds amazing comparisons when talking about people's patience and courage. He uses folk epic when talking about heroes:

Hands are twisted in chains,

Feet forged with iron,

Back...dense forests

We walked along it and broke down.

And the chest of Elijah the prophet

It rattles and rolls around

On a chariot of fire...

The hero endures everything!

Old man Savely tells how the peasants endured the arbitrariness of the German manager for eighteen years. Their whole life was now at the mercy of this cruel man. People had to work tirelessly. And the manager was always dissatisfied with the results of the work and demanded more. Constant bullying from the Germans causes strong indignation in the souls of the peasants. And one day another round of bullying forced people to commit a crime. They kill the German manager. When reading these lines, the thought of supreme justice comes to mind. The peasants had already felt completely powerless and weak-willed. Everything they held dear was taken from them. But you can’t mock a person with complete impunity. Sooner or later you will have to pay for your actions.

But, of course, the murder of the manager did not go unpunished

Bui-city, There I learned to read and write,

So far they have decided on us.

The decision came out hard labor

And whip first...

The life of Savely, the Holy Russian hero, after hard labor was very difficult. He spent twenty years in captivity, only to be released closer to old age. Savely's whole life is very tragic, and in his old age he turns out to be the unwitting culprit in the death of his little grandson. This incident once again proves that, despite all his strength, Savely cannot withstand hostile circumstances. He is just a toy in the hands of fate.

Matryona Timofeevna

Match the quotes to the points in the table according to the example.

Answer the test questions.

1. Which of the peasants, the heroes of the poem, can be called truth-seekers, and which – serfs?

Savely the hero, Yakov, Matryona Timofeevna, Egorka Shutov, Ermila Girin, Ipat, headman Gleb.

2. Which of the heroes of the poem could say about themselves “branded, but not a slave”?

A. Yakim Nagoy B. Yakov Verny V. Ermil Girin G. Savely

16. The problem of happiness and the meaning of life in the poem.

Seven men from six villages (some mistakenly believe that Neelovo and Neurozhaika are different villages, although these are the names of the same village) “agreed and argued: Who lives a fun, free life in Rus'?” Already in the first lines the main problem of the poem is stated - the problem of happiness. A problem that inevitably entails another: what is happiness?

For men who argue, happiness is living “fun and at ease.” At ease means freely, independently. “Fun” in popular speech is a synonym for the word “carefree.” Happiness in the understanding of men is close to the folklore happiness of Ivan the Fool, to the happiness of Emelya, who lives “at the behest of the pike.” So V. Dahl’s dictionary of folk speech confirms: Happiness- prosperity, well-being, earthly bliss, desired daily life, without grief, unrest, anxiety; peace and contentment." Moreover, in the folk tradition, happiness is opposed to the mind: “There is happiness everywhere for a fool”; “God gives happiness to the stupid, but God gives happiness to the smart.” Based on this understanding of happiness, the men themselves determine the “program” of their search: landowner, official, priest, merchant, nobleman, minister, tsar. Nekrasov managed to show the meeting of the men with the priest and the landowner.

The first meeting with the supposed bearer of happiness occurs in Chapter 1 of the first part of “Pop”. The village priest confirms the peasant understanding of happiness, but introduces one important nuance into it:

“What do you think is happiness?

Peace, wealth, honor,

Isn’t that right, dear friends?”

They said: so...

“Honor” in popular speech is respect from others. It is no coincidence that Nekrasov portrays a rural priest who knows the life of peasants firsthand, enduring hardships and misfortunes with them, sincerely sympathizing with them:

Our villages are poor,

And the peasants in them are sick

Yes, women are sad,

Nurses, drinkers,

Slaves, pilgrims

And eternal workers

Lord, give them strength!

With so much work for pennies

Life is hard!

Woman's happiness.

Regardless of what the intention of the poem was, its center is part "Peasant woman" In a folk epic, an entire part is devoted to one character! Desperate to find a happy man among men, our wanderers go to Matryona Timofeevna Korchagina:

The rumor goes all over the world,

What are you at ease, happily

Are you living... Say it in a divine way,

What is your happiness?

And the entire chapter is a response-confession of a peasant woman, in whom the men saw a happy person: in the eyes of others, she lives in relative prosperity (“wealth”), her way of life is settled (“peace”), she is respected - it’s not for nothing that she was nicknamed “ governor's wife" ("honor").

