The problem of the purpose of poetry and the place of the poet in the world. Arguments on poetry The problem of proximity of the poetic word to the soul of the people
In his memoirs about Sergei Yesenin, M. Gorky cites the following question from the poet: “Do you think my poems are needed? And in general, is art, that is, poetry, needed? A question that every writer inevitably asks. Especially writing in Russia, where, according to the apt expression of E. Yevtushenko, a poet is always "more than a poet."
The problem of the purpose of poetry and the place of the poet in the world is a traditional theme of Russian poetry. We find it in the work of the poets of the 18th century - Kantemir, Lomonosov, Derzhavin. And every time poetry and art are given a place of honor in the life of society. Correcting public morals and being useful to the state - such was the task of the poet Antioch Cantemir. G.R. spoke about the immortality of his poetry. Derzhavin. Following the classicists, the romantics also highly valued poetry in human life, while emphasizing that art expresses universal values, attaches the human soul to God, to supermundane harmony. “Poetry is God in the holy dreams of the earth,” wrote V.A. Zhukovsky. Another line in Russian romanticism, connected with the poetry of the Decembrists, continued to emphasize the high civic, social significance of art - this is how this topic is revealed in the poem by K.F. Ryleev "Citizen". Thus, at the turn of the 18th-19th centuries, two traditions were laid in the understanding of art and poetry: social and civic and moral and aesthetic. These traditions sometimes fought among themselves, but more often merged together.
Searched here:
- the problem of poetry arguments
- the problem of the power of the poetic word
- the problem of the power of the poetic word arguments
A.S. Pushkin
The theme of creativity, the purpose of the poet and poetry occupies a leading place in the works of Pushkin. Your idea of the ideal image poet A.S.P. embodied in a poem Prophet". The poet gives his interpretation of the biblical story. Depicts spiritual transformation, the formation of a poet-prophet. Through painful transformations, the poet acquires wisdom, truth. For the word to be true, the poet must go through suffering. Poem "I erected a monument to myself..."- a poetic generalization by the poet himself of the meaning of his creativity, a poetic testament. The poem reveals the main features of A.S.P.'s poetry: nationality, humanism and love of freedom.
In a poem “On the hills of Georgia lies the darkness of the night…” love appears as a source of new experiences and inspirations. The impulse of love is consonant not so much with the tranquility of the night as the sound of the river. Poem "I remember a wonderful moment..." is a poetic autobiography. The meeting with the beloved woman helped the lyrical hero, whose image correlates with the author, to comprehend the beauty of life again and caused poetic inspiration. A.S.P. comes to understand love as the highest value of a person, capable of awakening inspiration and the best human feelings in a poet.
In a poem "I visited again..." sounds philosophical reflection on the meaning of life, about the connection of generations, about memory. The poet understands that the answer lies in the harmony of nature and time moves inexorably forward. He sums up his reflections on the meaning of life and at the same time speaks of the future, expresses his affirmation of life, its unchanging cycle.
S.A. Yesenin
elegy " I do not regret, do not call, do not cry…"- philosophical reflection on life and death, about the perishability of all things, farewell to youth. The image of the “pink horse” symbolizes unrealizable dreams of beauty. The poem also says gratitude theme that "came to flourish and die."
In a poem on theme of love“A blue fire was swept…” reality and a dream, ruined life and the possibility of renewal are contrasted. For the sake of love, the lyrical hero not only renounces the past, but is even ready to forget his native distances, to abandon his poetic vocation.
The theme of the fate of Russia, the theme of the motherland sounds in poetry “I am the last poet of the village…”, Goy you, Russia, my dear…” and others. Dialect words help create a special flavor and express love for the motherland nature. In the poem "Rus" the poet managed to express everything painfully dear, joyful and sad, with which the concept of the motherland, the Russian land, is connected for him. In a poem "The golden grove dissuaded ..." the state of nature reflects the state of mind of the lyrical hero. The poet creates a bright, colorful and multicolored natural world, filled with play of colors and exquisite shades. The lyrical hero of the poem admires "the wide moon over the blue pond", "the fire of the red mountain ash". He feels himself an integral part of nature.
A.A. Blok
Russia Theme- the main one in Blok's poetry. The image of Russia is multifaceted. Poem "Rus" it is read as a confession of a lyrical hero, his spiritual throwing. The secret of Russia is seen by the author in the living soul of the people. The attitude towards the motherland is expressed in a very peculiar way in the cycle "On the Kulikovo field”, which is dedicated to understanding the historical fate of Russia. And this fate is tragic. The swiftly racing steppe mare becomes its symbol. This is a symbolic perception of the unity of human life and the life of nature. The image of Russia is also intertwined with female images: "Oh, my Russia! My wife!" it highest degree unity of the lyrical hero with Russia. This cycle gives rise to faith in the bright future of the motherland.
Love in Blok's verses it acquires great significance, because with it a person has a feeling of true unity with the world. In a poem "Stranger"The image of a beautiful stranger inspires faith in the bright beginning of life, transforms the poet, his poems and thoughts change. The main literary device is the antithesis. In the first part - the dirt and vulgarity of the surrounding world, and in the second - a beautiful stranger. This is Blok's protest against cruelty. scary world, which turns all the highest and most valuable into a vulgar routine. beautiful lady in "Poems about the Beautiful Lady" - not only a symbol of ideal unity and harmony, she owns the secret of life balance, comprehension of the meaning of being. Message “About valor, about exploits, about glory…” has a ring composition: the first line repeats the last one. But the lyrical hero no longer thinks of valor or exploits, he is looking for at least tenderness, but does not find it either. This poem is about love. The hero experiences a passionate desire to return the love lost many years ago.
philosophical perception of life, the tragic attitude and the identification of personal fate with the fate of the motherland determine the character of the lyrical hero of Blok's poetry. In a poem "Night, street, lamp, pharmacy..." the world is devoid of harmony, music, it is insensitive, closed. The image of a gloomy street is philosophical metaphor of tragedy life. The feeling of the hopelessness of existence is enhanced by the ring composition. In the poem " The girl sang in the church choir ... " A. Blok reveals the world in all its inconsistency. On the one hand, the holiness of prayer and great sorrow. On the other hand, people are capable of such a cruel action as war.
A.A. Akhmatova
Patriotic theme, theme of the motherland (poem "Requiem") sounds in the lyrics of A.A., which forever connected her fate with the fate of her native land. “I am not with those who left the earth ...” - the author declares. The political protest against the expulsion of the color of the Russian intelligentsia is combined with the condemnation of those who voluntarily fled from Soviet Russia and accepting one's own lot. During the years of the Second World War, Akhmatova, feeling her life as part of the people's life, writes poems that reflect the spiritual mood of the fighting Russia: "... I was then with my people, Where my people, unfortunately, were..."
A.A. often referred to subject of poetic craft. In a cycle "Secrets of the Craft" the lyric heroine says: “If only you knew from what rubbish Poems grow, knowing no shame…” This is the animation of poetic creation, and some independence of the creative process from the will of the creator. And then unexpected and at the same time justified comparisons: Like a yellow dandelion near the fence, Like burdocks and quinoa. The main purpose of poetry, according to the author, is to give people the joy of contact with the creations of high art.
B.L. Pasternak
The theme of the poet and poetry touched upon in the poem "Hamlet", where the author presents himself in the image of Hamlet. Hamlet in the work is compared with Jesus Christ: their destinies are made regardless of their will, according to God's plan. This poem also contains the theme of loneliness, misunderstanding by people around and complex relationships of the individual with society.
M. Yu. Lermontov
Making sense of complex social and philosophical problems characteristic of Lermontov's poetry. The main idea of the poem "Thought» - reflections on the fate of generations. The author does not separate himself from his contemporaries, taking at his own expense the listed vices and losses. This testifies to the high responsibility of the poet to the present and future of his fatherland.
F.I. Tyutchev
The main theme in the poet's poetry is nature. This is a landscape-philosophical lyrics. Nature in Tyutchev's lyrics is animated, it is always in motion, often in a transitional state: between the seasons of the day, the seasons. In a poem "Even the earth looks sad..." the poet shows a barely perceptible border between winter and spring, between day and night. Rich sound writing (alliterations for hissing) creates a feeling of oscillating air, a light breeze.
N.A. Nekrasov poem "Railway"
The theme of the nature of the native land is closely intertwined with the theme of the motherland and the hard life of the people.
There is no ugliness in nature! And kochi
And moss swamps, and stumps -
All is well under the moonlight
Everywhere I recognize my dear Russia ...
