Social and civic motives in the lyrics of N.A. Nekrasov (“About the Weather”, “Poet and Citizen”, “Knight for an Hour”, “Prophet”, “Elegy”).

Essay on the topic of civil poetry by Nekrasov

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Topic: “Civil lyrics by N.A. Nekrasov.”
Discipline: Literature Completed by student TS-111 Polorotov A.A. Checked by: Kargapolova G.P. Chita 2011 Contents Introduction……………………………………………………………2 1. The main themes and ideas of N.A.’s lyrics. Nekrasov……………………3 2. “Lyrical epic” as a phenomenon of Nekrasov’s lyrics…………6 3. “Prose of love” in the lyrics of N. A. Nekrasov………………………….. 12 4. The originality of civil lyrics by N.A. Nekrasova…………………15 Conclusion………………………………………………………18 References………………………………… ……………………………………..19 Introduction
Let changing fashion tell us, That the old theme is “the suffering of the people” And that poetry should forget it, Don’t believe it, young men!
she doesn't age... ... I dedicated the lyre to my people. Perhaps I will die unknown to him, But I served him - and my heart is calm... Let not every warrior harm the enemy, But everyone go into battle! And fate will decide the battle... (Elegy 1874) Nikolai Alekseevich Nekrasov entered the history of Russian literature as a great poet, whose work is rooted in the deep layers of people's life, as a poet - citizen, who devoted his entire life, all his enormous talent, to serving the people. With good reason, the poet at the end of his life could say: “I dedicated the lyre to my people.” 1. The main themes and ideas of N.A.’s lyrics.
Nekrasov Nekrasov is the successor and continuer of the best traditions of Russian poetry - its patriotism, citizenship and humanity.
The theme of the purpose of poetry is one of the main ones in Nekrasov’s lyrics. The poem “The Poet and the Citizen” is the poet’s dramatic reflection on the relationship between high citizenship and poetic art. Before us is a hero who is at a crossroads and, as it were, personifies different trends in the development of Russian poetry of those years, feeling the emerging disharmony between “civil poetry” and “pure art”. The Poet's feelings change from irony towards the Citizen, from a feeling of superiority over him to irony, self-resentment, then to a feeling of irreversible loss of human and creative values ​​and then (in the last monologue) to gloomy embitterment. The movement of feelings in the Citizen: from the demand to “smash” vices boldly, to “expose evil” to the understanding of the active struggle and civic position necessary for real poetry. Essentially, what we have before us is not a duel between two opponents, but a mutual search for the true answer to the question about the role of the poet and the purpose of poetry in public life. Most likely, we are talking about a clash of different thoughts and feelings in the human soul. There is no winner in the dispute, but there is a general, only correct conclusion: the role of the artist in the life of society is so significant that it requires from him not only artistic talent, but also civic convictions. The Muse of Nekrasova, the sister of the suffering, tormented, oppressed people (“Yesterday, at six o’clock…”) entered the literature of the 19th century. Nekrasov’s muse not only sympathizes, she protests and calls for struggle. To remind the crowd that the people are in poverty, While it rejoices and sings, To arouse the attention of the powers that be to the people - What more worthy could the lyre serve?...
The theme of the people is traditionally considered a Nekrasov theme.
Ap. Grigoriev called him “a man with a people’s heart.” According to Dostoevsky, the poet “loved all those who suffered from violence.” The poem “Troika” is written in Nekrasov’s favorite song genre. The rhythmic and stylistic structure of the poem is characterized by a special melodiousness and repetitions inherent in a folk song. In the center of the poem is the image of a peasant girl, whom “it’s not a wonder to look at.” The poem has two time layers: the present and the future. In the present, the girl lives in anticipation of love: “you know, the alarm sounded in her heart.” But in the future, a difficult fate awaits her, usual for a peasant woman: “your picky husband will beat you and your mother-in-law will bend you to death.” The end of the poem is full of sadness (“and they will bury you in a damp grave when you go through your difficult path”). The troika is a symbolic image that often appears in folk songs (“Here is the postal troika rushing”), it is always an image of freedom, will, a symbol of movement, dreams of happiness. In the last stanza, the motive clearly sounds: happiness is just a dream: “you won’t catch up with the crazy three.” The poem “Reflection at the Front Entrance” is dominated by an epic beginning: a generalized description of the “front entrance” and a depiction of peasant petitioners. The poet does not endow each of the peasants with any specific, individual traits. The details of the portrait merge this group of people into a single poetic image: “village people”, “a thin Armenian on the shoulders”, “a cross on the neck and blood on the feet”. In the second part a lyrical