The poem “Who Lives Well in Rus'” was created by Nekrasov at the end of his life. The author did not have time to complete his work, but even in the form in which the poem reached readers, it amazes with the greatness of its plan. The life of post-reform Rus' in all spheres - peasant, landowner, spiritual - is revealed to the reader. Nekrasov’s desire to depict as fully as possible the way of peasant life that was well known to him determined artistic originality“Who lives well in Rus'.”
Work on the poem lasted about 14 years - and it is not surprising, because Nekrasov had to process a huge amount of material. In the 1860s, the population of Russia was precisely in the so-called “epic” state - the abolition of serfdom served as a turning point. Old traditions were breaking down and becoming a thing of the past, but new ones had not yet had time to emerge. And in order to depict this time in its entirety, the courage of a genius was required, who, according to the critic Belinsky, saw in the poem “the feat of his whole life.”
The most important thing that Nekrasov shows in his poem is ideological originality that time. Despite the fact that the abolition of serfdom was a long-awaited event, it could not be realized at once. The wealthy part of the population - landowners and clergy - were sensitive to the loss of their income and their power. The peasants, in the face of change, were confused. Some of them sought to return to the old, slave, but familiar way of life, while the majority remained as disenfranchised as before the reform. Rus' was a huge, agitated sea, and Nekrasov needed to paint this picture.
To realize his plan, the author chooses the genre of an epic poem, in which both philosophical and social features are manifested - and this is also a feature of the poem “Who Lives Well in Rus'.” The genre of the work determined the plot and composition of the poem. The traditional form of travel for epics turned out to be very convenient for Nekrasov, because with its help he was able to take the reader throughout Russia. The author expanded the artistic space of the poem almost limitlessly - in addition to the villages visited by the wanderers, the work includes stories of characters about St. Petersburg, Astrakhan, and Kyiv. Peasants went there to earn money. Temporary space is also not limited to the image of exclusively post-reform Rus'. Grandfather Savely recalls the Russian-Turkish war of 1828, the priest tells the men about the times of the Old Believers. Various historical and semi-historical characters are mentioned - Ivan Susanin, Field Marshal Blucher, the robber Kudeyar. Thus, time and space in the poem become comprehensive, making it possible to show Rus' not in one of the minutes of its life, but in a wide time slice.
Another feature of the poem is its fragmentation. The seven wanderers unite the disparate parts of the work, but their line in the poem is not the main one. There are a lot of voices here, and more than a dozen faces pass before the reader. Each episode could serve as a plot for a separate text, but together they add up to a complete picture of Russian life.
In addition to the genre originality of the work, we must not forget about the specificity of poetics. It also correlates with the epic genre: trying to recreate the unique atmosphere of peasant life, Nekrasov relies mainly on folklore motifs. This leads to the peculiarities of the style of the poem - this is a bizarre combination of literary, colloquial speech and folklore elements. Among artistic means used in the poem, one can identify a large number of epithets and comparisons characteristic of folk poetry. Nekrasov also weaves into the text of the poem, both directly and artistically transformed, excerpts from folklore - wedding and funeral songs, uses plots from epics and folk legends, and introduces about seventy proverbs and riddles into the text.
The connection of the poem with folklore is not limited to the use of folklore elements in it. Nekrasov changes the entire rhythmic organization of the verse. The free and flexible language of the poem, which easily includes the entire range of folk speech - from perky jokes to lamentations, has been called by researchers “Nekrasov’s brilliant find.” After spending a huge research work, the author was able to use the features of individual folk dialects in the speech of the poem: a large number of diminutive suffixes, changing the endings of words to dialectal ones, melodiousness and softness of folk speech. We must also not forget about the specific folk humor with which the poem is so rich.
We can conclude that in “Who Lives Well in Rus'” artistic features determined by the intent of the poem and cannot be considered separately from it. Thanks to his enormous talent, as well as painstaking and long work With the material, Nekrasov managed to cope with the task set for himself and created a holistic picture of post-reform Rus'.