4. "Bank" of arguments from fiction and journalistic literature
(author - G.T. Egoraeva, as well as from personal experience)
| The problem of the relationship between man and nature | In the novel by I.S. Turgenev “Fathers and Sons”, Nikolai Petrovich, the father of Arkady, after a dispute between Pavel Petrovich and Bazarov, is in a state of sad reflection and does not understand how one can not admire nature. The author describes in detail the summer evening, and we see and feel nature in the same way as N.P. feels it. The last page of the novel is a description of the village cemetery, Bazarov's parents and the main character's grave. This description contrasts the eternity of nature and the temporality social theories claiming eternity. |
| In the story of A.P. Chekhov “The Steppe” Yegorushka, struck by the beauty of the steppe, humanizes it and turns it into his double: it seems to him that the steppe space is capable of suffering, and rejoicing, and longing. His experiences and thoughts become not childishly serious, philosophical. | |
| The problem of human perception of nature. The problem of the influence of nature on man | In Leo Tolstoy's epic novel War and Peace, Natasha Rostova, admiring the beauty of the night in Otradnoye, is ready to fly like a bird: she is inspired by what she sees. In the scene of Natasha's nighttime conversation with Sonya, Natasha's happy poetic world is revealed, her ability to discover the beauty of the world for herself. Andrei Bolkonsky, during a trip to Otradnoye, saw an old oak, and the changes that subsequently occurred in the hero’s soul are associated with the beauty and grandeur of a mighty tree. |
| The problem of caring for nature | V. Rasputin in the story "Farewell to Matyora" touches on the theme of love for a small homeland. Resisting the construction of a power plant on the river, the villagers stand up to protect their homeland, village, history. Depicting the separation of the old people from Matera (both the island and the village), their pain and suffering, the author makes one think about such transformations in life that would not destroy the human in a person. The main character Daria Pinigina watches with pain the destruction of Matera. She, deeply attached to her native land, feeling one with nature, finds it difficult to endure farewell to Matera. Even nature strongly resists attempts to kill her: this year, meadows and fields bring abundant harvests, they are full of live sounds, birdsong. |
| Family problems The problem of the role of childhood in human life | In L.N. He anxiously takes care of the young French captive drummer. |
| The problem of the role of the family in the formation of personality | In the Rostov family in the epic novel by L.N. for real good people (Natasha persuades her father to give carts for the wounded, depriving the family of their acquired property; Nikolai and Petya participate in the war, Petya dies in a partisan detachment), and in the Kuragin family, where career and money decided everything, Helen and Anatole are immoral egoists who cause pain to other people. |
| The problem of the relationship between fathers and children The problem of "fathers and children" | In the story of N.V. Gogol "Taras Bulba", the main character Bulba raised his sons Ostap and Andriy as true defenders of the motherland, as valiant warriors. The father could not forgive Andriy, who fell in love with a Pole, betrayal, kills his son. Taras Bulba is proud of Ostap, who courageously fights in battle and steadfastly accepts the execution. For Taras, partnership turned out to be above all blood ties. |
| In the work of A.S. Pushkin " Captain's daughter"Father's instructions to "cherish honor from a young age" helped Petr Grinev, even in the most difficult moments of his life, to remain honest, true to himself and duty: both during the Pugachev rebellion, and during arrest and trial. | |
| Following the behest of his father "to save a penny", Chichikov, the hero of the poem N.V. Gogol's "Dead Souls", devoted his whole life to hoarding, turning into a man without shame and conscience, who fraudulently advances in the service, then buys up the dead souls of peasants. | |
| Family relationship problem | In the novel by I.S. Turgenev's "Fathers and Sons" depicts a difficult relationship in the family of the Kirsanovs and Bazarovs. The parents of E. Bazarov surrounded their son with such excessive love and care that he prefers to live and work on the Kirsanov estate, although he loves his parents. Arkady Kirsanov, imitating his friend Bazarov, at first moves away from his father, but eventually grows up and not only spiritually approaches his family, but also repeats the fate of his father: he marries, takes care of the estate. |
| The role of a teacher in a person's life | Teacher Lydia Mikhailovna, the heroine of the story V. Rasputin's "French Lessons" taught the hero not only the lessons of the French language, but also kindness, sympathy, the ability to feel someone else's pain. Extra work with the boy French, the teacher also tried to help him in life |
| In a parable de Saint-Exupery "The Little Prince" Old Fox taught the Little Prince to comprehend the wisdom of human relationships. To understand a person, one must learn to peer into him, to forgive minor shortcomings. After all, the most important thing is always hidden inside, and you can’t see it right away. | |
| Indifference of the adult world | The heroes of A. Pristavkin's story "A golden cloud spent the night" - Kuzmyonyshi - being in an orphanage, became victims of cruelty and indifference of adults. |
| The boy, the hero of the story by F.M. Dostoevsky's "Christ's Boy on the Christmas Tree", came with his mother to St. Petersburg, but after her death, on the eve of Christmas, no one needed it. Nobody even gave him a piece of bread. The child is cold, hungry and abandoned. | |
| The problem of development and preservation of the Russian language | In the book “Letters about the Good and the Beautiful”, D.S. Likhachev writes that it is necessary to learn a good, calm, intelligent speech for a long time and carefully, listening, remembering, noticing, reading and studying. Our speech is the most important part not only of our behavior, but also of our personality, our soul, mind, our ability not to succumb to the influences of the environment, if it is “dragging”. |
| In N.V. Gogol's poem "Dead Souls", the author, representing different types of landowners, shows their lack of education, bad manners, ignorance. If Manilov speaks beautiful phrases devoid of meaning, then Nozdryov's speech, on the contrary, is dominated by a reduced vocabulary of colloquial style. As a privileged, ruling class, the landlords must be educated, cultured people, but Gogol's landowners are united by lack of culture, lack of education, and indifference to the people. | |
| In A.S. Griboyedov’s comedy “Woe from Wit”, the speech of all the characters is the main means of characterization. Chatsky’s speech is especially aphoristic, accurate, as progressively thinking person(“I would be glad to serve, it’s sickening to serve”, “Who are the judges?”, “A mixture of languages: French with Nizhny Novgorod”), who complains about anti-national education, isolation from Russian soil. | |
| The problem of correlation between the name of a person and his inner essence | In comedy D.I. Fonvizin's "Undergrowth" many characters have "talking" surnames: Vralman, a former coachman, lied that he was a foreign teacher; the name Mitrofan means "like his mother", who is depicted in the comedy as a stupid ignoramus. Skotinin Taras - Mitrofan's uncle; he loves pigs very much and, in terms of the rudeness of his feelings, is like cattle, as the surname indicates. |
| Problems associated with negative personality traits. The problem of heartlessness, mental callousness | In the story of K.G. Paustovsky "Telegram" Nastya lives a bright, filled life away from her lonely, old mother. Daughter all matters seem so important and urgent that she completely forgets to write letters home, does not visit her mother. Even when a telegram about her mother's illness arrived, Nastya did not immediately go, and therefore did not find Katerina Ivanovna alive. The mother never waited for her only daughter, whom she loved very much. |
| The problem of the loss of spiritual values The problem of the death of the soul | In N.V. Gogol's poem "Dead Souls", the author depicts a gallery of types, showing the degree of degradation, the moral decline of landowners who sell the dead souls of serfs and are indifferent or cruel to the living. Plyushkin - "a hole in humanity." |
| In the story of A.P. Chekhov's "Gooseberry" the main character, dreaming of an estate with gooseberries, denies himself everything, marries by calculation, saves money. He practically starved his wife to death, but he fulfilled his dream. | |
| The problem of betrayal, irresponsible attitude to the fate of others | In L. Andreev's story "Judas Iscariot", Judas, betraying Christ, wants to test the devotion of his disciples and the correctness of the humanistic teachings of Jesus. However, they all turned out to be cowardly philistines, like the people, who also did not stand up for their Teacher. |
| The problem of meanness, dishonor | In the work of A.S. Pushkin's "The Captain's Daughter" Shvabri is a nobleman, but he is dishonest: having wooed Masha Mironova and having been refused, he takes revenge, speaking ill of her; during a duel with Grinev, he stabs him in the back. The complete loss of notions of honor also predetermines social treason: as soon as Pugachev gets the Belogorsk fortress, Shvabrin goes over to the side of the rebels. |
| The problem of servility | In the story of A.P. Chekhov "The Death of an Official" Chervyakov is incredibly infected with the spirit of servility: having sneezed and splashed his bald head in front of the sitting general, the official was so frightened that after humiliated requests to forgive him, he died of fear. |