note appears. This is the author’s appeal to the “owner of luxurious chambers,” which sounds either excitedly - pathetically (“Wake up... Turn them back! Their salvation is in you!”), or mournfully and angry (“What is this crying sorrow to you, what is this poor people to you?” ), then evil and ironic (“and you will go to your grave a hero”). In the final, third part, the epic and the lyrical merge together. The story of the men receives a concrete conclusion (“Behind the outpost, in a wretched tavern, the men will drink up to a ruble and go begging along the road...”). The poem ends with a question to which the poet does not have a definite answer: Will you wake up, full of strength? The so-called “penitential lyrics” - “I will die soon”, “Knight for an hour”, “I deeply despise myself for this” - are very important for understanding the characteristics of Nekrasov’s poetry. It was Nekrasov’s hero who showed an example of courage and an attempt to overcome the tragic discord with himself, because it seemed to him that he did not correspond to the high ideal of a poet and a person. I will die soon... A pitiful legacy, O Motherland, I will leave to you...
A special place in the “penitential lyrics” is occupied by the theme of the moral ideal, in search of which the lyrical hero turns primarily to those who carried within themselves pain about man, pain about Russia (“ To the death of Shevchenko”, “In Memory of Dobrolyubov”, “Prophet”).
The people's intercessor is a sufferer who makes a sacrifice. A characteristic motif is the chosenness, exclusivity of great people who are carried by a “falling star,” but without whom “the field of life would die out.” The image of “people's defenders” reveals their deep democracy and organic connection with folk culture. No worse than us, he sees the impossibility of Serving good, but sacrificing himself. But he loves more sublimely and more broadly. There are no worldly thoughts in his soul.
Nekrasov wrote about love in a new way.
While poeticizing the ups and downs of love, he did not ignore that “prose” that is “inevitable in love.” In his poems the image of an independent heroine appeared, sometimes willful and unapproachable (“I don’t like your irony...”). The relationship between lovers in Nekrasov's lyrics has become more complex: spiritual intimacy gives way to disagreement and quarrel, the characters often do not understand each other, and this misunderstanding darkens their love. You and I are stupid people: Any minute, the flash is ready! Relief, an agitated chest, An unreasonable, harsh word.
A tragic perception of life, compassion for one’s neighbor, merciless reflection and at the same time an unbridled thirst for happiness - these are the distinctive features of Nekrasov’s poetry.
2. “Lyrical epic” as a phenomenon of Nekrasov’s lyrics
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One of the phenomena of N. A. Nekrasov’s poetry is the phenomenon of “lyrical epicness”. This phenomenon directly runs through the poet’s entire work, originating in the early collection “Dreams and Sounds.” Turning to the tradition of studying Nekrasov’s poetic creativity, it should be said that the main outline of most of the works is the biographical, socio-ideological, political issues of the poet’s work. The tradition of special attention to the “ideological” basis of the poet’s work has been firmly established since the period of “populist criticism” of the 19th century. At the same time, lyrical, confessional, spiritual problems, their interaction in Nekrasov’s poetry have been studied quite little. Speaking about the history of researchers’ approach to this problem, first of all, we should note the activities of D. S. Merezhkovsky at the end of the 19th century. A distinctive feature of the work of this researcher is the absolute renunciation of the idea “Nekrasov is a citizen.” He was one of the first to highlight the “eternal side” in the poet’s work. Speaking about previous studies, he Fr. Nekrasov is an idealist... a believer in the divine and suffering image... the holy embodiment of the people’s spirit.” Merezhkovsky was the first to point out this side of Nekrasov’s work, which the “populist criticism” so happily passed by, for which the poet’s works were only a collection of socio-political ideas. Merezhkovsky’s special vision of the problem determined his special poetic, “symbolic” worldview. Merezhkovsky subtly sensed the specific, uniquely personal nature of Nekrasov’s lyrical perception, a special attempt to master the world. Speaking about the phenomenon of Nekrasov’s “lyrical epicness,” one should compare his work with the work of other poets, who are both predecessors and contemporaries. Nekrasov combines in his work the detached, fatal intonation of broadcasting world truths inherited from Tyutchev with the shocked intonation beyond the sensuality and inexpressibility of Fet’s feelings. Turning to the difference between Nekrasov's poetry and the poetry of his contemporaries and predecessors, it seems possible to us about in Nekrasov's poems. Turning to the poet’s poems, one can note the absence of artificiality and far-fetchedness in them. A characteristic