Work test
The work of Alexander Trifonovich Tvardovsky - the author of the famous poems “The Country of Ant”, “Vasily Terkin”, “House on the Road”, “Beyond the Distance - the Distance” is ambiguously assessed by modern critics, literary scholars, and readers. However, we can say with confidence that he was an outstanding poet of the Soviet period of Russian literature, whose works reflected important stages in the history of the Russian people and are of significant artistic value.
What are the features of Tvardovsky’s creative worldview? In what direction did it develop? What is the ideological and artistic originality of this poet’s works?
The poem “The Country of Ant” was published in 1936 and brought him wide literary fame. At this time, the country was solving a serious socio-political problem of the village way of life, the fate of the peasants. Relying on Nekrasov's traditions in depicting the peasant worldview (“Who lives well in Rus'”), Tvardovsky creates a detailed poetic work about the victory of the collective farm system.
The plot of the poem is quite simple. Main character- peasant Nikita Morgunok, who does not dare to join the collective farm because he is afraid of losing his independence. He is attracted to an individual life, filled with special meaning and even poetry. Having heard an old legend about the land of peasant happiness, Muraviya, Morgunok goes in search of this fabulous land. His imagination lovingly paints ideal pictures of wealth and abundance, simplicity and independence reigning in this small wonderful country:
Land in length and breadth
All around us.
Sow one bobble
And that one is yours...
... And everything is yours in front of you,
Go ahead and spit.
Your well and your fir tree,
And all the cones are fir.
Next, we observe how reality gradually destroys the hero’s illusions regarding the possibility and correctness of individual management peasant farm and convinces us that real happiness is possible only on the collective farm, in collective work on common land.
First, Morgunok finds himself at a cheerful kulak wedding (Chapter II) and understands that he is not satisfied with this way of life (“There’s a wedding and a wake”). Next, the hero meets a cunning priest on his way (Chapter V), makes an enemy in the person of the fist of Ilya Bugrov (Chapter VIII). However, the strongest impression on Morgunk, which finally changed his worldview, was made by the village of individual peasants on the Island (Chapter XIV), in which live peasants who did not want to go to the collective farm and because of this found themselves in poverty:
There are seas of bread all around,
Fields of a large country.
Thin Roofs of the Islands
They are barely visible behind them.
New position The hero, who has realized the advantages of collective farm life, is finally consolidated after his visit to the collective farm, in which he sees the well-coordinated work of the peasants (Chapter XV). Like Nekrasov's hero looking for happy peasants, Tvardovsky's hero finds them on the collective farm fields. Morgunok comes to the conclusion that he is “not a quitter, not a villain”, “no worse than all people” and therefore worthy better life. This is confirmed by a conversation with the chairman of the collective farm, Frolov, who tells Morgunk about the struggle for collective farms in the village, about the gradual and difficult transition to a new way of farming:
You say how many years
Will this life work?
So I give you the answer
Open and cordial:
At first only for five years.
- And there? - And there for ten years.
- And there? - And there for twenty years.
- And there? - And there - forever...
The poet’s significant creative merit is the authenticity of the artistic disclosure of the problem posed: showing the fullness and inconsistency of doubts, the painful hesitations of Morgunok, a truthful and unembellished depiction of the fierce struggle for the collective farms. In this regard, A. Tvardovsky’s poem echoes M. Sholokhov’s novel “Virgin Soil Upturned.”
The poem “Beyond the Distance, the Distance,” awarded the Lenin Prize in 1961, is considered one of the most complex and unusual works of the poem by A. Tvardovsky. There is no end-to-end character or integral plot in it: individual chapters are united only by time (modernity) and place (road) of action, and the content is a picture of the author’s experiences, impressions, and reflections. The poet makes a double trip along the route Moscow - Pacific Ocean(in time) after several decades (in space). Tvardovsky himself conventionally defined the genre “Beyond the Distance - the Distance” as a travel diary.