| The hero of the story A.P. Chekhov "Thick and thin", official Porfiry, met at the station railway school friend and found out that he was a secret adviser, i.e. moved up significantly in career. In an instant, the “thin” turns into a servile creature, ready to humiliate and fawn. | |
| Molchalin, the negative character of A.S. Griboyedov "Woe from Wit", I am sure that one should please not only "all people without exception", but even "the janitor's dog, so that it is affectionate." The need to tirelessly please is also his affair with Sophia, Famusov's daughter. Maxim Petrovich, whom Famusov tells about as a warning to Chatsky, in order to earn the favor of the empress, turned into a jester, amusing her with ridiculous falls. | |
| The problem of relationships between people | In D. Fonvizin's comedy "Undergrowth", Mrs. Prostakova considers her boorish behavior towards others to be the norm: she is the mistress of the house, whom no one dares to argue with. Therefore, she has Trishka "cattle", "dumbass" and "thieves' mug". |
| In the story of A.P. Chekhov "Chameleon" police warden Ochumelov grovels before those who are above him in the ranks and feels like a formidable boss in relation to those who are below. He changes his opinions in each situation to the opposite, depending on which person - significant or not - is hurt in it: the general's dog or not. | |
| The problem of moral decline | In the story of N.V. Gogol's "Taras Bulba" for the sake of the love of a beautiful Polish woman, Andriy renounces his homeland, relatives, comrades, voluntarily goes over to the side of the enemy. This betrayal was aggravated by the fact that he rushed into battle against his father, brother, and former friends. An unworthy, shameful death is the result of his moral fall. |
| The problem of bribery, embezzlement | In comedy N.V. Gogol's “Inspector General”, a mayor, a bribe-taker and an embezzler who deceived three governors in his lifetime, is convinced that any problems can be solved with the help of money and the ability to splurge. Judge Lyapkin-Tyapkin takes bribes with greyhound puppies. |
| The problem of the destructive influence of money | In the story of A.P. Chekhov "Ionych" Doctor Startsev, in his youth a talented doctor, with nobility and zeal regarding his work, gradually getting richer, becomes important and rude, he has one passion in life - money. |
| In the poem by N.V. Gogol " Dead Souls"The image of Stepan Plyushkin, a miserly landowner, personifies the complete necrosis of the human soul, the death strong personality consumed by the passion of avarice. This passion caused the destruction of all family and friendly ties, and Plyushkin himself simply lost his human appearance. | |
| The problem of selfishness | In the epic novel L.N. Tolstoy's "War and Peace" Anatole Kuragin invades the life of Natasha Rostova in order to satisfy his own ambitions, destroys her personal life, plans to escape with her, although he is married. |
| AT story A, P. Chekhov's "Anna on the Neck" Anyuta, having become the wife of a wealthy official, feels like a queen, and the rest are slaves. She forgot about her father and brothers, who are forced to sell the most necessary things in order not to die of hunger. | |
| The problem of careerism, pseudo-scholarship | The world of physicists in D. Granin's novel "I'm going into a thunderstorm" is a battlefield on which there is a struggle between genuine scientists (Krylov, Dan) and careerists. Incapable of creativity, by hook or by crook seeking an administrative career in science, these opportunists almost destroyed the scientific search of Tulin, Krylov, who were looking for an effective method of destroying a thunderstorm. |
| The problem of a person's responsibility to himself and society for the realization of his abilities | Oblomov, the protagonist of the novel by I. Goncharov "Oblomov", with all his positive inclinations and abilities, could not realize himself because of laziness, turned into a living corpse. The career failed, the books were not read, the letter to the headman was not written. |
| The problem of loneliness (indifference, indifference to the fate of others) | The cab driver Iona Potapov, the hero of the story A.P. Chekhov "Tosca", the only son died. To overcome longing and an acute feeling of loneliness, he wants to tell someone about his misfortune, but no one wants to listen to him, no one cares about him. And then Jonah tells the horse his whole story: it seems to him that it was she who listened to him and sympathized with grief. |
| The problem of true and false values in life | In the story of A.P. Chekhov's "Jumping Girl" Olga Ivanovna has been looking for all her life famous people, tried at all costs to earn their favor, not noticing that her husband, Dr. Dymov, was the very person whom she was looking for. Only after his tragic death did the heroine realize her frivolity. |
| The problem of patriotism | The theme of the Motherland and its defense is one of the main and long-standing in Russian literature. She sounded excitedly even in The Tale of Igor's Campaign. The feeling of the Motherland, unity with one's people, according to the author, is the main thing in a person. The defeat of Igor's army and his repentance, Svyatoslav's anxious thoughts and Yaroslavna's grief - all this the author convinces of the need to unite to protect their native land. |
| The action of the story by B. Vasiliev “I was not on the lists” takes place at the very beginning of the Great Patriotic War in the Brest Fortress besieged by the German invaders. The main character - Lieutenant Nikolai Pluzhnikov gets into the fortress just before the start of the war. He defended the Brest Fortress for nine months. He went upstairs because he ran out of ammunition, because he found out that the Germans were defeated near Moscow. With his courage, stamina, Nikolai made even enemies admire. Pluzhnikov became a symbol of all those unknown soldiers who fought to the end and died without counting on glory. | |
| The problem of courage, heroism, moral duty | In B. Vasiliev's novel "The Dawns Here Are Quiet", anti-aircraft gunners died destroying a detachment of saboteurs. They were not afraid of the numerical superiority of the enemy. The bright images of girls, their dreams and memories of loved ones, create a striking contrast with the inhuman face of the war, which did not spare them - young, loving, tender. Rita Ovsyanina is the last of the girls to die, only foreman Vaskov remains alive. |
| Pilot Alexei Maresyev, the hero of B. Polevoy's story "The Tale of a Real Man", only thanks to his will and courage survived even after his frostbitten legs were amputated when he crawled to our rear of the enemy. The hero subsequently returned to his squadron again, proving to everyone that he was in control of his own destiny. | |
| The problem of moral choice | V. Kondratiev, the author in the story "Sasha", shows us an honest, sympathetic, humane soldier. Being in difficult situations, he often faced the hardest choice, but he always remained a man. |
| In V. Bykov's story "Obelisk", the teacher Oles Moroz voluntarily went to the execution with his students. He could stay alive. But he could not leave the guys alone in the last hours, the minutes of their execution, because this would mean for him a betrayal of his pupils, a betrayal of his moral principles. | |
| In V. Bykov's story "Sotnikov" during the war, performing the next task of the commander of a partisan detachment, Sotnikov passes with honor through difficult trials and accepts death without renouncing his beliefs, and Rybak becomes a traitor, saving his life. In the face of death, a person remains as he really is. Here the depth of his convictions, his civic fortitude are tested. | |
| The problem of homesickness, love for the motherland | In N. Teffi's book "Memoirs", the writer predicted the fate of a whole generation of emigrants who left Russia during the revolution and the Civil War. These people, yearning for their homeland, are doomed to tragic joint loneliness in foreign countries. |
| Inextricable connection with the motherland, native land | In A. Solzhenitsyn's story "Matryona Dvor" for Matryona Vasilievna, her house, yard, village are much more important than the place where you live. For the heroine, this is the meaning of her existence, part of her life, the memory of the past, of loved ones. |
| Loyalty to this word | In the story of A.S. Pushkin "Dubrovsky" Masha Troekurova, married to an unloved man - old man Vereisky, refuses to break the oath of lifelong fidelity given to him in the church, when Dubrovsky, with whom she was in love, was late to save her from this marriage and stopped the wedding procession only on the way back from churches. |
| In the novel in verse by A.S. Pushkin's "Eugene Onegin" Tatyana Larina, true to her marital duty and given word, rejected the feeling of her secretly beloved Onegin. She became the personification of sincerity and moral strength. | |
| Man's aspirations for goodness and happiness | In comedy A.P. Chekhov's "The Cherry Orchard" to Anya Ranevskaya is a young faith in happiness, in one's own strength. She sincerely rejoices at the departure from the old estate, because a new life begins. |
| The problem of selfless service | In the story of N.S. Leskov "The Enchanted Wanderer" Ivan Flyagin, the hero of the story frees a young peasant from the hard soldier's service, under his name going to serve in the army. |
| The moral strength of a person | In the work of V. Bykov "Sotnikov" Sotnikov, physically weak and sick, morally turns out to be much stronger than Rybak, his partner, with whom he went on reconnaissance. The fisherman became a traitor, and Sotnikov preferred death to such a disgrace. |
| The problem of loyalty to one's beliefs | In M. Sholokhov's story "The Fate of a Man", the fate of the hero of the story, Andrei Sokolov, is very tragic; Not every person could endure what the hero had to endure: captivity, news of the death of his wife and daughters, and later of his son. However, Andrei managed to survive and even take on Vanyushka, who was also orphaned by the war. |