phenomenon for lyric poetry of the 19th century, especially the period preceding Nekrasov’s work, is the artificial creation of roles, problems, and themes of poems. Many authors acted according to a model, according to tradition, according to a certain fixed scenario. Turning to Nekrasov’s work from these positions, it seems obligatory for us to highlight the fundamental difference between his poems and this phenomenon. Nekrasov's poems are not far-fetched or artificial, which was the fault of most of his predecessors and contemporaries. Starting from early poetry, Nekrasov's works are filled with extreme subjectivity. Already in the poet’s early poetry collection, “Dreams and Sounds,” this tendency is evident. Despite the apparent “variegation” of this collection, it seems possible to highlight special positions of the subject in a number of poems. The manifestation of the subject in the collection is primarily noticeable at the level of expression of moods. A. Krasnov was the first to draw attention to this fact. This idea was later developed by V. Evgeniev-Maksimov. One of the leading subjective principles in this collection is the presence of two moods: “contemplative” and “pessimistic-accusatory”. According to M. Barro, this fact is a manifestation of the fact that already in Nekrasov’s first book “... reflected a gradual change in his ideological and creative ideas... during his work, a certain spiritual turning point occurred, which brought the former dreamer from the sky-high heights to the ground.” An important element of Nekrasov’s “lyrical epicness” is the special scale of coverage of material in his lyrical works. Continuing the comparison of Nekrasov with the poets of his predecessors and contemporaries, it should be noted that, for example, in the work of Fet, the content of the lyrics is limited to the internal state of the subject, and there is no visible exit “to the outside world.” Nekrasov takes a fundamentally different position in this regard. His work is not limited to the “external” or “internal” aspect. His position on this issue can be described as “average”. Nekrasov's lyrics absorb the entire space of the surrounding and internal world. Social motives, inner state, worldview, landscapes and descriptions are closely intertwined in his poems. Turning to the poem “Despondency” that interests us, as an example, we can highlight the following lines: What a delight! chase a migratory bird with a gun, and the free wind of the fields sweeps away the rubbish caused by the capital from my soul. I am alert and alive in spirit, I am healthy in body. I think... I dream... help but feel the hammer above my thought , no matter how much I wish, But if it is raised even slightly, But if I forget about it for half an hour, then I treasure it. I myself, the reader, find And this is all that is needed for a poet.
(Despondency) Continuing to note the facts of the special “lyrical epicness” of Nekrasov’s poems, one cannot ignore the fact of the special features of Nekrasov’s lyrics, Nekrasov’s use of a special genre system.
Nekrasov's lyrical works are diverse, capturing the most diverse aspects of life. These are responses to the political life of the country, and themes from the life of the peasantry, and essays on urban reality, and love lyrics, and pictures of nature, and a caustic ridicule of the world of the bureaucratic and noble elite. Nekrasov's lyrics, however, like all of his work, do not fit into the usual genres and forms. His lyrics tend towards the epic, breaking the idea of ​​genre isolation. With rare exceptions, his lyrics go beyond not only traditional genres, but also beyond the very concept of lyrics, as it has developed in the usual view, which limited lyrics to “self-expression,” “self-disclosure” of the poet, his inner world. As we believe, Nekrasov not only refused to adhere to the genre differentiation inherited from the poetry of classicism and romanticism, but also from the precise distinction between the lyrical and epic principles of poetry. There is a question of determining the genres of such works by Nekrasov as “A Knight for an Hour”, “Peasant Children”, “Silence”, “Despondency”. They can be called poems, but they are devoid of plot, express, first of all, either the mental state of the poet himself, or his thoughts, and in “Peasant Children” - a series of meetings and impressions of the author. The combination of lyrical and epic principles in one work is especially characteristic of Nekrasov. This is the innovative principle of his poetry. One can, of course, base Nekrasov’s distinction between lyricism and epic on a purely quantitative principle: “small poems” and large works - but this will not be a solution to the problem, since in this case the question of the internal, structural principle would be ignored. In the work of A. Garkavi “The Formation of Realistic Genres in the Poetry of N. A. Nekrasov,” Fr. Using the experience of the “physiological essay” of the prose writers of the “natural school,” Nekrasov created “completely different, new poetic genres in which the author’s narration played a leading role.” In works such as “Peasant Children” this is