Satirical works of N.A. Nekrasov

Nekrasov is the successor and successor best traditions Russian poetry - its patriotism, citizenship and humanity. In the world of art, the question of the purpose of literature, and in particular poetry, was raised again and again. Nekrasov also repeatedly addressed this problem. The poet chose the path of "an accuser of the crowd, its passions and delusions" in his youth, but the first statements on this topic date back to a later time. On February 21, 1852, on the day of the death of N.V. Gogol, whose name is inextricably linked with citizenship in literature, Nekrasov wrote the poem "Blessed is the gentle poet ..." the first poetic declaration. The theme of the appointment of the poet and poetry is one of the main ones in the lyrics Nekrasova. His views on the role of the poet and poetry N. Naib. fully outlined in verse and "The Poet and the Citizen", which is perceived as his poetic. manifesto. It is constructed as a dialogue, and this form is traditional for Russian literature. So "The Poet and the Crowd", "The Conversation of the Bookseller with the Poet" by A. S. Pushkin, "Journalist, Reader and Writer" by M. Yu. Lermontov were written. The poem was published in 1856. in a poetry collection. It was written when the struggle between the supporters of the reactionary theory of "pure art" and the supporters of the civic direction in art, headed by Chernyshevsky, sharply escalated. Ch. the author's thought is affirmed in a polemic with those who are trying to purify poetry from socio-political themes, considering them unworthy of high art. On behalf of a citizen, he reproaches the poet for leading the reader away from the topical issues of our time into the world of intimate feelings and experiences. But Nekrasov's dialogue is an internal dispute, a struggle in his soul between the Poet and the Citizen. The author himself tragically experienced this internal rupture, often making the same claims to himself as the Citizen to the Poet. The citizen in the poem shames the Poet for inaction; in his understanding, the immense loftiness of civil service overshadows the former ideals of creative freedom, the new high goal of dying for the Fatherland. N. warns the poet, who is at a crossroads, from the danger of sharing the fate of the liberals, mired in empty talk and inaction. An excited monologue of a citizen calls on the poet, "the chosen one of heaven", to dedicate his muse to the destitute, oppressed masses of working people, the people. Poetry, according to N., does not serve the intellectual elite, but the people, in which there is a need for beauty, justice, and faith. Those. N. affirms in verse and the civil character of poetry, believing that the poet "in the hour of grief" d/b together with the people. It was such a poet that N. In essence, we are not faced with a duel between two opponents, but a mutual search for a true answer to the question of the role of the poet and the purpose of poetry in public life. 1867 in the poem "I will die soon. A miserable inheritance ...". The poet again turns to the slogan that defines all his work. In 1874, Nekrasov created the poem "The Prophet". This work, of course, continued the series in which the works of Pushkin and Lermontov already stood. It again speaks of the difficulty of the chosen path, of the divine beginning of creativity. 31. Satire N.A. Nekrasov In 1856, Nekrasov's collection "Poems" was published, which brought him real success and all-Russian fame. The second section of this collection consists of satirical poems. in them N. appears as a very peculiar poet. Usually satire in Russian literature is punishing satire, when the poet rises above the hero and debunk him. N. tries as much as possible to get closer to the denounced hero, to be imbued with his views, to adjust to his self-esteem. Verse. “A Modern Ode”, “A Moral Man”, “Excerpts from the Travel Notes of Count Goransky”, here the heroes themselves speak about themselves, the author deliberately sharpens the mindset hostile to him, which means that the heroes do not need to be convicted from a dream, they expose themselves. In the 60s, N. actively worked in the form of satire, wrote the cycles “About the Weather”, “Ballet”, satirical in terms of pofos, urbanistic in terms of the object of the image, i.e. the main theme of the city. The 1875 poem “Contemporaries” grew out of them, the 1st part is called “Anniversaries and Triumphs” - based on the principle of panoramic view - the narrator looks in turn into 12 halls where the anniversaries are honored and hears fragments of 12 glorifications, but all these glorifications are travestied, from which gives rise to a satirical effect. portrait descriptions are wonderful.. grotesque situations also work for the author's idea of ​​exposure (“I love living writers, but dead ones are dearer to me”). Thanks to the motley mazayka, a portrait of a modern hero, bigwig, plutocrat is born. This image continues to unfold in the 2nd part - "Mountains of Time". Unlike the 1st fragmentary, storylines are outlined here - the 1st connection with the heroes is undertaken, with their path to wealth, the colorful figures of Fyodor Shkurin and Savva Antichristov. 