Composition “The satirical nature of Nekrasov's poetry. Nikolay Alekseevich Nekrasov

In the verses of the second half of the 1940s often directly confronts the oppressors and the oppressed. The poems are highly controversial. Along with a description of the tragic fate of his heroes, Nekrasov could not help but write about the perpetrators of national disasters. Thus, The Hound Hunt (1846) is built on the clash of the landlord's ironically described delights from the lordly fun and gloomy sullenness, even the open protest of the serfs. And the landscape with which the poem opens is designed in dull, sad colors. True, the poet further mentions the awakening of nature, but this is necessary for contrast, in order to show the complete indifference of the beggars and weary hounds to all the beauties of nature.

Irony, skillfully used in "Hound Hunt", is also characteristic of other satirical poems created by Nekrasov in the mid-40s ("Modern Ode", "Lullaby", 1845; "Moral Man", 1847). Nekrasov's new satirical poems are an important stage in his creative development. Continuing to some extent the traditions of the initial experiments, the poet at the same time refuses the light tone of vaudeville chatter. His satire becomes sharper, angry, implacable. Nekrasov's innovation also manifested itself in the field of intimate lyrics. The lyrical hero that appeared in his poems in the second half of the 1940s was a kind of discovery in Russian poetry. This is a typical commoner, who finds it very difficult to break with the noble past. No less important is the appearance in Nekrasov of the image of a lyrical heroine. The thoughts and actions of the lyrical characters of the poet-democrat are socially conditioned. They are depicted in a very specific time and space. Such, for example, is the poem "Am I going at night ..." (847), about which many years later, already from Siberia, he wrote: "It first showed: Russia is acquiring a great poet." The story of the death of an outstanding woman is told in this poem with sincere humanity, with deep respect for the heroine, who is highly characterized by an unbridled desire for will.

Late 40s Nekrasov has the first poems dedicated to A. Ya. Panaeva and subsequently constituted the so-called "Panaev cycle", which researchers rightly compare with the famous "Denisiev cycle" of F. Tyutchev. Independently of each other, two great poets created love poems, striking in their openness of feeling. They expressed the true drama of experiences, the complex and painful relationship between the hero and the heroine ("If tormented by a rebellious passion ...", 1847; "You are always good incomparably ...", 1847; "Amazed by an irretrievable loss ...", 1848; "Yes, our life flowed rebelliously ... ", 1850, and others, up to the "Three Elegies", written in 1874 and, as it were, completing the cycle).

V Nekrasov's poems of the second half of the 40s have already outlined many features that will become characteristic of his subsequent work: a combination of lyrical and satirical beginnings, a violation of the usual genre system in lyrics, an appeal to

the world of everyday life, to the image ordinary people from village and city. Sociality becomes the basis of Nekrasov's poetry. The years of the "gloomy seven years" were very difficult for Nekrasov as a poet and editor of Sovremennik. He writes much less poetry and almost never publishes it. To support the magazine, Nekrasov, together with Panaeva, wrote two novels: Three Countries of the World (1848-1849) and Dead Lake (1885). These novels are, of course, of known interest, but Nekrasov entered the history of Russian literature not as a playwright or prose writer, but as a poet.

Among the relatively few poems written and published by Nekrasov in the early 50s, the response to Gogol's death is of particular importance: "Blessed is the gentle poet" (1852). This is one of the first manifestos of the "Gogol" trend in literature, around which a lively controversy soon arises. It is no coincidence that the main idea of ​​the poem

• "He preaches love
• With a hostile word of denial ... "

caused sharp criticism by Druzhinin, but was enthusiastically taken up by Chernyshevsky. One of the most significant poems written by Nekrasov in the first half of the 50s, “Excerpts from the travel notes of Count Garansky” (1853), could only be published in 1856, when the “dark seven years” had already ended and censorship oppression was somewhat weakened.

Writing

In the poems of the second half of the 40s, Nekrasov often directly confronts the oppressors and the oppressed. The poems are highly controversial. Along with a description of the tragic fate of his heroes, Nekrasov could not help but write about the perpetrators of national disasters. Thus, The Hound Hunt (1846) is built on the clash of the landlord's ironically described delights from the lordly fun and gloomy sullenness, even the open protest of the serfs. And the landscape with which the poem opens is designed in dull, sad colors. True, the poet further mentions the awakening of nature, but this is necessary for contrast, in order to show the complete indifference of the beggars and weary hounds to all the beauties of nature.