especially clear. The poem is built on the principle of an essay, in which the author’s factual observations and reasoning occupy the main place, and the author’s speech, with the dialogue of the characters included in it, determines the entire verse structure. Nekrasov abandoned the traditional division of genres (although, of course, this does not exclude the division into such “types” of poetry as poems and lyric poems). Nekrasov’s poems merged satire, love lyrics, journalistic invective, and elegiac reflection. How to determine the “genre” of such poems as “Reflections at the Main Entrance”, “A Knight for an Hour”, “A Beautiful Party”? Nekrasov contrasted the genre isolation of the poets of “pure art” with the rejection of genre frameworks, the involvement in poetry of the artistic principles of a different “kind” of art - primarily prose. Poetry and prose are not at all opposed to each other. In Russian literature there are many examples of “poetic prose” and “proseization” of verse. As an example, we can cite Gogol, who wrote prose in which the orientation towards poetic and verse forms is undeniable. Many pages of Turgenev’s novels also come close to his “prose poems,” and the latter are written not in poetry, but in “prose.” In turn, Nekrasov transfers the methods of prose into his poems, without at all reducing or violating their poetry. After all, the very transfer of the principles of prose narration: plot, colloquial phraseology, does not yet make his poems “prosaic”; despite this, they remain genuine poetry, as was the case with Pushkin’s “Eugene Onegin,” which outlined the development of the Russian novel of the 19th century. Nevertheless, the most artistic method, manner, style acquires a different, new quality in them. Nekrasov's considerations about the relationship between prose and poetry are extremely important for understanding his artistic method. “Synthesis” of the structural features of prose and poetry, the interpenetration of “image” and “thought”—this is the task of the poet. From “prose” poetry borrows, first of all, thought, the reproduction of life - and at the same time, the poet is able to convey in one image, in one word, what for a prose writer requires “a whole series of features.” This “demand for the primacy of “thought” both in prose and poetry is especially significant, since it explains the main feature of Nekrasov’s poetry: the constant filling of his works with “thought”, the direct and precise correlation of word and meaning.” This demand for thought, “content,” and their significance is constantly expressed by Nekrasov when evaluating other people’s poems. The principles of prose are not mechanically transferred to poetry, but acquire a special form in it, a different sound, first of all, since the word itself in verse carries an immeasurably greater figurative, rhythmic and intonation load. From prose, the plot organization of the narrative passed into Nekrasov’s poems. In most cases, his verses are plot or filled with a number of events. But the plot in prose and the plot in the poem in many ways different things. In a poem and even a poem, it is the logical, narrative frame that defines both the development of action and the selection of material. Naturally, the verbal expression here cannot be as unlimited as free as in prose. Also, the love of the accurate, expressive details, strictly realistic and at the same time deeply poetic, passed from the prosaic manner of Nekrasov’s poetry. After all, if this detail was in the context of a prosaic narrative, it is possible that it would not stand out, it was lost in the general stream. The connection of Nekrasov’s poetry with the prose culture of his time was deeply fruitful to expand the traditional capabilities of poetic genres, to deepen realism in his creative method. Nekrasov, “both in poems and in the lyrics, is based on the artistic principles of the modern realistic novel”, dating back to the Pushkin “Evgeny Onegin”, “Dead Souls” of Gogol, the “Hero of our time” by Lermontov and the writers of the 40-60s in prose of the 40-60s years - Turgenev, Tolstoy, Dostoevsky, Goncharov. This is, first of all, the image of a person in his social environment, so sequentially carried out by Gogol; Secondly-a combination in the nature of typical and individual features. It was these properties that meant the "triumph of realism in the Russian novel." However, Nekrasov does not mechanically carry these artistic principles developed by prose to verses. Naturally, in a poetically poetic work, they acquire their characteristics. The wide coverage of life phenomena, their deep social analysis determined Nekrasov’s appeal to the epos. In his creative heritage, the poems occupy the main place. In them, he could more fully and deeper show the whole variety of life, the social conditions in which the characters depicted by him were formed. “Sasha”, “Corobes”, “Frost, Red Nose”, “Railway”, “Contemporaries” and the epic “Who to live well in Rus'” give a picture of Russian life from the 50s and end of the 70s of the XIX century. In the poems, Nekrasov acts as an artist-innovator, who created a new social and realistic genre of poem. The