,

17. K. Khetagurov. Poems from the collection “Ossetian Lyre”. Khetagurov's poetry and folklore. The closeness of his work to the lyrics of Nekrasov. An image of the difficult life of ordinary people, women's fate. The specificity of artistic imagery in the Russian-language works of the poet.

“I have never traded my word, never for one of my

line I didn’t receive money from anyone. And I am not writing to write and

publish, because many people do it.

No! I don’t need the laurels of such writing, nor do I benefit from it.

I write what I can no longer contain in my illness

heart...".

K. KHETAGUROV

Khetagurov Kosta (Konstantin) Levanovich(printed under and Menem Costa), Ossetian poet, public figure, revolutionary democrat.

The founder of Ossetian literature. He grew up in a mountain peasant family. In 1881-85 he was a student at the St. Petersburg Academy of Arts, which he did not graduate due to his difficult financial situation. In 1885-91 he lived in Vladikavkaz, where he conducted mainly educational activities; for journalistic speeches he was expelled from the Terek region for 5 years. Since February 1893, as an employee of the newspaper “North Caucasus” (Stavropol), he led an ideological and political struggle against the tsarist administration in the Caucasus. In 1902 - in Vladikavkaz. In 1903 he became seriously ill and could not return to social and creative activities.

Kh. wrote poems, stories, plays, and articles in Ossetian and Russian. In the Caucasus and Russia he was known primarily as a publicist, in Ossetia - as a poet. Due to the lack of periodicals in the Ossetian language, Kh. spoke exclusively in the Russian press. His journalism brought him fame as an incorruptible defender of the mountain peoples of the Caucasus, a fighter against poverty, political lawlessness of the mountain people, administrative violence, cultivation of darkness, ignorance and national hatred. His most significant articles “Vladikavkaz Letters” (1896), "On the Eve" (1897), "Vital Issues" (1901) and others. Continuing the traditions of Russian revolutionary democrats, Kh., in essence, was a champion of the international unity of the equal peoples of Russia. H.'s poetic heritage is extensive: lyrical poems, romantic and satirical poems, fables, poems for children, folk legends and parables to original artistic interpretation. Poems and poems written in Russian ("Poems") published as a separate publication in 1895 in Stavropol. But all the power and charm of Kh.’s poetic talent can be felt in the works

written in their native language, included in the collection "Ossetian lyre" (1839). The center of Kh.'s poetic world is the question of the historical fate of his native people. Poems are dedicated to this topic "Fatima" (1889), "Before Judgment" (1893), "Weeping Rock" (1894) and an extensive ethnographic sketch "The Person" (1894). The Future and Freedom are X's favorite poetic categories. He was a singer of the poor. In his poetry, the idea of ​​popular poverty, the lack of rights of the people is constantly present. satirical poem “Who Lives Fun” (1893) dedicated to the journalistic denunciation of the “robbers of public poverty.” During the years of Soviet power, Kh.'s creative heritage received all-Union recognition, his works were translated into almost all the languages ​​of the peoples of the USSR and into many European languages. Kh. was also the first Ossetian painter.

A follower of Russian artists of the democratic trend, Kh. with great sympathy showed in his genre paintings the life of the common people, painted portraits and landscapes of the Caucasus.

In 1939, a house-museum of Kh. was organized in Ordzhonikidze; in 1955 it was installed there for the writer (sculptor S. D. Tavasiev, architect I. G. Gainutdinov).

“ ago,” in those years when the voices of Dobrolyubov, Nekrasov, Chernyshevsky, Lermontov boldly sounded, since in real life he feels not only his own powerlessness, but that of his entire generation.

But what Kosta and Nadson have in common is that they had a negative attitude towards the world of the well-fed, expressed their protest against the oppression of the people, their lack of rights and poverty; They are also unanimous in their opinion that it is impossible to express in words the fullness of the feelings experienced by a person.

Continuing the Nekrasov traditions of love for the working people, democratic poets, like Khetagurov, opposed the powerless position of women, their plight; their ideas about the role of the poet, whose duty to faithfully serve the homeland and the cause of the liberation of the people, are also in tune.

Let him not know

Peace creator!

Dear family,

Mourn my end.

I'm weak, unknown

In my native land...

Father, oh if only

I want your valor!

Rejected now

With everyone in the village,

In sadness, in despondency

At meetings I am silent:

I stand, withered

From thoughts and worries.