| In A. Solzhenitsyn's story “One Day in the Life of Ivan Denisovich”, Ivan Shukhov retained his dignity, managed to remain a man in the hellish conditions of Stalin's camps, not to break down. Shukhov's life is not limited to the camp, he remembers the village, family, war, and this gives him the strength to live. | |
| The problem of friendship, camaraderie | In the story of N.V. Gogol "Taras Bulba" Taras Bulba, the central character of the story, believed that partnership is higher than the family, higher than kinship by blood, higher than everything earthly. |
| Internationalism (interethnic relations) | In Y. Bondarev's novel "The Shore", the love of the Russian lieutenant Nikitin and the German Emma, their humanity is the desire to overcome national and ideological barriers. |
| In A. Pristavkin's story "A Golden Cloud Spent the Night" the children - Russian Kolka and Chechen Alkhuzur - became real brothers despite the madness that adults in the Caucasus did. The little Chechen felt how hard it was for Kolka after the terrible death of his brother, he was full of compassion. Only fraternal help helped Kolka come back to life. Alkhuzur renounced own name saving a friend: he called himself Sasha. His wise act performed the expected miracle: Kolka got up, but nothing will make him see the enemy in the Chechen. Children of different nationalities were gathered in the children's reception center. For them, there was no concept of national hostility: the children were friends, protected each other. The educator Regina Petrovna claimed: “There are no bad peoples. There are only bad people." | |
| The problem of love and mercy | In M. Bulgakov's novel The Master and Margarita, Margarita is capable of deep, devoted, selfless love, and therefore she is morally invulnerable. Just as Yeshua remains human even when in the grip of murderers, and sympathizes with and helps one of them, so Margarita, even in the role of Satan’s prom queen, remains human: she helps Frida. |
| The problem of humanism | In the work of A. Adamovich "Mute" during the war, one of the Belarusian villages was supposed to be burned by the punishers, but the German Franz cannot kill Polina and her mother, the owners of the house in which he lived. He kills his fascist mentor and hides in the cellar with Polina and her mother. When the Soviet troops arrive, Polina represents the German as a mute brother, saving him, just as Franz once saved them. |
| The problem of faith in man | In M. Gorky’s play “At the Bottom”, Luka, the character of the play, believes that every person is a mystery, but everyone lives for the best, so every person must be respected: “we don’t know who he is, why he was born and what he can do. .. maybe he was born for our happiness ... for our great benefit? .. ”Luke seeks to help the hidden forces of man from secret to become apparent. His faith in people basically corresponds to their inner aspirations and capabilities (Actor, Pepel). |
| Goodness (love) as a resurrecting force | In M. Bulgakov's novel The Master and Margarita, the power of goodness, the human power that Yeshua embodies in himself, is that he sees the soul of another, understands him and tries to help him. This is precisely what the prisoner strikes Pilate first of all. Yeshua performed the greatest miracle: he gave a place in his soul to a person who threatens his life, can become his executioner," he fell in love with him! And something turned in Pilate's soul. And from that moment his rebirth begins. |
| The problem of the power of love | In A. Kuprin's story "Garnet Bracelet" For the little official Zheltkov, love for Princess Vera Sheyna became the meaning of life, and the beloved woman became the one in which "all the beauty of the earth was embodied." This feeling helped him become morally superior to Bulat-Tuganovsky, Vera's brother, who decided that with the help of the authorities, love could be forbidden. |
| Talent, natural talent | In the tale of N.S. Leskov "Levsha" oblique and poorly wielding his right hand, the Tula gunsmith Lefty shod a flea that was not visible to the eye. |
| Problems related to the role of art in human life | V. Korolenko's story "The Blind Musician" describes how Petrus was born blind, and music helped him survive and become a truly talented pianist. |
| In the epic novel L.N. Tolstoy's "War and Peace" with her singing, Natasha Rostova is able to influence the best in a person. That is how she saved her brother Nikolai from despair after he lost a large amount of money. | |
| The problem of the role of fiction in the formation of personality | Alyosha, the hero of M. Gorky's story "My Universities", believed that only the books he read helped him to endure the most difficult life trials, to become a man .. |
| The Problem of Cultural Preservation | In the work of R. Bradbury "Smile", the boy Tom during the next "cultural revolution", risking his life, takes away and hides the canvas, which depicts the Mona Lisa. He wants to keep it in order to return it to people later: Tom believes that real art can ennoble even a wild crowd. |
| The relationship of power and personality, power and the artist | The master in M.A. Bulgakov’s novel is not created for that cruel struggle to which society dooms him and does not understand that, having become a writer, he thereby turns into a competitor of mediocrities and demagogues who have seized the “literary field”. They are mediocre and therefore hate talented people; in them, opportunists, a person who is internally free, who says only what he thinks, evokes a terrible malice. And they are trying to destroy it. |
| The problem of personality and power | In M. Zamyatin's novel "We", the United State with its totalitarian power destroyed the personality in everyone: there are no people in the country, but there are "numbers" similar to programmed people. The protagonist of D503, the builder of the integral, at least temporarily gains a soul, experiencing deep feelings for a woman. |
| The problem of inadmissibility of interference in the natural course of things | The protagonist of M. Bulgakov's story "Heart of a Dog" is Professor Preobrazhensky. His experiment is fantastic: to create a new person by transplanting part of the human brain into a dog. As a result of the most complicated operation, an ugly, primitive creature appears, arrogant and dangerous. A scientist must be responsible for his experiment, see the consequences of his actions, understand the difference between evolutionary changes and a revolutionary invasion of life. |
| The problem of inhumanity and senselessness of war | In M. Sholokhov's story "The Mole" Civil War became the reason that the chieftain, who had been absent from his homeland for seven years, killed his only son, Nikolka, without recognizing him in the red commissar. |
| The problem of historical memory (involvement in the course of history ) | In V. Rasputin's story "Farewell to Matera", the feverish actions of people in a hurry to put an end to Matera run into the indifferent attitude of the villagers to their past, to those who lived before them on this earth. “True in memory. Whoever has no memory has no life,” says Rasputin. The main character Daria Pinigina is the embodiment of conscience, folk morality. For Daria, the value of the past is important and necessary: she refuses to move from the flood zone, habitable places, her native village until the graves are moved. She cannot allow the blasphemy of soulless newcomers. For her, memory is sacred. |
| The narration in the poem “I was killed near Rzhev” by A. Tvardovsky is conducted on behalf of the killed nameless soldier who died in the swamps near Rzhev. Nothing remained after him, only a testament to us, descendants: “I bequeath your life”, a testament to be happy, to serve the Fatherland with honor in memory of the “warrior-brother who died in the war.” | |
| Scientific and technological revolution and the future | In the book R. Bradbury's Fahrenheit 451 depicts two symbols of the "mechanization" of mankind. The first is a "mechanical dog" - cyber, designed to catch dissident "criminals". The second is modernized television, a symbol of human indifference, atrophy of the soul and intellect of the man of the future. People in this technical world have forgotten how to think. And this state leads to mental discomfort, suicides, outbursts of aggression. |
Composition on the topic: Above the window is a month. Wind under the window
Sample and example of essay No. 1
From time immemorial, a folk song has been heard in Russia. In it, people shared their joy, but more often they cried out their sadness. The same deep folk sadness resounds in the words of some Russian poets. The first of them is probably Sergei Yesenin. It is precisely the problem of the closeness of the poetic word to the soul of the people that the classic dedicates his reasoning. Soviet literature Viktor Astafiev.
All this leads the author to reflect on the fate of the creative heritage of the great peasant poet, which for some reason is still "terrible to let in to the people."
Viktor Petrovich Astafiev is sure that Yesenin's word with his "global longing" is exactly what people need, because it reminds us of the most important thing and explains the "incomprehensible".
I largely agree with the writer: the poetic word is addressed directly to the spirit of the people, to their emotional self-awareness.
Yesenin's poems remind us of caring attitude to nature, to "our smaller brothers." For example, in such famous poems as "The Song of the Dog", "You are my fallen maple ...", "The golden grove dissuaded ...". The poet describes the experiences of his "heroes" as one who let them through his own heart. Yesenin compares himself with a maple tree, a birch grove, showing the deep connection of a person with native nature, reminding us that we are all part of it.