It was in this work that the most clearly reflected characteristics Tvardovsky’s creative concept is extreme closeness to the reader, receptivity to everything new, responsiveness to the most important problems of our time.
Hence the poet’s main ideological task is to reveal the essential features modern life, show them in a broad historical perspective, determine the place of the poet in the general life of the people:
And how many things, events, destinies,
Human sorrows and victories
Fits in these ten days,
That they turned at the age of ten!
Using the techniques of hyperbolization and contrast, the author-narrator notes all the new changes in social and cultural life and appearance countries. Thus, the “orphan ringing” of an anvil in the “poor straw land” is replaced by a majestic picture of the modern Urals, supplying the entire country with iron and equipment (“Two Forges”):
Ural! The supporting edge of the state.
Her breadwinner and blacksmith.
The same age as our ancient glory
And the creator of today's glory.
In the past, “a remote region,” Siberia becomes “the factory and breadbasket of the state,” its “mine and arsenal” (“Lights of Siberia”). Traveling with the author, we observe the construction of a powerful hydroelectric power station (“Conquest of the Angara”).
The closeness of the author to the reader is manifested in a special form of poetic narration, which can be defined as an intimate conversation between friends. However, for Tvardovsky, a reader is not only a person close in spirit, “ best friend reliable,” but also “a strict mentor” and “a supreme judge.” A feeling of increased responsibility for one’s creativity, a deep receptivity to criticism - distinctive features artistic thinking of the poet.
A special role in the poem is played by the chapter “So it was,” in which the poet commits short excursion into the recent past, truthfully and boldly enough for its time describing the period of Stalin’s personality cult:
...When the Kremlin walls
The living are protected from life,
Like a formidable spirit he was above us, -
We didn't know any other names.
Tvardovsky writes with bitterness and pain about abuses of power, repression, and the extermination of entire nations. At the same time, only Stalin’s personality is criticized by the poet. The image of Lenin remains inviolable, since, according to the author, “the great Lenin was not a god and did not teach the creation of gods.”
The leading leitmotif of the entire poem “Beyond the Distance is the Distance” is the poet’s ardent recognition of love and loyalty to his Motherland, pride in its achievements and transformations, involvement in its “proud strength”:
The big and difficult world is dear to me,
I am in it - the son of my Fatherland.
I'm filled with a wonderful dream with her
Reach selected peaks.
Considering the significant changes in Russian public consciousness in the post-Soviet era, the rethinking of many social and spiritual ideals, the long and sad experience of collective farming in our country, the assessment of both Tvardovsky’s poems by a modern reader can be ambiguous and contradictory. Noting the undoubted artistic merit of these works - the perfection of poetic language, the richness of fantastic intonations, the authenticity of the images of the paintings folk life, we can talk about the controversial and transitory nature of the ideological content of the poem.
However, it can be argued that the poems “The Country of Ant” and “Beyond the Distance” most fully reflected the main features of Tvardovsky’s ideological and artistic worldview: a close connection with modernity, the ability to capture and poetically express the mood of the era, and to convey high ideas to the widest circle. readers, closeness to the best traditions of Russian literary classics.
ARTISTIC
ORIGINALITY OF THE POEM
ON THE.
NEKRASOVA “WHO LIVES WELL IN Rus'”
Poem “To whom
It’s good to live in Rus'” occupies the central
place in the work of N. A. Nekrasov. She became
a kind of artistic result more
than thirty years of literary work
author. All the motives of his early lyrics seem to
collected together and developed in the poem, anew
all the problems that worried him were rethought,
the highest artistic standards were used
achievements.
ON THE.
Nekrasov not only created a special genre
social and philosophical poem. He subdued
his main task: to show Russia in its
past, present and future. Starting to write
“hot on the heels”, that is, immediately after
reforms of 1861, an epic poem about
liberating, reborn people, N.