Junior to battle

Doesn't follow me.

Beyond my borders with blood

I don’t cry for mine -

Slave shackles,

I drag myself ingloriously.

18. RR Essay on the topic “Poetry of the second half of the 19th century.”
Essay topics:

Poem by N.A. Nekrasov “Elegy” (“Let changing fashion tell us…”). (Perception, interpretation, evaluation). Poem by F.I. Tyutchev “K.B.” (“I met you – and everything that happened…”). (Perception, interpretation, evaluation). “Inspiration and faith in the power of inspiration, a deep understanding of the beauties of nature, the awareness that the prose of life seems to be prose only for eyes not enlightened by poetry - these are the characteristics of Mr. Fet...” (A.V. Druzhinin). The originality of Nekrasov's civil lyrics. Images of people's intercessors in Nekrasov's poem “Who Lives Well in Rus'.” The theme of love in Nekrasov's lyrics. The theme of people's suffering in Nekrasov's poetry. Pictures of folk life in Nekrasov’s poem “Who Lives Well in Rus'.” Poem by F.I. Tyutchev “These poor villages...”. (Perception, interpretation, evaluation). The theme of love in Tyutchev's lyrics. How do the heroes of Nekrasov’s poem “Who Lives Well in Rus'” imagine happiness? “Tyutchev wrote little; but everything he wrote bears the stamp of true and wonderful talent, often original, always graceful, full of thought and genuine feeling” (N.A. Nekrasov). The theme of love in Fet's lyrics. Poem by F.I. Tyutchev “Silentium”. (Perception, interpretation, evaluation). A satirical depiction of landowners in Nekrasov’s poem “Who Lives Well in Rus'.” Images of people's intercessors in Nekrasov's poem “Who Lives Well in Rus'.” The theme of the female share in Nekrasov’s poem “Who Lives Well in Rus'.”

Many of the talented Russian lyricists (F.I. Tyutchev, A.A. Fet, N.A. Nekrasov, A.K. Tolstoy, A.N. Maikov) began their journey in the late 1830s - early 1840s . It was a time very unfavorable for lyricists and for poetry. After the death of Pushkin and Lermontov, argued A.I. Herzen, “Russian poetry has gone numb.” The muteness of Russian poetry was explained by various reasons. The main one was the one that V.G. spoke about. Belinsky in the article “A Look at Russian Literature of 1843”: “After Pushkin and Lermontov, it is difficult to be not only wonderful, but also some kind of poet.” Another circumstance also played an important role: prose captures the minds of readers. Readers were waiting for stories and novels, and magazine editors, responding to the “trend” of the era, willingly provided pages of prose, almost not publishing lyric poems.

In the 1850s poets, it would seem, have overcome the indifference of readers. It was in this decade that the first collection of F.I. was published. Tyutchev, who attracted everyone's attention: readers finally recognized the brilliant poet, who began his creative career back in the 1820s. Two years later, in 1856, a collection of Nekrasov’s poems was published, which sold out almost instantly. But interest in the poetic word soon fades, and new books by A.K. Tolstoy, A.N. Maykova, Ya.P. Polonsky, F.I. Tyutcheva, A.A. Fet attracts the attention of only critics and a few poetry lovers.

Meanwhile, Russian poetry of the second half of the 19th century lived a very tense life. The uniqueness of aesthetic positions, a special understanding of the purpose of the poet and poetry separate Russian lyricists into different “camps” (according to A.K. Tolstoy). This is “civic poetry,” the purpose of which is “to remind the crowd that the people are in poverty” (N.A. Nekrasov), and “pure poetry,” designed to glorify the “ideal side” of existence. The “pure” lyricists included F. Tyutcheva, A. Fet, Ap. Maykova, A.K. Tolstoy, J. Polonsky, Ap. Grigorieva. Civil poetry was presented by Nekrasov. Endless discussions between supporters of the two “stans”, mutual accusations of pseudo-poeticism or indifference to the life of society explain a lot in the atmosphere of the era. But, defending the correctness of only their aesthetic ideas, poets from different “countries” often turned out to be close in their poetic vision of the world, close in the values ​​that they sang. The work of every talented poet served one high goal - the establishment of the ideal of beauty, goodness and truth. All of them, to use Nekrasov’s expression, “preached love,” understanding it differently, but equally seeing in it the highest purpose of man. In addition, the work of every true poet, of course, could not fit into the Procrustean bed of straightforward schemes. So, A.K. Tolstoy, who declared that he belonged to the poets of “pure” art, was able to speak very sharply about the problems of contemporary life in his epics, epigrams and satirical poems. ON THE. Nekrasov - deeply and subtly reflected the “inner, mysterious movements of the soul,” which supporters of “pure” art considered one of the main subjects of poetry.