We live in a terrible time when native rivers, forests, fields began to be called "environment" and are increasingly turning into a dumping ground for various wastes. For example, in E. Nosov's story "The Doll" we read about how the once deep and beautiful, rich in fish river turned into a thin, fetid stream. And against the backdrop of this desolation, there is a story about a mutilated doll. It would seem, what is the connection? But thinking over the text of Astafiev, you understand: desolation in the soul without a living poetic word leads to desolation in nature. Without understanding the beauty of poetry, we lose morality, and with it the idea of the beauty of our native corner. I would like to believe that this situation will change, and our children will not have to live in the desert.
Sample and example of a short essay No. 2 on the topic: Above the window is a month. Under the window wind. How to write a mini essay with a plan
Joan of Arc, Jesus Christ, Moses, the list goes on. All these people gave themselves to the people, did not spare their own efforts to help people. But people were not always ready to thank them for their kindness. But is it reasonable to love, to save the people, and in return to be burned at the stake or crucified on the cross? In the text proposed for analysis, V.P. Astafiev raises the problem of love for the people. The position of the author is expressed extremely clearly and clearly. Through the compassion of the poet, his love for people is manifested.
He was kind to every living being on earth. The author feels some connection between himself and Yesenin, sympathizes with him, because "everyone rejects him even when he is dead." I fully share the position of the author. Yesenin felt the state ordinary people. He suffered for everyone, at once experienced, passed through himself all the suffering of the Russian people. However, despite all his love for people, he never received universal recognition. He was placed in a psychiatric hospital, he was rejected by people close to him. But not only the Russian poet was treated so harshly.
Not always people are ready to thank for love and kindness. But it is important to understand that this good is done not for the sake of recognition, not for show, but for the sake of one's own spiritual satisfaction. This is well written in the work of Maxim Gorky "The Old Woman Izergil". The main character tells interesting story about the daredevil Danko. This young man had a warm, bright heart. There was so much love in him that he was able to light the way for people when they got into the rattling forest, where not the slightest ray of light penetrated. Danko tore his heart out of his chest, not thinking that it could kill him, not thinking that people would not even thank him.
He acted like a hero, brought the people into the light, saved them. But what drove them? Great love for the people. Jeanne d'Arc, the legendary French warrior, who was able to expel the hostile waxes of the British from her country, also experienced great love for the people. She led the regiments, instilled in the soldiers faith in victory. But people accused her of heresy, called her a witch. For what? For what she wore men's clothing! The Virgin of Orleans who saved France was burned at the stake. The girl never received any gratitude for her deeds, moreover, she was killed for this. This text made me think about such an important problem as love for my native people.
Is it really worth it to do good to people? I think it's worth it. But you also need to be grateful. After all, if I do not thank the person who did something nice for me, will he do it again for me or someone else. Of course not. Therefore, if we want to live in a world where love and mutual understanding reign, we must help and appreciate the help of others.
Sample and example of a short essay No. 3 on the topic: Above the window is a month. Under the window wind. How to write a mini essay with a plan
When I read the proposed passage, a real Russian village appears before my eyes, where sincere human relations and soulfulness are still preserved. A field with a harvest, a grazing horse, a haystack, a ringing stream - this is all real Russia, it was her who was sung by Sergei Yesenin.
Alas, little remains of the village he sang. People scattered across big cities. The huts are half empty, only old people are left in them. In the evening, laughter, conversations and songs are not heard. Instead, only oppressive silence is heard: “Nothing is heard, nothing is seen, the song has moved away from the village, life is deaf without it.”
Everything is so sad that the old people do not recognize the children who have not visited them for a long time: “In winter, for some reason, he arrived, made his way to his mother through the snowdrifts, knocks, but she doesn’t let him in - she won’t recognize him by his voice.”
The author of the text shows that Russian villages are empty, as young people leave for a better life, hard work is not to their liking. The saddest thing is that at the same time they forget their parents, who can hardly cope with the household themselves. But the author is sure that there is still hope as long as there is at least one person in the village, as long as there is light in the windows.
Very truthfully and vividly portrayed the Russian village I. A. Bunin in the story "Village". He sees a sad picture, poverty and joylessness, dead fields. Bunin shows that the inhabitants have a small outlook, they are practically isolated from the rest of the world.
A lot of my friends and comrades come from distant villages and villages, they go there to visit their parents very rarely, if at all. Unfortunately, I am convinced that the image of a half-empty and forgotten Russian village is not just an artistic image from works, but a bitter truth.
Sample and example of a short essay No. 4 on the topic: Above the window is a month. Arguments from the literature. Text problem
It seems to me that poetry has existed as long as man has existed. In moments of experience and happiness, tragedy and comedy, on holidays and sorrows, a person has always expressed his thoughts, emotions and experiences through songs and poems. In the text proposed for analysis by V.P. Astafiev makes us think about the question: "What is the power of the poetic word?".
Commenting on this problem, the writer draws our attention to the poem by Sergei Yesenin, coming from the receiver, as well as from the lips of vociferous women, symbolizing the simple Russian people. These lines are filled with a variety of emotions: here both purifying sorrow and love for the native land. V.P. Astafiev emphasizes what feelings the poet put into his poem and how they are reflected in the hearts of ordinary citizens: “He suffers for all people, for every living creature, with the supreme torment inaccessible to us, which we often hear in ourselves and therefore flax, reach for the word of Ryazan guy…”
The author's point of view, it seems to me, is expressed quite clearly. It is as follows: a poetic word can awaken various feelings in a person, make him think about the most important thing. The poetry of Sergei Yesenin fills a person with "tears and bitter delight." It is difficult to disagree with V.P. Astafiev that poetry has magical powers.
One line can make a person cry and laugh at the same time. Penetrating the emotions and feelings of the author, the reader passes them through his heart. Thanks to the lyrics of the classics of world literature, you can think about the meaning of life, look back at own life, cleanse the soul and morally reborn. For example, in a short but very rich poem by M.Yu. Lermontov's "Prayer" contains both the author's sadness and his faith in the "power of grace", in the rebirth of a person and the liberation of his soul from anguish and painful doubts.
The lyrical hero, like the author himself, believes in the power of the living word and that it can help any person clear his mind of anxiety. And where there used to be heaviness, now there will be lightness: “It will roll down from the soul like a burden, Doubt is far away - And it is believed, and it is crying, And it is so easy, easy ...”. The power of the poetic word lies in the very vocation of the poet. A.S. Pushkin in the poem "Prophet" expresses this through the image of a martyr poet dragging himself through the desert and waiting for the truth from heaven.
And God indicated to him his calling: "Burn the hearts of people with the verb." Thus, A.S. Pushkin sees the power of the poetic word in getting to the very depths of the human soul and burning them with the word. For each of us, poetry plays its own individual role. Someone gets in love lyrics and finds his feelings in this, someone loves poems about friendship and love for his native land, and someone completely misses sad lines about the meaning of life and the purpose of the poet through his heart. But no one remains indifferent, and this is the power of the poetic word.
Source text in full version for composing the exam
(1) “Above the window is a month. (2) There is wind under the window. (Z) The flown poplar is silvery and bright ... ”- comes from the receiver. (4) And from the toes, hands, from the roots of the hair, from every cell of the body, a drop of blood rises to the heart, pricks it, fills it with tears and bitter delight, I want to run somewhere, hug someone alive, repent before the whole world or hide in a corner and roar out all the bitterness that is in the heart, and that which will still be in it.
(b) Vociferous women with a quiet sigh lead and lead about the month outside the window, about the talyanka that cries outside the outskirts, and these song singers are also sorry, I want to console them, pity, reassure. (b) What a cleansing sorrow! (7) There is no month in the yard. (8) There is fog in the yard. (9) Exhaled from the earth, filled the forests, flooded the glades, covered the river - everything was drowned in it. (Yu) It is a rainy summer today, flax has fallen, rye has fallen, barley does not grow. (11) And all fogs, fogs. (12) Maybe there is a month, but it is not visible, and in the village they go to bed early.
(13) And the voice of one is not heard. (14) Nothing is heard, nothing is seen, the song has moved away from the village, life is deaf without it. (15) Two old women live by the river in a deserted village, in the summer apart, in the winter they run into one hut so that firewood is spent less. (16) A son from Leningrad came to one grandmother. (17) In winter, for some reason, he arrived, made his way to his mother through the snowdrifts, knocks, but she doesn’t let him in - she doesn’t recognize him by her voice. (18) Talyanka is crying, crying. (19) Only not there, not across the river, but in my heart.