2nd - the story of intellectuals who succumbed to the influence of money, this is how it is told about people who betrayed their youthful ideals - Schwabs - a former scientist, now the director of the loan office, Pereleshin - used to call for forgiveness and pity towards criminals, and now - a comrade prosecutor. Zatsepin is one of the central characters of the 2nd part. N. uses in connection with this hero an unexpected plot twist in the epilogue of the poem. Zatsepin begins to repent of his sins ("I am a thief! I am a thief!"). the impetus is a telegram about the death of his son. The story of the son - he does not participate in the affairs of his father, asks if he is really a thief, leaves. Then someone called his father a thief, the son interceded, mortally wounded in a duel. That. N. in this fragment moves from satirical reflection to the study of the drama of Rus. life and individuals nat. consciousness. In context, the figures of Ivan the Terrible and Gogol are examples of a desire for repentance. But the poem does not end on this lofty note. It's called a tragicomedy. The final scene - everyone is reconciled by a card game. Prince Ivan invites everyone to the game table, and Zatsepin also goes to play. Sentence. Which endures N. - "There were worse times, but they were not mean!" 32. Genre innovation of "peasant" poems by N.A. Nekrasov ("Pedlars", "Frost Red Nose") . "Pedlars" (1861) - the first folk poem, a magnificent stylization. In it, the poet went on a new path. His previous work was addressed mainly to the reader from the educated strata of society. VK." there is love and longing for parting, and violent death. In "Korobeiniki" he boldly expanded the intended circle of his readers and directly addressed the people, starting with an unusual dedication: "To a friend and friend Gavrila Yakovlevich (a peasant in the village of Shody, Kostroma province)". The poet also took a second unprecedented step: at his own expense, he printed a poem in the series "Red Books" and distributed it among the people through peddlers - merchants of small goods. "Pedlars" - a poem-journey. Village merchants roam the countryside - old Tikhonych and his young assistant Vanka. Before their inquisitive gaze, colorful pictures of the life of the anxious post-reform period pass one after another. The plot of the road turns the poem into a broad overview of Russian provincial reality. Everything that happens in the poem is perceived through the eyes of the people, everything is given a peasant sentence. The fact that the first chapter of it, in which the art of Nekrasov's "polyphony" triumphs, the art of making the people's view of the world one's own, testifies to the true nationality of the poem, soon became the most popular folk song - "Korobushka". The main critics and judges in the poem are not patriarchal peasants, but "experienced" ones who have seen a lot in their wandering life and have their own opinion about everything. Colorful living types of "intellectual" peasants, rural philosophers and politicians are being created. Nekrasov raised in the poem the question of in native language and style in relation to the large genre of the poem - the concept of the Nekrasov nationality. "Frost, Red Nose" 1863-next. The poem also addressed the problems of the people. The central event of "Frost" is the death of a peasant, and the action in the poem does not go beyond one peasant family. At the same time, both in Russia and abroad, it is considered an epic poem. At first glance, this is a paradox, since classical aesthetics considered the grain of the epic poem to be a conflict of a national scale, the glorification of a great historical event that had an impact on the fate of the nation. However, having narrowed the scope of action in the poem, Nekrasov not only did not limit, but enlarged its problems. After all, the event connected with the death of a peasant, with the loss of "the breadwinner and the hope of the family", is rooted in almost a thousand years of national experience, involuntarily hints at our centuries-old upheavals. Nekrasov's thought develops here in the mainstream of a rather stable, and in the 19th century, extremely lively literary tradition. The family is the basis of national life. This connection between the family and the nation was deeply felt by the creators of our epic from Nekrasov to Leo Tolstoy. The idea of ​​family, kindred unity arose before us as the most urgent at the dawn of Russian history. And the first Russian saints were not warrior heroes, but modest princes, the brothers Boris and Gleb, who were killed by the accursed Svyatopolk. Even