Although the poets of the second half of the 19th century could not overcome the indifference of readers to the lyrics and make them wait tensely for their poetry collections (as they waited, for example, for the new novels of I. Turgenev, I. Goncharov, F. Dostoevsky, L. Tolstoy), however, they made people sing your poems. Already in the 1860s. M.E. Saltykov-Shchedrin said that Fet’s romances “are sung by almost all of Russia.” But Russia sang not only Feta. The amazing musicality of the works of Russian lyricists attracted the attention of outstanding composers: P.I. Tchaikovsky, N.A. Rimsky-Korsakov, M.P. Mussorgsky, S.I. Taneyeva, S.V. Rachmaninov, who created musical masterpieces that were remembered and loved by Russian people. Among the most famous and popular are “Song of the Gypsy” (“My fire shines in the fog”), “Recluse”, “Challenge” by Y.P. Polonsky, “Oh, at least talk to me,” “Two guitars, ringing...” A. Grigorieva, “Among the noisy ball,” “That was in early spring...” A.K. Tolstoy, “Peddlers” by N.A. Nekrasov and many, many other poems by Russian poets of the second half of the 19th century.

Time, having erased the severity of debates about the purpose of a poet and poetry, has discovered that for subsequent generations both “pure” lyricists and “civil” poets are equally significant. Reading their works now, we understand: those images that seemed “lyrical audacity” to contemporaries are the gradual but clear emergence of poetic ideas that prepare the flowering of Russian lyricism of the Silver Age. One of these ideas is the dream of “ascending” love, love that transforms both man and the world. But no less significant for the poets of the Silver Age was Nekrasov’s tradition - his “cry,” in the words of K. Balmont, a cry that “there are prisons and hospitals, attics and basements,” that “at this very moment when you and I we breathe, there are people who are suffocating.” An acute awareness of the imperfection of the world, Nekrasov’s “hostile word of denial” were organically combined in the lyrics of V. Bryusov and F. Sologub, A. Blok and A. Bely with a longing for the Unspeakable, for the ideal, giving rise not to the desire to escape from the imperfect world, but to transform it according to Ideal.

Russian poets of the second half of the 19th century in art

Speaking about Russian art of the 19th century, experts often call it literary-centric. And indeed, Russian literature largely determined the themes and problems, the general dynamics of the development of both music and the visual arts of its time. Therefore, many paintings by Russian painters seem to be illustrations for novels and stories, and musical works are based on detailed literary programs.

This was also reflected in the fact that all outstanding literary critics began to evaluate both musical and pictorial works and formulate their requirements for them.

This, of course, primarily applies to prose, but poetry of the 19th century also had a strong influence on the development of national art. Whether this is good or bad is another question, but for a full study of Russian poetry and its integration into the general context of Russian art, it is undoubtedly very convenient.

Thus, the main genres of Russian musical art of the 19th century were romance and opera - vocal works based on poetic text.

Painting, in turn, most often depicted pictures of Russian nature at different times of the year, which directly corresponds with the natural lyrics of Russian poets of different directions. No less popular were everyday subjects “from people’s life”, which also clearly resonated with the poetry of the democratic movement. However, this is so obvious that it does not need proof.

Therefore, the simplest move is to illustrate the poems being studied by listening to romances based on their words and demonstrating reproductions. In this case, it is best if the poems of one poet accompany the romances of one composer and the paintings of one painter. This will allow, along with studying the work of each poet, to gain additional insight into two more masters of Russian culture, which is impossible to do when using illustrations from many authors. Thus, to the poetry of F. Glinka one can choose the graphics and paintings of F. Tolstoy and the romances of Verstovsky or Napravnik, in the poetry of Polonsky - choruses to his poems by S. Taneyev and landscape paintings of Savrasov, etc.

Those who would like to understand the relationship between poetry and fine art in more detail should turn to the books by V. Alfonsov “Words and Colors” (M.; Leningrad, 1966) and K. Pigarev “Russian Literature and Fine Art” (M., Leningrad, 1966). 1972), articles in the collections “Interaction and Synthesis of Arts” (L., 1978), “Literature and Painting” (L., 1982).