gravity of Nekrasov to the epic form, to the poem begins even at the initial stage of his creative path. Already in such poems as “On the Road” or “Official”, Nekrasov created a wide life picture based on the narrative experience of essential prose of the “natural school”, with an acute social trend. Nekrasov’s poems “opposed the canons of a romantic poem, which was widespread in Russian poetry since the southern poems of Pushkin and the romantic poems of Lermontov.” The pathetic emotionality of these poems, their unusual heroes, their plot and dramatic tension - Nekrasov and followers of the “natural school” “contrasted events taken from everyday life, used the experience of prose genres and, to a certain extent,“ Eugene Onegin ”and Pushkin’s poems as“ House in Kolomna ”and“ Count Nulin ”who marked the appeal to b, withdraw from the principles of a romantic poem.” Summing up the peculiar result of the foregoing, it can be noted that in the work of Nekrasov there was a special type of lyro-epic genre. In this type, the epic principle is very closely combined - what is revealed by the eyes, which was characteristic of real life and the lyrical beginning - feelings, pain of the poet. It is in the combination of these principles that literary innovation, the discovery of Nekrasov. The works of Nekrasov are lyro -epic basically, in their nature. Also, the problem associated with the “lyrical epic” of the works of Nekrasov is the problem of combining the subjective and objective, visible connection of the hero and the poet. Nekrasov uses his heroes, a description of the situation to express their own feelings, moral ideals. The poet not just “puts on a mask” of a certain hero, but, as a rule, he “gets used” into his image, sees, thinks, analyzes from the point of view of this hero. And this often led to the identification of the author with the lyrical hero of the poems. And it does not affect this, which often speaks of the hero in the third person. This was especially reflected in the “repentant” lyrics of the last years of Nekrasov’s life, his “last songs” were perceived as a confession of a real person, outside of mediation and abstraction. Based on this, a feature has developed in the perception and analysis of these poems for many years. As the reason for this, one can call, first of all, the "inexperience of the general public in matters of creativity." All from ordinary readers to professional critics “sinned” this. The critic V. Zaitsev, referring to the poems of Nekrasov, says: “I begin his works with the same requirements with which I proceed to the works of critic, historian, publicist, fiction. From all of them, each reader requires, first of all, an honest, fresh thought, a faithful look at the subject ... ... and a clear presentation of his opinion. " Returning to the work of Nekrasov, it should be found out that it is in his poems themselves that he gives an occasion to identify the poet and his hero. One of the reasons is the close connection of the spiritual content of Nekrasov’s lyrics with the formation of the poet's personality. Exposing from this point of view is the presence in the work of Nekrasov points of contact, “supporting milestones” with its real biography. A similar trend permeates all creativity, and is present at Nekrasov, starting with his first collection of “Dreams and Sounds”. The earliest point of contact of lyrical creativity and real life is a response to the premature death of Andrei's older brother. We have already noted the great attention of Nekrasov to the period of his life, related to his transition to an independent, independent life, his formation as a poet in the records of his contemporaries. No less, and even much more attention to this period of biography is also traced in its lyrical works. As we see, the poems of the first Nekrasov collection “Dreams and Sounds” clearly indicate not such an important event in the life of Nekrasov as leaving their native places and its move to St. Petersburg. Throughout his work, Nekrasov has repeatedly turned to the topic of childhood and his homeland. This can be traced in a number of works of completely different years: “Homeland” 1846, “Unfortunate” 1856, “On the Volga” 1860, “Towing” 1874, “Mother” 1877. Directly specific facts of the biography related to the time of “Petersburg wandering” and “ Literary Lesser ”in the lyrics of Nekrasov did not display. The bulk of the poems, one way or another, devoted to this period, contains the mood of a spiritual crisis, a fracture that comprehended the poet. Most of the Nekrasov poems reflect the author’s feelings associated with A. Panaeva. These verses can be considered as a psychological story of loving people, a work with their own composition - a tie, development of action, climax, denouement, epilogue. The main content of these verses is lyrical confessions: etc .................... Go to the full text of work download work with an online increase in uniqueness to 90% on antiplagiat.ru, etxt.ru Watch the full text of the work for free to watch similar work
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What eternal themes are reflected in the lyrics of N.A. Nekrasova?