The irony skillfully used in "Hound Hunt" is also characteristic of other satirical poems created by Nekrasov in the mid-40s ("Modern Ode", "Lullaby", 1845; "Moral Man", 1847). Nekrasov's new satirical poems are an important stage in his creative development. Continuing to some extent the traditions of the initial experiments, the poet at the same time refuses the light tone of vaudeville chatter. His satire becomes sharper, angry, implacable. Nekrasov's innovation also manifested itself in the field of intimate lyrics. The lyrical hero that appeared in his poems in the second half of the 1940s was a kind of discovery in Russian poetry. This is a typical commoner, who finds it very difficult to break with the noble past. No less important is the appearance in Nekrasov of the image of a lyrical heroine. The thoughts and actions of the lyrical characters of the poet-democrat are socially conditioned. They are depicted in a very specific time and space. Such, for example, is the poem "Am I going at night ..." (847), about which Chernyshevsky many years later, already from Siberia, wrote: "It first showed: Russia is acquiring a great poet." The story of the death of an outstanding woman is told in this poem with sincere humanity, with deep respect for the heroine, who is highly characterized by an unbridled desire for will.

At the end of the 1940s, Nekrasov produced the first poems dedicated to A. Ya. Panaeva and subsequently constituted the so-called “Panaev cycle”, which researchers rightly compare with the famous “Denisiev cycle” of F. Tyutchev. Independently of each other, two great poets created love poems, striking in their openness of feeling. They expressed the true drama of experiences, the complex and painful relationship between the hero and the heroine (“If tormented by a rebellious passion ...”, 1847; “You are always good incomparably ...”, 1847; “Amazed by the loss of irretrievable ...”, 1848; “Yes, our life flowed rebelliously ... ", 1850, and others, up to the "Three Elegies", written in 1874 and, as it were, completing the cycle).

In the poems of Nekrasov in the second half of the 40s, many features have already been outlined that will become characteristic of his subsequent work: a combination of lyrical and satirical beginnings, a violation of the usual genre system in lyrics, an appeal to

the world of everyday life, to the image of ordinary people from the village and the city. Sociality becomes the basis of Nekrasov's poetry. The years of the "gloomy seven years" were very difficult for Nekrasov as a poet and editor of Sovremennik. He writes much less poetry and almost never publishes it. To support the magazine, Nekrasov, together with Panaeva, wrote two novels: Three Countries of the World (1848-1849) and Dead Lake (1885). These novels are, of course, of a certain interest, but Nekrasov entered the history of Russian literature not as a playwright or prose writer, but as a poet.

Among the relatively few poems written and published by Nekrasov in the early 50s, the response to Gogol's death is of particular importance: "Blessed is the gentle poet" (1852). This is one of the first manifestos of the "Gogol" trend in literature, around which a lively controversy soon arises. It is no coincidence that the main idea of ​​the poem

* "He preaches love
* A hostile word of denial ... "
caused sharp criticism by Druzhinin, but was enthusiastically taken up by Chernyshevsky. One of the most significant poems written by Nekrasov in the first half of the 50s, “Excerpts from the travel notes of Count Garansky” (1853), could only be published in 1856, when the “dark seven years” had already ended and censorship oppression was somewhat weakened.

V Nekrasov's poems of the second half of the 40s have already outlined many features that will become characteristic of his subsequent work: a combination of lyrical and satirical beginnings, a violation of the usual genre system in lyrics, an appeal to the world of everyday life, to the image of ordinary people from the village and the city. Sociality becomes the basis of Nekrasov's poetry. The years of the "gloomy seven years" were very difficult for Nekrasov as a poet and editor of Sovremennik. He writes much less poetry and almost never publishes it. To support the magazine, Nekrasov, together with Panaeva, wrote two novels: Three Countries of the World (1848-1849) and Dead Lake (1885). These novels are, of course, of a certain interest, but Nekrasov entered the history of Russian literature not as a playwright or prose writer, but as a poet. Among the relatively few poems written and published by Nekrasov in the early 50s, the response to Gogol's death is of particular importance: "Blessed is the gentle poet" (1852).

caused sharp criticism by Druzhinin, but was enthusiastically taken up by Chernyshevsky. One of the most significant poems written by Nekrasov in the first half of the 50s, “Excerpts from the travel notes of Count Garansky” (1853), could only be published in 1856, when the “dark seven years” had already ended and censorship oppression was somewhat weakened.