(20) And I see everything in its original light, between summer and autumn, between evening and day. (21) The horse is the only old one in three half-empty villages, eating grass without interest. (22) A drunken shepherd behind the outskirts barks blackly at starved calves; Anna, a young woman with an old face, comes down to the river with a bucket. (23) “The distant cry of a talyanka, a lonely voice ...” (24) Why is this and why did Yesenin sing and sing so little with us? (25) The most melodious poet! (26) Is it really possible that everyone rejects him with his elbows when he is dead?
(27) Is it really scary to let him in to the people? (28) The Russian people will take it and tear their shirt, and with it they will tear their hearts in order to be tormented by the torment that they did not endure, the poet did not survive, suffering at once with all the suffering of his people. (29) He suffers for all people, for every living creature, with the supreme torment inaccessible to us, which we often hear in ourselves and therefore we laze, we reach for the word of the Ryazan guy, so that his pain, his all-world longing, irritate our soul again and again .
(30) I often feel him so close and dear to me that I talk to him in a dream, call him brother, younger brother, sad brother, and I console him, I console him ... (31) And where can you console? (32) I don’t have him, miserable orphan. (ZZ) Only a bright soul hovers over Russia and worries, worries us with eternal sadness. (34) And they explain everything to us and convince us that he is not to blame for anything and that he is ours.
(35) Already the judges themselves, who determined who is “ours” and “not ours”, have become “not ours”, deleted from human memory, the song, sound, sadness of the poet is forever with us, and they explain everything to us and explain the inexplicable, incomprehensible . (36) “3a window is a month ...” (37) Darkness outside the window, empty villages and empty land. (38) Listening to Yesenin here is unbearable. (39) Fogs lie around, dense, motionless, no sound breaks through. (40) The light in the village window barely leaked out from behind the river with a faded speck.
(41) The old women are alive. (42) Have worked out. (43) Have dinner. (44) Is the evening still going on or is it already night? (45) It’s wet on the grass, it’s dripping from the leaves, the horse snorts in the wet meadow, the tractor stopped outside the village. (46) And lies without end and edge, in forests and copses, among bread and flax, near rivers and lakes, with a silent church in the middle, Russia mourned by a Russian singer. (47) Shut up, military trumpet! (48) Calm down, eloquent speaker! (49) Do not grimace, newfangled howlers! (bO) Turn off the tape recorders and transistors, guys! (51) Hats off, Russia! (52) Yesenin is sung! (According to V.P. Astafiev *)
The plot problem in full her volume cannot be considered within the scope of this book, since the general laws of plot construction apply to both poetry and prose and, moreover, are manifested in the latter with much greater clarity and consistency. In addition, the plot in prose and the plot in poetry are not the same thing. Poetry and prose are not fenced off by an impenetrable line, and due to a number of circumstances, the prose structure can have a very great impact on poetic works at certain periods. This influence is especially strong in the area of the plot. The penetration into poetry of a typically sketchy, romantic or short story plot is a fact well known in the history of poetry. The solution of the theoretical questions that arise in connection with this would require too serious digressions into the theory of prose. Therefore, we will consider only those aspects of the plot that are specific to poetry.
Poetic plots are characterized by a much greater degree of generalization than prose plots. The poetic plot claims to be not a story about any one event, ordinary among many, but a story about the Event - the main and only one, about the essence of the lyrical world. In this sense, poetry is closer to myth than to the novel. Therefore, studies using lyrics as a usual documentary material for the reconstruction of a biography (even the wonderful monograph by A. N. Veselovsky on Zhukovsky sins with this) recreate not a real, but a mythologized image of the poet. The facts of life can become the subject of poetry only if they are transformed in a certain way.
Let's take one example. If we did not know the circumstances of Pushkin's exile to the south, but were guided only by the materials provided by his poetry, then we would have doubts: was Pushkin exiled? The fact is that in the verses of the southern period the link almost does not appear, but flight, voluntary exile is repeatedly mentioned:
Seeker of new experiences, I fled you, fatherly land ... ("The light of day went out...") A self-willed exile, Dissatisfied with the world and himself and life... ("To Ovid")
Wed in the obviously autobiographical verses of The Prisoner of the Caucasus:
Apostate of light, friend of nature, He left his native land And flew to a distant land With a cheerful ghost of freedom.
By persecution I became known among people... ("V. F. Raevsky")
There are no sufficient grounds to see in this image - the image of a fugitive, a voluntary exile - only a censorial replacement for the figure of an exile. After all, Pushkin mentions in other poems both "ostracism" and "exile", and in some of them both "bars" and "cages".
In order to understand the meaning of the transformation of the image of an exile into a fugitive, it is necessary to dwell on the typical romantic "myth" that determined the birth of plots of this type.
The high satire of the Enlightenment created a plot that generalized the whole complex of socio-philosophical ideas of the era to the level of a stable "mythological" model. The world is divided into two spheres: the area of slavery, the power of prejudices and money: "city", "court", "Rome" - and the land of freedom, simplicity, labor and natural, patriarchal mores: "village", "hut", "native land" ". The plot consists in the break of the hero with the first world and a voluntary flight into the second. It was developed by Derzhavin, and Milonov, and Vyazemsky, and Pushkin 1 .
Texts of this type represent the realization of the plot "the world of slavery - the flight of the hero - the world of freedom". At the same time, it is essential that the "world of slavery" and "the world of freedom" are given at the same level of concreteness: if one is "Rome", then the other is "Paternal Penates", if one is "City", then the other is "Village". They are opposed to each other politically and morally, but not in the degree of concreteness. In Radishchev's poem, the place of exile is named with geographical accuracy.
A similar plot of romanticism is built differently. The universe of romantic poetry is divided not into two closed, opposing worlds: slave and free, but into a closed, motionless sphere of slavery and beyond it lies the boundless and extra-spatial world of freedom. An enlightening plot is a transition from one state to another; it has a starting point and a final point. The romantic plot of liberation is not a transition, but a departure. It has a starting position - and direction instead of endpoint. It is fundamentally open, since moving from one fixed point to another for romanticism is a synonym for immobility. And movement (equivalent to liberation, hence the stable romantic plot - "exile is liberation") is conceived only as a continuous movement.
Therefore, exile without the right to leave can be transformed in a romantic work into "poetic escape", into "eternal exile", into "ostracism", but cannot be depicted as imprisonment in Ilimsk or exile in Chisinau or Odessa.
Thus, the poetic plot implies the ultimate generalization, the reduction of conflict to a certain set of elementary models that are characteristic of a given artistic thinking. In the future, the plot of the poem can be concretized, consciously approaching the most immediate everyday situations. But these situations are taken to confirm or refute some initial lyrical model, but never out of proportion with it.
Pushkin's poem "She" (1817) ends: "I her not he". See also:
"He" and "she" is my ballad. I'm not scary new. The scary thing is that "he" is me and that "she" is mine. (V. Mayakovsky. "About It")
Correlation with traditional lyrical schemes in these cases gives rise to different semantic effects, but it is always full of meaning. The ability to transform the entire abundance of life situations into a specific, relatively small set of lyrical themes is a characteristic feature of poetry. The very nature of these sets depends on some common patterns human relations and their transformation under the influence of standard models of culture.
Another distinguishing feature of a poetic plot is the presence in it of a certain rhythm, repetition, and parallelism. In certain cases, one speaks of "rhymes of situations" with reason. A similar principle can also penetrate into prose (the repetition of details, situations and positions), as it penetrates, for example, into cinematography. But in these cases, critics, feeling the penetration of poetic structural principles, speak of "poetic cinematography" or "non-prosaic" structure of the prose plot ("Symphony", "Petersburg" by A. Bely, a number of works of the 1920s).
1 A poem about exile in the poetry of the 18th century. only one thing - "You want to know who I am, what I am, where I'm going ..." Radishcheva. The plot of the poem develops as follows: a certain type of central character is given:
Not cattle, not a tree, not a slave, but a Man...
The text implies that such a hero is incompatible with the world from which he is exiled. He doesn't want to change.
I am the same as I was and will be all my life ...
For such a hero, the only place in Russia is the Ilim prison.
"Alien word" in a poetic text
The relationship between text and system is built in poetry in a specific way. In normal language contact, the recipient of the message reconstructs the text and deciphers it using the code system of the given language. However, knowledge of this language itself, as well as the fact that the transmitted text belongs to it, is given to the listener in some initial convention that precedes this communicative act.