then, the values ​​of fraternal, kindred love were elevated in our country to the level of a national ideal. Nekrasov's epic event shines through the everyday plot. Testing the strength of a peasant family union, showing the family at the moment of a dramatic shock to its foundations. Not without reason in the poem the author's narrative about the sad fate of the heroine is interrupted by the poet's excited monologue about Russian peasant women. In it, he draws a generalized image of a "stately Slav" who "stops a galloping horse and enters a burning hut." This vivid portrait reveals the high moral traits of a peasant woman: strength, endurance, diligence, integrity of character, modesty, dignity. The Russian peasant woman, crushed by overwork, still managed to keep her free heart, strength of mind, physical and spiritual beauty even in slavery. Frost-voevoda- introduces an element of fairy-tale fantasy into the poem. 33. Poem by N.A. Nekrasov "Grandfather", her educational pathos. Nekrasov was worried about the images of the suffering Decembrists and their selfless wives. The poem "Grandfather" is about the Decembrists. Design 1869-1870 the events are referred to 1856 (amnesty for political prisoners, the Decembrists return home). N. needs a real historical fact to proclaim his ideals. The central figure is the grandfather, the old Decembrist, a generalized figure, but many contemporaries guessed Volkonsky. Grandfather is not a “fossil” old man, not a museum mummy, but a living and wise person who knows the sacred word, which, as a great inheritance, will be passed on to the younger generation (“Grow up, Sasha, you will know”). At times, grandfather resembles another colossal Nekrasov grandfather - the hero Savely. In the past, both of them had a prison and Siberian penal servitude. The grandfather in the poem is surrounded by a halo of holiness, in his description the poet uses a high biblical style. THEN. the image of a martyr is created, in connection with which there are significant parallels with the crucified Christ. The grandfather's story about the Siberian village of Tarbagatai plays a key role (this settlement was real, it existed on the basis of arbitrariness, cross labor). real fact N. takes as a basis, but supplements it with peasant legends about free lands. In the description of the village, we see a utopian country of abundance, where peace, harmony, prosperity on the basis of free labor reigns - again the utopianism of Nekrasov's consciousness. The historicism of the poem is rather conditional. N. does not set the goal of reliably reproducing history, his task is enlightening, educational - to morally influence the younger generation. Another task is to show the continuity of traditions, generations and ideals. 34. Poem by N.A. Nekrasov "Russian women". Peculiarities of psychologism and genre innovation. The poem "Russian Women" on the Decembrist theme, written in 1873. Consists of 2 poems: 1 - "Princess Trubetskaya" - a two-part poem, 1 hour. Descriptive, it contains the heroine's memories of a past life, sketchily mentions the uprising on December 14, N. seeks to dilute excessive descriptiveness with lyricism. 2h. - N.'s achievement - dynamic. Conflict, it is based on the heroine's clash with the Irkutsk governor.2 - "Princess Volkonskaya" is written in the form of grandmother's notes, which allows us to trace the heroine's maturation. If at the beginning of the journey she is called to a feat by a sense of duty and love, then after getting acquainted with the life of the province, communicating with the peasants, the princess comes to insight, begins to realize the sanctity of the cause for which her husband suffered. The plots of both poems are travel. Both poems are united by the theme of the road. It is important to show the maturation of the characters, the growth of the consciousness of the heroine. Historicism is associated with the reproduction of the psychology of the wives of the Decembrists. N. with great tact and sensitivity recreated the experiences, feelings and thoughts of the Decembrists and surrounded the charming heroines of his poem with an atmosphere woven from all this. One feature of the poem is remarkable: the feat of the 2 heroines is essentially the same, their fate is similar in many respects, and yet the second part does not at all repeat the first, it sounds completely different. N. - a realist artist - managed to individualize the characters of Trubetskoy and Volkonskaya. Psychologically, they are very different, even somewhat opposite. Trubetskaya is proud and aristocratic, excessively smart and cold, inaccessible. Volkonskaya is simpler and more soulful, less like a secular lady, lives more with her heart than with her mind, she is a mother woman, a grandmother woman, telling her story to prankster grandchildren. In accordance with this, the two parts of the poem are organized differently in composition and stylistically. The rhythm is also not the same: a short verse, exclusively masculine rhymes that sound like strong blows in the first part, and a wide, melodious, expanse verse in the second. 