A. Nekrasov endlessly expanded his
original intention. Search for the “lucky ones”
in Rus' they took him away from modernity to
ancient origins: the poet strives to realize not
only the results of the abolition of serfdom,
but also the very philosophical nature of such concepts,
as “happiness”, “freedom”, “sin”, for outside
this philosophical understanding is impossible
understand the essence of the present moment and see
the future of the people.
Fundamental
the novelty of the genre explains the fragmentation
a poem constructed from individual
unfinished chapters. United in a way -
symbol of the road, the poem breaks down into someone's
history, as well as the fate of dozens of people.
Each episode in itself could be
the plot of a song or story, legend or
novel. All together, in their unity, they
constitute the fate of the Russian people,
highlighting its historical
way from
slavery to freedom. That is why only in
the last chapter appears the image of the “folk
intercessor” Grisha Dobrosklonov - the one
who will help people find their will. Each of
the characters in the poem have their own voice. N. A. Nekrasov
combines fantasy, everyday and poetic
speech and introduces an evaluative element into it,
forcing readers to perceive speech
character the way the author wants. At U.S. not
there is an impression of stylistic
discordance of the poem, because everything
the techniques used here are subordinated
common task: to create a poem that would be
close and understandable to the peasant.
Author's
the task determined not only the genre
innovation, but also all the originality of poetics
works. N. A. Nekrasov many times
turned to folklore motifs in his lyrics and
images The entire poem is about folk life
builds on a folklore basis. IN
work in that
to a different extent, all the main
genres of folklore: fairy tale, song, epic,
legend, ditty.
What is it like
place and meaning of folklore in the poem? Firstly,
folklore elements allow N.A.
Nekrasov to recreate the painting
peasant idea of the world,
express the people's views on many important
questions. Secondly, the poet skillfully uses
special folklore techniques, style, figurative
system, laws and artistic means.
From
The images of Kudeyar and Savely are taken from folklore.
Folk art prompted N.A.
Nekrasov and many comparisons; some of
They are generally based on riddles. Poet
uses typical folk speech
repetitions, negative parallelism,
catching the end of a line at the beginning of the next one,
use of song interjections. But the most basic difference between folklore and
fiction, which we find
for N.A. Nekrasov, this is a lack of authorship.
Folklore is different in that the people together
composes the work, its people
he talks, and the people listen. IN
folklore replaces the author's position
national morality. Individual
the author's point of view is alien to nature itself
oral folk art.
Author's
literature turns to folklore when
need to go deeper into the essence
national morality; when itself
the work is addressed not only to
intelligentsia (most of the readers
century), but also
to the people. Both of these tasks were set before
by himself N. A. Nekrasov in the poem “To whom in Rus'
to live well".
And one more
the most important aspect distinguishes the author's
literature from folklore. Oral
creativity does not know the concept of “canonical”
text”: each listener becomes
co-author of the work, in his own way
retelling it. To such an active
co-creation of the author and the reader and strived
N. A. Nekrasov. That is why his poem
written “in free language, as much as possible
close to common speech.” Poem
researchers call the poem “brilliant”
find” by N. A. Nekrasova. Free and
flexible poetic meter, independence
from
opened the opportunity to generously donate
originality vernacular, saving all
his accuracy, aphorism and special
proverbial phrases; organically weave
into the fabric of the poem are village songs, sayings,
lamentations, elements folk tale(magical
self-assembled tablecloth treats wanderers);
skillfully reproduce perky speeches
tipsy men at the fair, and
expressive monologues of peasants
orators, and absurdly self-righteous
the reasoning of a tyrant landowner.
Colorful
folk scenes, full of life and movements,
round dances of characteristic expressive persons and
figures - all this creates a unique
polyphony in Nekrasov's poem.
Problems and tests on the topic “ARTISTIC ORIGINALITY OF N. A. NEKRASOV’S POEM “WHO LIVES WELL IN Rus'””
- Spelling - Important topics for repeating the Unified State Exam in Russian
Artistic style - concept, types of speech, genres
All researchers talk about the special position of the style of fiction in the system of styles of the Russian language. But his highlighting in this common system perhaps, because it arises from the same basis as other styles.