In the verses of the second half of the 40s, Nekrasov often directly confronts the oppressors and the oppressed. The poems are highly controversial. Along with a description of the tragic fate of his heroes, Nekrasov could not help but write about the perpetrators of national disasters. Thus, The Hound Hunt (1846) is built on the clash of the landlord's ironically described delights from the lordly fun and gloomy sullenness, even the open protest of the serfs. And the landscape with which the poem opens is designed in dull, sad colors. True, the poet further mentions the awakening of nature, but this is necessary for contrast, in order to show the complete indifference of the beggars and weary hounds to all the beauties of nature. Irony, skillfully used in "Hound Hunt", is also characteristic of other satirical poems created by Nekrasov in the mid-40s ("Modern Ode", "Lullaby", 1845; "Moral Man", 1847). Nekrasov's new satirical poems are an important stage in his creative development.

Continuing to some extent the traditions of the initial experiments, the poet at the same time refuses the light tone of vaudeville chatter. His satire becomes sharper, angry, implacable. Nekrasov's innovation also manifested itself in the field of intimate lyrics. The lyrical hero that appeared in his poems in the second half of the 1940s was a kind of discovery in Russian poetry. This is a typical commoner, who finds it very difficult to break with the noble past. No less important is the appearance in Nekrasov of the image of a lyrical heroine.

Panaeva and subsequently compiled the so-called "Panaev cycle", which researchers rightly compare with the famous "Denisiev cycle" of F. Tyutchev. Independently of each other, two great poets created love poems, striking in their openness of feeling. They expressed the genuine drama of experiences, the complex and painful relationship between the hero and the heroine (“If tormented by a rebellious passion ...

", 1847; “You are always good incomparably…”, 1847; “Amazed by the loss of irretrievable…”, 1848; “Yes, our life flowed rebelliously ...”, 1850, and others, up to the “Three Elegies”, written in 1874 and, as it were, completing the cycle).

The thoughts and actions of the lyrical characters of the poet-democrat are socially conditioned. They are depicted in a very specific time and space. Such, for example, is the poem "Am I going at night ..." (847), about which Chernyshevsky wrote many years later, already from Siberia: "It was the first to show: Russia is acquiring a great poet." The story of the death of an outstanding woman is told in this poem with sincere humanity, with deep respect for the heroine, who is highly characterized by an unbridled desire for will. Late 40s Nekrasov has the first poems dedicated to A. Ya.

This is one of the first manifestos of the "Gogol" trend in literature, around which a lively controversy soon arises. It is no coincidence that the main idea of ​​the poem

Nekrasov entered Russian poetry not only as a citizen poet, patriot, folk singer, but also as a satirist. Irony is a strong weapon of Nekrasov's poetry. In "Lullaby" (1845), the poet satirically depicts the typical career of an official

What is the tone of the poem?

What is the relationship of the poet to his hero?

Students listen to the reading of the poem "A Moral Man".

Who is the hero of this poem?

(The hero speaks for himself, but the reader is indignant. The poet also treats the hero with mockery. Sometimes he exposes himself, shows his vile soul).

What did the author want to tell us about morality?

(Nekrasov wanted to show how flexible the concept of morality has become, how easy it is to apply to any person, even such as the hero of the poem.)

Love lyrics by Nekrasov

Speaking of Nekrasov's poetry, one cannot fail to note his love lyrics. The poet's predecessors preferred to depict this feeling in beautiful moments. Nekrasov, poetizing the ups and downs of love, did not ignore the "prose of life", which is inevitable in love.

The poem sounds "You and I are stupid people ..."

What kind of love do we see in the works of Nekrasov?

(Love in Nekrasov's poems warms a person, helps to survive in a cruel world.)

teacher's word

The love of the poet himself was also dramatic, linking him for many years with Avdotya Yakovlevna Panaeva. She was his happiness and torment, caused a whole series of love poems, known as the Panaev cycle. Lovers meet, quarrel, reconcile, part, remember, And in this "novel" the ideal of a caring, affectionate woman is affirmed - a friend as a support in a difficult life struggle, as a healer of a poet experiencing creative and heartfelt torments.

Homework

1. Make a written analysis of any poem.

2. Individual task. Prepare a message “Genre and composition of the poem “Who should live well in Russia”.

Lesson 59

Lesson Objectives: create the necessary emotional mood, help students feel the social tragedy of the peasantry; arouse interest in the poem.