35. Nekrasov's poem “Who should live well in Russia?” In the poem "To whom ..." all the themes and features of Nekrasov's poems were synthesized, all the principles that were used in other poems were reflected here: 1. Interesting immersions in the folk element ("Frost, red nose"); 2. N.'s reflections on people's intercessors; 3. satirical jet. The work lasted 12 years: from 1865-1877 (died). From the very beginning, the main character of it is also defined in the work - a man. It is in the muzhik environment that the famous dispute arises, and the seven truth-seekers, with their truly muzhik desire to get to the bottom of the root, set off to travel around Russia, endlessly repeating, varying and deepening their question: who is happy in Russia? But the Nekrasov peasants who set off on their journey most of all resemble a symbol of the post-reform people's Russia . After the prologue, the fabulousness leaves and gives way to more lively and modern folklore forms. Nekrasov clearly outlined the scheme according to which the plot was to develop and the answer to be found in a repeating refrain. N.’s poem “Who Lives Well in Russia” is the result of the poet’s creative path, he worked until his death, never completing the work. In the poem, the author showed a broad picture of post-reform Russia, the changes that took place in it. This product was new and unexpected at that time, there were no similar ones to Krom. This is a folk book. This is the originality of the poem "To whom in Russia ...". It is a deep artistic study of folk life, raises the most important problems of the era. The use of folklore and fairy-tale elements allows the author not only to build a plot with a large coverage of space, time and characters, but also to connect the people's search for happiness with the belief in the victory of good over evil, truth over lies. Already the beginning of the poem “In what year - count, in what land - guess”, which does not give the exact geographical coordinates of the events depicted, emphasizes that we will talk about the entire Russian land. Its composition corresponds to the author's intention. According to N.'s original plan, the peasants, during their journey, would meet with everyone they considered happy, up to the king himself. But then the composition of the poem was somewhat changed. In the prologue we meet 7 peasants from 7 different villages, whose names reflect the conditions in which the poor of Russia lived. Part 1 - "Journey", during which the peasants meet a large number of people who can be considered happy. But upon closer acquaintance with these people, it turns out that their happiness is not at all what the wanderers need. 2nd part - "Peasant woman". In it, the author tells readers about the fate of a simple peasant woman, Matrena Timofeevna. Before us is a picture of the life of this Russian. women, and we, together with the peasants, are convinced that “it’s not a matter of looking for a happy woman among women!”. The third part - "Last Child" - is devoted to the description of the life of a landowner in post-reform Russia. Ch. The Rural Fair is an example of polyphony, emphasizing such qualities of Russian character as hard work, patience, ignorance, backwardness, sense of humor, and talent. Conclude. part of the poem "A feast for the whole world." It seems to sum up the whole poem. And only in this part we meet the “happy” person - Grisha Dobrosklonov. In the “Conclusion” Grisha’s song “Rus” also sounds - the anthem of his native country and the great Russian. people. The motive of the true happiness of the people arises in the last chapter “Good time - good songs”, and it is associated with the image of Grisha Dobrosklonov, in which the moral ideal of the writer was embodied. It is Grisha who formulates the author's idea about the happiness of the people: The share of the people, Happiness, Light and freedom, First of all! There are many images of rebels and people's intercessors in the poem. Such, for example, is Yermil Girin. In difficult times, he asks for help from the people and receives it. Such is Agap Petrov, who threw an angry accusation at Prince Utyatin. The wanderer Jonah also carries rebellious ideas. The poem “To whom in Russia…” is very close in style to the works of UNT. Readers are faced with this as soon as they start reading it: In what year - count, In what land - guess, On the pillar path Seven men converged ... The first 2 lines here are the beginnings characteristic of Russian epics and fairy tales. There are many in the poem folk signs, riddles: Cuckoo! Cuckoo, cuckoo! Bread will sting, You will choke on an ear - You will not cuckle! The very rhythm of the poem is close to the rhythm of the