The field of activity of the style of fiction is art.
The “material” of fiction is the common language.
He depicts in words thoughts, feelings, concepts, nature, people, and their communication. Each word in an artistic text is subject not only to the rules of linguistics, it lives according to the laws of verbal art, in a system of rules and techniques for creating artistic images.
Form of speech - predominantly written; for texts intended to be read aloud, prior recording is required.
Fiction uses all types of speech equally: monologue, dialogue, polylogue.
Type of communication - public.
Genres of fiction known - thisnovel, story, sonnet, short story, fable, poem, comedy, tragedy, drama, etc.
all elements of the artistic system of a work are subordinated to the solution of aesthetic problems. The word in a literary text is a means of creating an image and conveying the artistic meaning of the work.
These texts use the entire variety of linguistic means that exist in the language (we have already talked about them): means artistic expression, and can be used as a means literary language, as well as phenomena outside the literary language - dialects, jargon, means of other styles, etc. At the same time, the selection of linguistic means is subject to the artistic intention of the author.
For example, the character's surname can be a means of creating an image. This technique was widely used by writers of the 18th century, introducing “speaking surnames” into the text (Skotinins, Prostakova, Milon, etc.). To create an image, the author can, within the same text, use the possibilities of word ambiguity, homonyms, synonyms and other linguistic phenomena
(The one who, having sipped passion, only gulped down mud - M. Tsvetaeva).
Repetition of a word that, scientifically and officially, is business styles emphasizes the accuracy of the text, in journalism serves as a means of enhancing impact, in artistic speech can form the basis of the text, create art world author
(cf.: S. Yesenin’s poem “You are my Shagane, Shagane”).
The artistic means of literature are characterized by the ability to “increase meaning” (for example, with information), which makes it possible different interpretations artistic texts, its various assessments.
For example, critics and readers assessed many works of art differently:
- drama by A.N. Ostrovsky called “The Thunderstorm” “a ray of light in a dark kingdom,” seeing in its main character a symbol of the revival of Russian life;
- his contemporary saw in “The Thunderstorm” only “a drama in a family chicken coop”,
- modern researchers A. Genis and P. Weil, comparing the image of Katerina with the image of Flaubert’s Emma Bovary, saw many similarities and called “The Thunderstorm” “the tragedy of bourgeois life.”
There are many such examples: interpretation of the image of Shakespeare's Hamlet, Turgenev's, Dostoevsky's heroes.
The literary text has the author's originality - the author's style. These are the characteristic features of the language of the works of one author, consisting in the choice of heroes, compositional features of the text, the language of the heroes, and the speech features of the author’s text itself.
So, for example, for the style of L.N. Tolstoy is characterized by a technique that the famous literary critic V. Shklovsky called “detachment.” The purpose of this technique is to return the reader to a vivid perception of reality and expose evil. This technique, for example, is used by the writer in the scene of Natasha Rostova’s visit to the theater (“War and Peace”): at first, Natasha, exhausted by separation from Andrei Bolkonsky, perceives the theater as an artificial life, opposed to her, Natasha’s, feelings (cardboard scenery, aging actors), then, after meeting Helen, Natasha looks at the stage through her eyes.
Another feature of Tolstoy’s style is the constant division of the depicted object into simple constituent elements, which can manifest itself in rows homogeneous members offers; at the same time, such dismemberment is subordinated to a single idea. Tolstoy, fighting against the romantics, developed his own style and practically abandoned the use of figurative means of language.
In a literary text we also encounter the image of the author, which can be presented as an image - a storyteller or an image of a hero, a narrator.
This is a conventional image .
The author ascribes to him, “transfers” the authorship of his work, which may contain information about the writer’s personality, facts of his life that do not correspond to the actual facts of the writer’s biography. By this he emphasizes the non-identity of the author of the work and his image in the work.
- actively participates in the lives of the heroes,
- included in the plot of the work,
- expresses his attitude to what is happening and characters