It is very good if the students themselves can be involved in the work of selecting music and reproductions: this will teach them to independently navigate the world of art and be creative in its interpretation. Even in cases where the choice of students does not seem entirely successful to the teacher, it is worth bringing it to the judgment of the class collective and jointly deciding what is not entirely accurate in this choice and why. In this way, lessons and extracurricular activities in literature can become a genuine introduction to national Russian culture as a whole.

One cannot ignore such an area of ​​direct contact between the arts as the portraiture of poets by contemporary artists. It is artistic image versions that make it possible to capture the personality of writers in their aesthetic, artistic form, which is valuable in itself for real portrait painters. D. Merezhkovsky brilliantly demonstrates in his note about Fofanov how a masterful portrait can become a starting point for understanding creativity. Therefore, we can recommend that the teacher use in his work portraits of Russian poets, reproduced in volumes of the “Poet's Libraries” series: A. Koltsov by K. Gorbunov (1838), K. Pavlova and A. Khomyakov by E. Dmitriev-Mamonov, portraits by little-known graphic artists and painters, friendly cartoons of contemporaries.

Photographic portraits of poets, illustrations for their works, and autographs can also be no less interesting and practically useful. These materials are usually reproduced to the extent necessary for the work in editions of the "Poet's Library", collected works and editions of selected works of poets, a description of which is given at the end of this publication.

Below is an abbreviated article by V. Gusev about Russian romance; We also recommend that you refer to the book by V. Vasina-Grossman “Music and the Poetic Word” (M., 1972), the collection of articles “Poetry and Music” (M., 1993) and the recent article by M. Petrovsky “Ride to the Island of Love” or What is Russian Romance" (Questions of Literature. 1984. No. 5), as well as the invaluable in a practical sense reference book "Russian Poetry in Russian Music" (M., 1966), which lists almost all vocal works based on poems by Russian poets of the 19th century , grouped by text authors, indicating the corresponding musical editions.

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St. Petersburg in the second half of the 19th century ONE OF THE MOST SIGNIFICANT events in the economic, economic, and political life of Russia in the mid-19th century was the construction of the railway between St. Petersburg and Moscow. The road was in the full sense of the word straight, or

The Pushkin era became a high century in Russian poetry. After the life of Lermontov and Pushkin suddenly died out in the first half of the 19th century, poetry, as part of the literary process, experienced a peculiar period of stagnation.

Development of poetry in the second half of the 19th century

The poems that were created by Russian authors in the 50s were subject to sharp criticism - they were all compared with the legacy of Alexander Sergeevich, and, according to many critics, they were much “weaker” than them. During this period, poetry began to gradually supplant prose. Such talented prose writers as Tolstoy, Turgenev and Dostoevsky appeared in the literary field. It should be noted that it was Tolstoy who was one of the most categorical critics of the new Russian poets: he ignored the work of Tyutchev, and openly called Polonsky, Maykov and Fet “mediocrities.”

Maybe Lev Nikolaevich really was right, and we shouldn’t perceive the poetry of the post-Pushkin era as a literary heritage? Then why do many of us associate the 19th century not only with the works of Lermontov and Pushkin, but also with the brilliant poems of Fet, Nekrasov, Pleshcheev, Koltsov, Polonsky, A. Tolstoy?

Moreover, if we consider Russian poetry from such a radical position, then the silversmith poets - Akhmatova, Blok, Bely, Mayakovsky, Tsvetaeva - automatically fall into the category of “mediocrities” who have not reached the level of Pushkin. Therefore, we see that such an opinion is devoid of all logical foundations, and it is categorically impossible to be guided by it.

Nekrasov's creativity

In the second half of the 19th century, Russian poetry began to actively recover, despite active opposition. The work of N. A. Nekrasov became the pinnacle of Russian poetry of the second half of the 19th century. In his poems and poems, he raised sensitive topics at that time concerning the painful life of the ordinary Russian people. Through literary techniques actively involved in his works, Nekrasov tried to convey to the upper strata the concept of the greatness of a simple peasant, deprived of material wealth, but who managed to preserve true human values.

The poet perceived his literary activity primarily as his civic duty, which consisted of serving his people and his homeland. Nekrasov, known for his publishing activities, became a father-mentor to aspiring poets of that time and gave them an impetus for further realization.