verse. produced th Russian. folklore, many songs similar in sound to folk, many forms of words that are used. in folklore: diminutives - bread, comparisons: Like a fish in a blue sea, you will whirl! Like a nightingale You will flutter from the nest! In the characterization of N.'s heroes, the portrait occupies an important place. The character of the heroes is revealed and their speech is c/o. The peasants speak a simple language, while representatives of other classes express their thoughts in a different way. The landlords in the poem are depicted as a dying class. In “To whom in Russia such a picture of folk life is developed, which are few in Russian. and world literature. Finale: there is a final change in the understanding of happiness: each of the heroes of the poem has their own personal ideas about happiness, while the author leads us to the idea of ​​universal happiness, although the ending of the poem is open to the future and is not resolved to the end. This is one of the hallmarks of the epic as a genre. 36. The originality of the poetic style of N.A. Nekrasov Features: 1. Epic story in a lyric poem. The poem includes the history of human life, not a moment, not an episode, but a biography, fate (“Troika”, “Wedding”, “Guessing Bride”, “Schoolboy”). Interaction of personal character with given social conditions. the characters are intervened in the sphere of consciousness of the narrator, who openly and continuously evaluates what is depicted. Episodes as units of the epic plot are included in the lyrical plot, formed by a sequence of directly evaluative verbal units. Subjectivity: sensitivity to the fate of a person from the people, the ability to get used to his fate and tell about it in such a way that the narrator’s thought is felt behind the story. The narrative is saturated with visual details, depiction of gestures and things.2. Dramatization of the narrative is the creation of the illusion that the action is happening in front of the reader (viewer). Real details - N. does not draw the entire visible world, but uses them to give an idea of ​​the definition. household setting. N. uses simple, traditional words (righteous husband, damp grave) - words that are surrounded by a thick emotional atmosphere. social explanation of the biographies and characters of the characters determines the content of the scenes (the hero behaves this way because ..) the characters are shown with a complex mental conflict, a clash of characters is given. The biography is told concisely, quickly, the images are not deployed, but outlined. ("I visited your cemetery" - the heroine is persistent, cheerful, strong. "A hard year broke me down" - hot temper, irritability, imbalance. There is no vitality in her, despair manifests itself even in the gesture "she is silent, wringing her hands ..") n. depicts his heroines at such moments when the circumstances with the greatest force reveal the leader in their x-re. 3. Installation (the concept of aesthetics, a swarm of pictures, strictly selected and reduced to the ultimate lacanism of 2-3 details) installation by N .: one of essential funds introduction to the lyrics of social content, deepening the volume of the lyrical image, enrichment. N. creates a new type of lyric poetry: it includes, as structural elements of a single artistic content, heterogeneous thoughts, descriptions, portraits, feelings .. the desire for cyclization (for example, the poem "Wine" (3 hours) - combining completed poems into more complex the cycle of expressing richer content and can exist as elements of a new unity 4. Direct speech is a means of reproducing the inconsistency of the inner world of the lyrical hero. Monologue with an uneven, intermittent deployment of a lyrical plot, conveying: sharp mood swings, sharp turns of thought. The lyrical plot moves in jerks, series, interrupting one another. A monologue is a medium of dramatization (turns a lyrical outpouring into a scene), the medium of the hero's characteristics did not match. with the narrator. Functions of direct speech: the means of recreating the inner world of the hero, allows the author to express a direct view of the depicted, the ability to present several T.Z. - life is presented not in a flat-rectilinear, but in a three-dimensional picture. 