The perception of a poetic text is built differently. The poetic text lives in the intersecting field of many semantic systems, many "languages", and information about language 1, in which the message is being conducted, the reconstruction of this language by the listener, the "training" of the listener to a new type of artistic modeling for him often constitutes the main information of the text.
Therefore, as soon as the perceiver of poetry hears a text that does not fit into the framework of structural expectation, is impossible within the given language and, therefore, is a fragment of another text, a text in another language, he makes an attempt, sometimes quite arbitrary, to reconstruct this language.
The relationship of these two ideological, cultural, artistic languages, the relationship of sometimes closeness and compatibility, sometimes remoteness and incompatibility, becomes the source of a new type of artistic impact on the reader.
For example, it is widely known that the criticism of the 1820s. Pushkin's poem "Ruslan and Lyudmila" seemed indecent. It is now almost impossible for us to feel the "indecency" of this work. But were the readers of the Pushkin era so scrupulous? Is it really them, who read Voltaire's "Dangerous Neighbour", and Voltaire's "Virgin of Orleans", and the erotic poems Guys, and Bogdanovich's "Darling", who knew firsthand the "Art of Love" by Ovid, the naked frankness of the descriptions of Petronius or Juvenal, who were familiar with Apuleius and Boccaccio , could seriously amaze a few ambiguous verses and free scenes? Let's not forget that Pushkin's poem appeared in a censored edition in an era when morality was prescribed no less than political reliability. If there really were anything in the text that offended the generally accepted decency of that era, the poem would undoubtedly have been censored. The obscenity of the poem was of a different kind - literary.
The work opened with the verses:
Cases of bygone days, Traditions of antiquity deep.
It was a quotation from Ossian, well known to readers of those years. Its introduction was calculated on the fact that the audience would be included in a certain system of ideological and cultural ties, in a predetermined - high, national-heroic - experience of the text. This system implied certain situations and their permissible combinations. Thus, heroic episodes could be combined with elegiac ones and could not be combined with cheerful, erotic or fantastic ones (it is known that MacPherson, compiling his "Ossian's Works" on the basis of the original texts of the bards, carefully deleted all fantastic episodes, while doing the same as the first German and Russian translators of Macbeth, who threw out scenes with witches, while fantasy in The Tempest or A Midsummer Night's Dream did not bother anyone - the heroic did not connect with it). The "Ossian" key to the text was not an accident - it was further reminded of by episodes (for example, Ruslan on the battlefield), images or epithets.
However, the following passages of the text were built according to a system that definitely did not unite with the "Ossian" pieces. Another type of artistic organization was included - a playful "heroic" poem. He was also well known to the reader since the last third of the 18th century. and was guessed (“turned on”) by a small set of signs, for example, by conditional names repeated in the works of Popov, Chulkov and Levshin, or by a typical plot of bride kidnapping. These two types of artistic organization were mutually incompatible. For example, "Ossian" meant lyrical reflection and psychologism, while "heroic" focused on the plot and adventure-fantastic episodes. The failure of Karamzin, who abandoned the poem about Ilya Muromets, was not accidental, unable to cope with the combination of the style of the "heroic" poem, psychologism and irony.
But the combination of the incompatible structures of "Ossianism" and the "bogatyr" poem did not exhaust the constructive dissonances of "Ruslan and Lyudmila". Graceful eroticism in the spirit of Bogdanovich or Batyushkov (from the point of view of the culture of Karamzinism, these two styles converged; cf. Karamzin's program statement about Bogdanovich as the founder of "light poetry"), "luxurious" poems like:
Jealous clothes will fall On Tsaregrad carpets... 2 -
combined with the naturalism of poems about a rooster, from which a kite stole his beloved, or "Voltairian" reasoning about physical capabilities Chernomor or the degree of Platonism of the relationship between the two main characters.
The mention of the name of the artist Orlovsky should include the text in the system of supernovae and, therefore, romantic experiences that were especially keenly felt in those years. However, the reference to Zhukovsky's ballads brought to mind the artistic language of romanticism only in order to expose it to gross ridicule.
The text of the poem freely and with feigned carelessness switched from one system to another, pushed them together, and the reader could not find in his cultural arsenal a single "language" for the entire text. The text spoke in many voices, and the artistic effect arose from their juxtaposition, despite the seeming incompatibility.
This is how the structural meaning of the "foreign word" is revealed. Just as a foreign body, getting into a supersaturated solution, causes the precipitation of crystals, that is, it reveals its own structure of the dissolved substance, the “foreign word” activates this structure by its incompatibility with the structure of the text. This is the meaning of those "motes" from which the water only becomes cleaner, according to the textbook quote by L. Tolstoy. A structure is imperceptible until it is matched with another structure or broken. These two means of activating it constitute the very life of a literary text.
M. Bakhtin 3 was the first to make the problem of "another's word" and its artistic function the subject of consideration. In his works, the connection between the problems of "foreign word" and the dialogization of artistic speech was also noted: "By absolute acting out, relationships are established between someone else's speech and the author's context, similar to the relationship of one replica to another in a dialogue. With this, the author becomes close to the hero and their relationship is dialogized " four .
The above idea is extremely significant for such works as "Eugene Onegin", in which the abundance of quotations, literary, everyday, ideological-political and philosophical references leads to the inclusion of numerous contexts and destroys the monologism of the text.
The foregoing reveals another significant conflict inherent in poetic structure. By its construction, as a certain type of speech, linguistically poetry gravitates towards a monologue. Due to the fact that any formal structure in art tends to become meaningful, the monologism of poetry acquires constructive significance, being interpreted in some systems as lyricism, in others as a lyrical-epic principle (depending on who is accepted as the center of the poetic world).
However, the principle of monologism conflicts with the constant movement of semantic units in the general field of constructing meanings. In the text, there is a polylogue of various systems all the time, collide different ways explanations and systematization of the world, different pictures of the world. A poetic (artistic) text is, in principle, polyphonic.
It would be too easy to show the internal multilingualism of the text by examples of parodic poetry or cases of the poet's open use of various intonations or conflicting styles. Let's see how this principle is realized in the work of, for example, such a fundamentally monologue, consciously closed within the carefully created poetic world of the poet, as Innokenty Annensky. Consider from this point of view his poem "More lilies."
When, under black wings, I bow with my tired head And silently death extinguishes the flame In my golden lamp... Kohl, smiling at a new life, And from earthly life The soul, breaking the fetters, Carries away the atom of being, - I will not take the memories, The joys of love experienced, Not an eye wife, no fairy tales of a nurse, No dreams of golden poetry, Flowers of my rebellious dream Forgetting momentary beauty, One snow-white lily I will transfer to a better world And the aroma and the delicate outline.
The poem strikes with the unity of the lyrical tone, the unity felt by the reader intuitively. However, the feeling of unity that arises here is stronger than, say, when reading a chemistry textbook, because it arises here in the struggle against the heterogeneity of the elements of the text.
If we try to highlight the commonality of the various stylistic elements of the text, then, perhaps, we will have to point out only one - literary character. The text is defiantly, nakedly built on literary associations. And although it does not contain direct quotations, it nevertheless refers the reader to a certain cultural, everyday and literary environment, outside the context of which it cannot be understood. The words of the text are secondary, they are signals of certain systems lying outside of it. This emphasized "culture", bookishness of the text sharply contrasts it with works whose authors subjectively tried to break out of the boundaries of "words" (mature Lermontov, Mayakovsky, Tsvetaeva).
However, unity is more than conditional. Already the first two verses entail various literary associations. "Black Wings" resurrect the poetry of demonism, or rather, those of its standards that in the mass cultural consciousness were associated with Lermontov or Byronism (cf. N. Kotlyarevsky's monograph, which recorded this stamp of culture). "Tired Head" brings with it associations with popular poetry of the 1880s-1890s, Apukhtin and Nadson ("Look how weak we are, look how tired we are, How helpless we are in a painful struggle"), Tchaikovsky's romances, the vocabulary of the intelligentsia those years 5 . It is no coincidence that "wings" are given in a lexical version that reveals poeticism (not "wings"), but "head" is given in a contrastingly everyday one. "Tired Head" would be a stamp of a different style:
With trepidation, I entered the bosom of new friendship, Tired, leaned my caressing head ... (A. Pushkin. "October 19, 1825")
The poetry of the eighties was created under the direct influence of the Nekrasov tradition and implied the everyday concreteness of the subject of the lyrics.