During the classes

I. Writing a topic, epigraph, lesson plan

The spectacle of the disasters of the people

Unbearable my friend...

In the second section of the collection, Nekrasov appears as a very original satirical poet. What is its uniqueness? Among Nekrasov's predecessors, satire was predominantly punishing: Pushkin saw in it a formidable ornate gift. The satirical poet was likened to the ancient Zeus the Thunderer. He rose high above the satirical hero and threw lightning bolts of sizzling, accusatory words at him. Nekrasov often uses satirical rehashing, which should not be confused with parody.

V Lullaby song(Imitation of Lermontov) the rhythmic-intonational structure of Lermontov's Cossack lullaby is reproduced, and its high poetic vocabulary is partially borrowed, but not in the name of parody, but in order that, against the background of the high element of maternal feelings resurrected in the mind of the reader, the baseness of those relationships about which Nekrasov is talking about. Parodic use (rehashing) is here a means of enhancing the satirical effect.

The search for a new person The third section of the collection, Sasha's poem, is one of the first experiences of Nekrasov's poetic epic, organically arising from his desire for a wide coverage of life. The poem was written in a happy time of rise social movement. Abrupt changes were brewing in the country, the appearance of new people with strong characters was expected. It was clear to everyone: these people must come from social strata close to the people. In the poem, Sasha Nekrasov, anticipating Turgenev and Chernyshevsky, wanted to show how new people are born and how they differ from the old heroes - nobles, superfluous people. The spiritual strength of a person, according to Nekrasov, feeds on the measure of his ties with the people. The deeper this connection, the more stable and significant the person is, and vice versa. Deprived of (* 176) roots in his native land, a person is likened to a tumbleweed steppe grass. Such is the cultured nobleman Agarin. This is a smart, gifted and educated person, but there is no firmness and faith in the character of the eternal wanderer: What the last book tells him, It will fall on his soul from above: To believe, not to believe - it does not matter to him, If only it was proved smart! Agarin is opposed by the daughter of small landed nobles, young Sasha. The joys and sorrows of a simple village childhood are accessible to her: she perceives nature in a folk way, admires the festive aspects of peasant labor in the nurse-cornfield. In the story of Sasha and Agarin, Nekrasov weaves the gospel parable about the sower and the soil, beloved by the peasantry. The farmer-farmer likened enlightenment to sowing, and its results - to earthly fruits growing from seeds in a labor field. In the poem, Agarin acts as a sower of knowledge for the people's field, and the soul of the young heroine turns out to be fertile ground. The socialist ideas that Agarin introduces to Sasha fall into fertile soil and promise a lush fruit in the future. The heroes of the word will soon be replaced by the heroes of the deed. Sasha's poem was received with particular enthusiasm by his contemporaries: public life those years, the displacement of the cultural nobles by the raznochintsy was already beginning. The originality of love lyrics Nekrasov also acted as an original poet in the final, fourth section of the poetic collection of 1856: he began to write about love in a new way. The poet's predecessors preferred to depict this feeling in beautiful moments. Nekrasov, poetizing the ups and downs of love, did not ignore the prose that is inevitable in love (You and I are stupid people ...). In his poems, next to the loving hero, the image of an independent heroine appeared, sometimes wayward and uncompromising (I do not like your irony ...). And therefore, the relationship between the lovers became more complex in Nekrasov's lyrics: spiritual intimacy is replaced by a quarrel and quarrel, the characters often do not understand each other, and this misunderstanding overshadows their love (Yes, our life flowed rebelliously ...). Such misunderstanding is sometimes caused by different upbringing, different living conditions of the characters. In the poem Shyness, a timid, insecure raznochinets faces an arrogant secular beauty. In Masha, spouses cannot (*177) understand each other, since they received a different upbringing, have a different idea of ​​\u200b\u200bthe main and secondary things in life. In the Guessing Bride - a bitter premonition of a future drama: a naive girl likes in her chosen one the outward elegance of manners, fashionable clothes. But behind this external brilliance is often hidden emptiness. Finally, very often personal dramas of heroes are a continuation of social dramas. So, in the poem I'm driving down a dark street at night ... in many ways, conflicts are anticipated, which are characteristic of Dostoevsky's novel Crime and Punishment, for the marmalade theme in it. Thus, the success of the poetry collection of 1856 was not accidental: Nekrasov declared himself in it as an original poet, blazing new trails in literature. The main source of the poetic originality of his work was the deep nationality associated with the democratic convictions of the poet.