Creativity of Fet, Tyutchev, Pleshcheev, Polonsky

Poetic lyrics occupied a special place in the literature of that time. The poems of Fet, Tyutchev, Maikov, Pleshcheev, Polonsky, Koltsov, Nikitin were filled with admiration for the greatness of nature, its power and at the same time vulnerability. A striking example is Tyutchev’s poem “I Love a Thunderstorm in Early May,” which the reader will always associate with the magic and enchantment of ordinary natural phenomena that capture the human spirit.

The works of these poets, despite their lyrical content, were not devoid of a civic position. This was especially clearly observed in the work of A.K. Tolstoy, the author of many historical ballads and satirical poems, which ridiculed the monarchical regime and the very concept of royal power in Rus'.

Russian poetry of the 19th century experienced at least three genuine upsurges in its development. The first, relatively speaking, dates back to the beginning of the century and is blessed with the name of Pushkin. Another long-recognized poetic rise occurs at the turn of two centuries - the nineteenth and twentieth - and is associated primarily with the work of Alexander Blok. Finally, the third, as a modern researcher puts it, “poetic era” is the mid-19th century, the 60s, although it is in poetry that the so-called “sixties” shift chronologically more noticeably to the early 50s.

Russian poetry after Pushkin carried opposing principles and expressed the increased complexity and contradictory nature of life. Two directions are clearly emerging and polarizing: democratic and the so-called "pure art" When we talk about two poetic camps, we need to keep in mind the great diversity and complexity of relations both within each of the camps and in the relations between them, especially if we take into account the evolution of social and literary life. “Pure” poets wrote civil poetry: from liberal-accusatory (Ya. Polonsky) to reactionary-protective (A.P. Maikov). Democratic poets experienced a certain (and also positive) influence from the poets of “pure art”: Nikitin, for example, in his poetry of nature. The flourishing of satirical poetry is mainly associated with the democratic movement. Nevertheless, “pure art” put forward a number of major satirical talents: P. Shcherbina and especially A.K. Tolstoy, who wrote many satirical works - both independently and as part of the collective authorship that created the famous Kozma Prutkov. And yet, in general, there is a fairly clear divide between poetic movements. The confrontation and confrontation between these two trends often manifested an intensified social struggle. The poles could perhaps be designated by two names: Nekrasov and Fet. “Both poets began to write almost simultaneously,” the criticism stated, “both experienced the same phases of social life, both made a name for themselves in Russian literature... both, finally, are distinguished by far from ordinary talent, - and for all that in poetic there is almost not a single common point in the activities of each of them.”

More often under Nekrasov school- and here we are talking about just such a school - they mean the poets of the 50s - 70s, ideologically and artistically closest to him, who experienced the direct influence of one great poet, even organizationally united in essence due to the fact that the majority Of these, it was grouped around a few democratic publications: Nekrasov’s Sovremennik, Russkoe Slovo, Iskra.

An absolutely exceptional place in the depiction of folk life was occupied by the largest and most talented representative of the Nekrasov school - Ivan Savvich Nikitin (1824 - 1861). His best works represent independent and original creativity in the spirit of the Nekrasov school.

In Russian poetry of the second half of the 19th century, the development of folk life, primarily peasant life, took place almost exclusively within the framework of the Nekrasov direction.

In the lyrics of the Nekrasov poets we find a new hero - a man of public service, civic duty.

The poetry of the 50s, especially in its second half, is also interesting as a kind of preparation for the epic. Even in the lyrics of this time, much of what was realized in the epic itself in the 60s was ripening. And not only in poetic, but also in prose epic. We are talking about the interaction and roll calls of lyrics and prose. In general, these interactions themselves become more complex. Poetry of the 40s was closely associated with the small prose genres of the story and especially the essay, for example in the poems of Nekrasov and Turgenev. This phenomenon also occurs in the 50s, both in the work of poets of the Nekrasov school (Nikitin) and in Polonsky Mey. At the same time, processes are observed in the lyrics that are approaching the complexity of psychologism and the organization of lyrical plots to the novel. This was especially clear in love poem cycles.