When starting work, remember that in an essay on lyrics you need to analyze at least three poetic works. Determine the range of eternal themes in the works of N.A. Nekrasov and consistently comment on each of them, giving examples from the poems, analyzing these examples and identifying the author’s position.

Eternal themes include the theme of love. I.A. Nekrasov opens a new page in Russian love lyrics. The author not only poetizes the ups and downs of love, but also talks about prose in the relationships between loving characters (“You and I are stupid people...”). The poet reflects on complex relationships; spiritual closeness gives way to disagreements and quarrels, the characters often do not understand each other, and this misunderstanding darkens their feelings.

Another eternal theme receives a special interpretation in the lyrics of Nekrasov - this is the theme of the purpose of poetry. In the poems “Poet and Citizen”, “Elegy”, “Oh, Muse! I'm at the door of the coffin! Nekrasov affirms the idea of ​​serving the people. The poem “The Poet and the Citizen” is the poet’s dramatic reflection on the relationship between high citizenship and poetic art. Before us is a hero at a crossroads. He personifies different trends in the development of Russian poetry in the mid-19th century. This is a poet who feels the discord between “civil poetry” and “pure art.” In the poem, Nekrasov shows not a duel between two opponents, but a mutual search for truth, an answer to the question about the role of the poet and the purpose of poetry in public life. There is no winner in this dispute, but there is a general, only correct conclusion; The role of the artist in the life of society is so significant that it requires from him not only artistic talent, but also civic convictions.

The civil theme, which can also be classified as eternal, receives a special refraction in Nekrasov’s lyrics. It is connected not only with the motif of freedom, but is very closely intertwined with the theme of the hard life of the people, for example in the poem “The Railway”.

Logically connect your conclusions to the topic of the essay. List the eternal themes you have identified and explain the uniqueness of their interpretation in N.A.’s lyrics. Nekrasova.

What is the complexity of A. A. Blok’s attitude to the revolution (based on A. Blok’s poem “The Twelve”)?

Start your essay with the statement that A. A. Blok’s attitude to the revolution was complex, since the event itself is inherently ambiguous. State what the inconsistency is

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perception of this historical event, determine the essence of the author’s position and consistently comment on it.

A. A, Blok shows the revolution as a raging element, chaos (wind, snow, night). This is a terrible time when the old order of life has been destroyed and a new one has not yet been built. According to Blok, this time is complex and dramatic because, along with the destruction of the external side of life, the moral system is lost and permissiveness begins to reign. Emphasize that the culmination of the development of the idea of ​​permissiveness is the episode of Katya’s murder, which illustrates the devaluation of human life.

Please note that the inconsistency of revolutionary time is embodied using the device of contrast. The poem shows the confrontation between two worlds, two social and moral systems; on the one hand, twelve Red Guards, on the other - a “lady in karakul”, a bourgeois, a “comrade priest”; the mundane, everyday nature of the events depicted (the tavern and tavern adventures of Vanka and Katka) contrasts with the romantically sublime depiction of the image of Christ “in a white crown of roses”; unbelief is opposed to holiness. The contrast is set at the very beginning of the poem through the black and white color scheme: “Black evening. White snow".

Next, comment on what expresses the other side of Blok’s attitude towards the revolution, its acceptance. The number “twelve” is present many times in the poem; these are the twelve chapters in the poem, and the twelve Red Guards, who are correlated by the author with the twelve apostles. These are the twelve apostles of the revolution, rhythmically beating the “sovereign step” along the streets of Petrograd. They follow Christ without realizing it:

In front with a bloody flag, And invisible behind the blizzard, Unharmed by a bullet.

With a gentle tread above the storm, A scattering of pearls in the snow, In a white corolla of roses Ahead ~ Jesus Christ.