In the context of the entire stanza, "golden lamp" is perceived as a metaphor (death will put out the lamp), and the epithet "gold" in the structural antithesis "black" is not perceived in connection with concrete material meanings. But then we come across a verse:
No dreams of golden poetry.
In comparison with it, the “golden lampada” (cf. the antithesis: “golden - golden”) acquires signs of materiality and is already correlated with a quite definite object - the preykon lampada.
But the image of a fading lamp can take on two different meanings - conventionally literary ("do you burn, our lamp," "and with the name of divine love died out") and associations with Christian church culture:
And he went out, like a candle Wax, predukone... (N. Nekrasov. "Orina, mother of a soldier")
Here - first the first system of semantic links. Then the realization of the lamp as an object activates the second one.
The second stanza is built on the religious-Christian system of meanings, well known to the reader's consciousness of that era. There is an antithesis of "new life" (synonymous with "death" and "black wings" of the first stanza) and "earthly life". The image of the soul parting with earthly captivity with a smile was quite natural in this regard. But the last verse is unexpected. "Atom" definitely did not find a place for itself in the semantic world of the preceding verses. But in the type of cultural meanings it evoked, the subsequent "being" was placed very naturally - a world of scientific and philosophical vocabulary and semantic connections arose.
The next stanza enters under the sign of memories as some kind of textual signal. Miscellaneous systems poetic texts give various content the concept of "recollection", but the most significant of this word belongs to it not as a designation of a psychological action, but as a cultural sign. The stanza contains a whole range of types of interpretation of this concept. "The Joys of Love" and "Dreams of Golden Poetry" sound like frank quotations from that Pushkin poetic tradition, which in the cultural image of the world of Annensky is perceived not as one of the varieties of poetry, but as poetry itself. "Nanny's Tales" refers to two types of extra-textual connections - to the non-literary, everyday, to the world of childhood, opposed to the world of books, and at the same time to the literary tradition of recreating the world of childhood. "Nanny's Tales" in Poetry of the Late 19th Century - a cultural sign of the unsigned - children's world. Against this background, the "eyes of the wife" is an "alien - extra-literary - word", which is perceived as the voice of life in the polyphonic choir of literary associations ("eyes", not "eyes", "wives", not "virgins").
Three stanzas of the poem establish a certain constructive inertia: each stanza consists of three verses sustained in a certain conventional literary style and one that falls out of this style. The first two stanzas establish and the place of this verse is the end of the stanza. Further violations begin: in the third stanza, the "destructive" verse is moved to the second place from the end. But the structural dissonance in the last stanza is even sharper: four lines are emphatically literary. Both in terms of vocabulary and the leading theme, they should be perceived against the backdrop of the entire poetic tradition of the 19th century. It is no coincidence that the title mentions "lilies" with an obvious stress on the first syllable, and in the third verse of the last stanza:
One snow-white lily -
the second syllable is stressed - in accordance with the norms poetic speech early XIX in. The name of the flower has become a poetic association. And to this stanza, unexpectedly, in violation of all the rhythmic inertia of the text, the fifth verse is added:
Both the aroma and the outline are delicate.
The verse is opposed to the entire text by its materiality, its exclusion from the world of literary associations. Thus, on the one hand, there are the earthly and otherworldly worlds, presented in their literary appearances, and on the other hand, non-literary reality. But this reality itself is not a thing, not an object (this is the difference from the "wife's eyes"), but forms subject. "Snow-white" in combination with "lily" is a color banality, which even in the poetry of the 18th century. numbered in the dozens. But for the contour, a unique word was found - "outline". Reality as a set of abstract forms - this Aristotelian world is most organic to Innokenty Annensky. It is no coincidence that the last verse also provides the only alliteration in the poem. The combination of "aroma" and "outline", parallel both rhythmically and phonologically, into one archiseme is possible only in one meaning - "form", "entelechy". This introduces into the text the voice of another culture - ancient classicism in its most organic, meaning-forming connections.
This is how the tension in the semantic structure of the text is revealed: the monologue turns out to be a polylogue, and the unity is made up of the polyphony of various voices speaking different languages culture. Outside of poetry, such a structure would fill many pages.
1 For the establishment of the generality of the problems of the diversity of stylistic layers and polyglotism, see: Uspensky B. A. The problem of style in semiotic coverage // Uchen. app. Tartu State university 1969. Issue. 237. (Works on sign systems. Vol. 4).
2 These verses are "Batyushkov" not only by the structure of the image, but also by the originality of the rhythm. The verse belongs to a rare VI (according to the terminology of K. Taranovsky) rhythmic figure. In the poem, it is 3.9% (this figure curiously coincides with Batyushkov's - 3.4%, for Zhukovsky over the same years - 10.9 and 11.6%; for Pushkin himself in the lyrics of 1817-1818 - 9, 1% - figures according to K. Taranovsky). Thus, the verse is sharply highlighted. A pause achieves a purely Batyushkovian technique - in the erotic scene, the action suddenly breaks off and attention is transferred to the details of the aestheticized surroundings, which thereby acquire the meaning of euphemisms ("tympanum above the head ...", "ruins of a luxurious dress ...").
3 See: Bakhtin M. Problems of Dostoevsky's Poetics. M., 1963; Voloshinov V.N. Marxism and the philosophy of language. L., 1929.
4 Voloshinov V. N. Marxism and the philosophy of language. pp. 136-146.
5 Wed. in I. Annensky's poem "Ego": "I am a weak son of a sick generation ..."
Problem relationship with poets and their work. (How do people relate to poets, to their work?)
Author's position: people are not always able to appreciate poets and their work, sometimes they condemn and reject creative personality At the same time, poets like Yesenin deserve genuine respect.
- 2. A.A. Akhmatova. Poem "Requiem". The poem "Requiem" by A. Akhmatova, by its very appearance, testifies to the attitude of society towards the poet. In the years Stalinist repressions people were afraid even of their thoughts, let alone words, and only desperation could make them want justice at any cost. A woman who stood with A. Akhmatova in the prison queues asked the poet to describe everything that people experienced when they came there to find out about the fate of their loved ones:
- We got up as if for an early mass,
- We walked through the wild capital,
- They met there, the dead lifeless,
- The sun is lower and the Neva is foggy,
- And hope sings in the distance.
Akhmatova truthfully told about what was happening in the words of those same mothers, wives, sisters with whom she stood in lines:
- For them I wove a wide cover
- Of the poor, they have overheard words.
The precious lines were saved thanks to the friends of A. Akhmatova, who kept them in their memory for many years. These words are evidence of the crimes of those who were sure of their impunity, these words are an eternal monument to the innocently convicted and those who fought for their justification.
- 3. A.A. Blok. Poem "Twelve". The poem "The Twelve" by A.A. Blok is evidence of an ambiguous attitude towards the poet of readers. The author himself considered this work to be the best, but not everyone shared this point of view. So, I. Bunin spoke angrily about the poem, she resented Vyach. Ivanova, and Z. Gippius. The writers, who had a prejudice against the revolution, did not notice the real merits of the work. But A.M. Remizov admired "the music of street words and expressions." The street itself "accepted Blok's poem", "lines close to the slogan were full of posters". A. Blok was worried about the fate of the revolution, because he saw that something alien was mixed with its flame. "The Twelve" is not only an attempt to convey the essence of what is happening with Russia, its people, but also a prophetic prediction of the future. Each reader of the poem understood its meaning in his own way, hence the diversity of views and assessments.
1. Yu. Nagibin "Intercessor" (A story in monologues). The author of the 1st monologue of the story, Leonty Vasilyevich Dubelt, speaks about the attitude of his contemporaries towards Pushkin's work, which manifested itself in their behavior after the death of the poet: “The world was divided into two unequal parts. The majority condemns Pushkin and justifies Dantes... while the minority mourns Pushkin and curses his killer.” However, the most important thing is that “Pushkin's death suddenly revealed that there is not only light ... but such a strange, imperceptible and not mentioned formation in Russia as a people .... Not serfs, not smerds, not serfs, ... not a bum, not philistines, but precisely the people. How else can you name those thousands and thousands that besieged Pushkin's house during the days of his agony, and then one by one said goodbye to the deceased, kissing his hand? Why did the mass of the poor become the people, although there was no revolution? Apparently, the national consciousness was awakened by the word. In the word Genius.
Dubelt believes that the state rests on zealous servants of power like him, and history proves that the poetic word actually has power.
- Updated: August 7, 2017
- Author: Mironova Marina Viktorovna