5. Poetic polyphony or improperly direct speech - direct speech, which synth does not stand out from the author's speech. then. the story speaks and thinks for the hero. The voice of the main carrier of speech (the narrator) is complicated by the voices of the characters. The introduction of many socially heterogeneous heroes into the lyric monologue with the help of someone else's speech was based on a realistic approach to the hero. N.'s innovation (content, themes, approach to action, fearlessness of realism, truthfulness) determined new form. He turned to the language of the people, prose, journalism. N. created a special poetic form, which marked the overcoming of rom.trad. He introduces psychologism, his characters are socially typological: images of the environment appear, manifest themselves in life circumstances .. nationality is an expression of national culture, peasant themes (peasants without idealization). Synthesis structural features prose and poetry, the relationship of image and thought. Features of prose: the exact correlation of word and content, plot organization of the narrative, laconism, love for precise, expressive details. Poetic means: energetic, severe in simplicity verse, overcoming the artificial smoothness of the verse, heaviness is imperceptible for the modern reader, everyday colloquialism, synth transfers beyond the line of verse. 37. democratic poetry of the 60s (N. Dobrolyubov, D. Minaev, V. Kurochkin, M. Mikhailov, I. Nikitin, etc.) The era of the 60s is a time of great social breakdown, shaping. new outlook on life, new social relations. public life, and even ordinary action in all its manifestations, intrudes into L-ru. In poetry, N.A. Nekrasov and his followers, who formed an independent school. The term "Nekrasov school" arose in the 60s of the 19th century under the pen of Chernyshevsky and a little later Turgenev. Lit.school is considered to be a group of writers or poets, united by a commonality or closeness of worldviews, features of ideological and artistic TV. This group is influenced by a great contemporary or predecessor writer. The concept of "Nekrasov school" reflected the spirit of the 60s. By this term we understand the artistic system in ru.democratic.poetry. the participants of this school experienced not only the powerful influence of Nekrasov's poetry, but even in organizational and personal terms, in many respects, they were close to the great poet. The Nekrasov school includes I.S. Nikitin, M.L. Mikhailov, V.S. Kurochkin, D.D. Minaev, L.N. Trefolev. IN AND. Bogdanov, N.A. Dobrolyubov and others. They tested the themes, poetic techniques of NEKRASOV, but for all of them they were characterized by bold innovation. Almost all poets are raznochintsy. All were distinguished by their rejection of "pure art", all were adherents of the ideology of peasant democracy. They prefer civic topics, responded to topical issues. ?-s of modernity, i.e. create effective poetry, connected with life. They responded to all the events of the 60s. Their poetry is excellent. watered sharpness of assessments, clarity of position, intransigence with autocrats. and despotism. In the field of civic lyric poetry, the poets of the Necro school made a great contribution to Russian poetry. their polemic with the adherents of "Pure Art" was shown: the poems took on a brilliant form. of great value is the representation of the verse, in which the problems of the people of life will be solved. Their authors had a deep knowledge of Russian. indeed, the people took to heart. they created products, in form and content. available to the people .+ Further review of creativity the author about whom the essay is written. 38. poetry of "pure art" (A. Maikov, N. Shcherbina, L. May, Y. Polonsky, A. Grigoriev, etc.) 60s introduced a division into poetic art into tendentious works and those classified as “pure art”. The latter experienced a period of falling reading interest. Fet's collection was not successful, and Nekrasov's collection, on the contrary, sold out instantly: the poetic call to civic service was accepted as a sign of the times. However, poetry knows only one criterion - the level of artistry, independent of the degree of presence in the poetic work of social themes and motives. Representatives: A.A. Feta, A.N. Maikov, A.K. Tolstoy. Ya. P. Polonsky. L. A. Mei, A. Grigoriev and others. Maykov’s 1st collection (beginning of 1842): “Bacchante”, “Bas-relief”, “Dream”, “Art”, etc. Since then, M.’s lyrics have gravitated towards antique classical forms, reflects the desire for balance, enjoyment of nature and art. 1st Sat. Polonsky "Gamma" (1844). It outlined the main themes and forms: love, fanned by quiet sadness, nature, captivating in languid dreams, everyday romance, portrait sketches that convey the difficult state of the lyric hero (“Challenge”, “The Recluse”, “Shadows of the Night Came and Became” , "Meeting", etc. In subsequent years, he wrote elegies, ballads, songs, romances, poems, poetic dramas. Mey's creative heritage is small. He began to print in 1840, following. ", with the "Library for Reading" and "Russian Word". His poems. collection heralded the departure from social themes to the ideal world of beauty. However, leaving the real art was not a permanent position for the poet. The theme of destiny a free singer is the main one in his lyrics (“Twilight”, “Canary”, “Forgotten iambs”, “Mimosa”. St. from folk life, on biblical and antique topics. + further analysis of the poet’s TV, about which abstract written. 40) Satire A.K. Tolstoy