Revolutionary Populists create their own poetry, organically included in the literary movement of this decade. In the poetry of the 70s years In general, two directions still coexist: Nekrasov’s, civil and Fetov’s, the direction of “pure art,” the struggle between them has intensified significantly. The poetic declarations of each direction are deliberately emphasized and sharpened. At the same time, each of them revealed its own inconsistency. “Pure art” mobilizes its poetic internal capabilities to the maximum and at the same time exhausts them (A.A. Dret, A.N. Maikov, A.K. Tolstoy). Nekrasov's poetry, which affirms the high ideal of serving the people, at the same time experiences its own difficulties in combining civic pathos and psychologism. Among the poets grouped around the Iskra magazine, the humorous tone that prevailed in the 60s was replaced by a satirical beginning.

Possessing a certain specificity, populist poetry also touches on those aspects of the populist movement and consciousness that were almost not touched upon by the prose of the populists. It is characteristic that lyric poetry arises primarily among the Narodnaya Volya. “Going to the people,” as already noted, gave rise to propaganda literature; poetry in it was represented primarily by songs.

The activities of revolutionary populists are inseparable from poetry. Their poetry is, first of all, poetic journalism. They almost consciously contrast themselves with professional poets.

The internal content and main task of democratic poetry of the 70s is “the liberation and education of the people in the spirit of humanism and social justice.” This theme is leading in the works of A. P. Barykova, I. V. Fedorov Omulevsky, A. F. Ivanov-Classic, A. A. Olkhin, A. L. Borovikovsky, A.K. Sheller-Mikhailovsky and others. Democratic poets are characterized by a special attitude to the word. “In their work, the word became a civic act, a direct continuation of social activity. Word and concept, word and feeling are fused in the poetry of democrats; there is no confrontation between them, the result of which would be the birth of additional semantic and emotional shades. The dominant tendency here is to expose the fundamental, vital meaning of words.”

The lyrics of the revolutionary populists also have their own lyrical hero. He uniquely combined the consciousness of his tragic fate and the conviction that his suffering would be redeemed. This theme will be strengthened by the poetry of the 80s, primarily in the poems of prisoners of the Shlisselburg fortress: V.N. Figner, N. A. Morozova, G. A. Lopatina and others.

Poetry of the 80s and 90s occupies a very modest place in the literary process, although it is marked by some signs of a new upsurge.

The era still bears reflections of the bright poetic phenomena of previous decades. Thus, poetry, which served “pure beauty,” recalls itself in the work of A. Fet, who, after a short break, appears in print and publishes four issues of “Evening Lights” (1883 - 1891).

His lyrics are rich in free and strong feelings, appearing in infinitely varied shades - in this direction Fet deepens the “eternal” themes of art, almost without expanding their range. In his poetry, new content is obtained not so much through the new objectivity of the image, but through the boldly renewed form of the verse. It is Fet’s form, acquiring truly musical mobility and flexibility, that captures such combinations of moods, overflows of thoughts and feelings that were not known to Fet’s poetry.

Fet’s work is associated with a trend that directly leads to the formation of symbolist poetry. Objective-psychological motivations for the poetic image are increasingly being replaced by subjective-psychological and purely aesthetic motivations; Experiments with poetic form acquire independent artistic value. All this will soon be reflected in the poetic practice of K. D. Balmont, B.C. Solovyov, F. Sologub, in the declarations of N. M. Minsky, D. S. Merezhkovsky - the direct founders of Russian symbolism.

But here a qualitatively different stage in the development of poetry begins, which will fully take shape by the 900s. And in the 90s, Fetov’s lyrics, which continued the traditions of classical Russian poetry and brought them to their logical conclusion, with its sensual power and rich poetics, remained an isolated phenomenon.

For many poets of these years, the themes and images of democratic poetry of the 60s and 70s, especially the poetry of Nekrasov, retain their attractiveness. However, their interpretation turns out to be poorer, the artistic means of developing these themes are more meager, and the author’s voice is quieter and more monotonous.

Often in the poems of the 80s and 90s one can find echoes of Lermontov’s motives and moods - interest in his romantic lyrics, as well as in the work of Pushkin and in general in the poets of the first half of the century, increased noticeably at that time. But none of the poets managed to approach the heights of Lermontov’s poetry, combining merciless negation with a powerful love of life, energy and picturesqueness of verse with accuracy and depth of thought.

Feelings of disappointment, hopelessness, “civil grief”, spiritual breakdown do not know the outcome and create in poetry a general atmosphere of tragedy, a gloomy and “sick” time.