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...

1. Creativity of the first half of the 40s.

2. Creativity of the second half of the 40s and early 50s

3. Poetry of the second half of the 50s.

4. Folk poems.

5. Lyrics of the 60s and 70s.

6. Poems of the 70s.

7. "To whom in Russia it is good to live."

8. The value of Nekrasov's work in the history of Russian poetry.

Support expressions.

First poetic experiences. Image of social contradictions. Satire Nekrasov

peasant theme. Collection of 1856 "Pedlars", "Frost, red nose" - poems about

the people and for the people. Romantic Tendencies in Nekrasov's Late Lyrics. feat ten

Decembrists. “Who should live well in Russia” - encyclopedia of Russian life art

originality. Features of Nekrasov's realism.

Literature.

Anikin V.P. N.A. Nekrasov’s poem “Who should live in Russia

well". M., 1973.

Boyko M.N. Lyric Nekrasov M., 1977.

Prima F.Ya. Nekrasov and Russian literature, L., 1987.

Skatov N.N. Nekrasov. Contemporaries and Successors. M., 1986.

Skatov N.N. “I have shone light on my people”: about creativity

N.A. Nekrasova. M., 1985.

N.A. Nekrasov and Russian literature. M.. 1971.

Nekrasov was the greatest Russian poet of the second half of the 19th century. He contributed a lot

contribution to the development of all Russian culture and social thought, being the editor of the two best

democratic journals of the 19th century. - "Contemporary" and "Notes of the Fatherland". Had

possess outstanding courage, brilliant organizational skills, talent

true journalist, a sense of high civic responsibility, so that in an unprecedented

difficult conditions to support the existence of journals, without which the activities of many

outstanding representatives of Russian literature and criticism could not be enough

full and wide.

Nekrasov's early poems were generally imitative. His first collection

Dreams and Sounds (1840) was unsuccessful. Belinsky noted in it only “common places, smooth

In the general evolution of Nekrasov's creativity, a well-known place belongs to dramaturgy.

Nekrasov wrote mainly vaudeville popular in the 40s. In the best of them noticeable

social problems (“Actor”, “Petersburg usurer” and especially “Autumn

boredom”, written in the late 1940s). Of no small importance for Nekrasov was good

possession of the technique of vaudeville couplets, which was reflected not only in the early humorous

poems, but also in his later satirical poem "Contemporaries" (1875).

Nekrasov also paid much attention to the prose genre. The largest

Nekrasov's prose work of the early period - the unfinished novel “Life and

adventures of Tikhon Trostnikov ”(1843-18480. This novel was created in the tradition of“ natural

schools." Judging by the chapters that have come down to us, the author was attracted not by melodramatic situations and

romantic effects. Loyalty to the truth of life allowed Nekrasov to create a number of interesting

images, scenes. If the young writer had completed the work, it would have been one of the first

Russian literature of social novels.

In the new Nekrasov poems that appeared after the unsuccessful collection Dreams and Sounds,

noticeably gradual appeal of the poet to the “low”, everyday reality

(2Provincial clerk in St. Petersburg", 1840; "Govorun", 1843; "News" 1845). By genre

these are poetic feuilletons, in which much attention was paid to small city news,

holidays, street experiences, etc.

The second half of the 40s is the time when the formation of Nekrasov's realism takes place.

Nekrasov associated the beginning of a new period in his creative development with the name of Belinsky.

The poet recalled: “I became close to Belinsky. I took up a bit of poetry. I bring to him about

1844 poem “Motherland”, only the beginning was written. Belinsky was delighted. He

urged to continue.

The ideological meaning of the poem went far beyond the autobiographical

memories. In it, the angry denunciation of the feudal landlord merges together. In "Motherland"

those motives are clearly expressed, which will then be developed in more detail and deeply in

many of his other poems.

The most obvious sign of the maturity of Nekrasov's poetic talent was

development in his lyrics of the theme of the people. He writes a number of poems directly dedicated to

position of the Russian peasantry (“Ogorodnik”, “Hound Hunt”, 1846, etc.) Nekrasov, like

Belinsky and Herzen, without hiding the harsh truth, seeks to awaken the self-consciousness of the people. With

he wrote with deep sympathy about the tragic fate of serfs condemned to moral

death (“On the road”, 1845). Using the technique of contrast, the poet recreates with pain and compassion

the usual path that the heroine of his poem “Troika” (1846) is destined to go through.

In the poems of the second half of the 40s, Nekrasov often directly confronts the oppressors and

the oppressed. The poems are highly controversial.

The irony masterfully used in "Hound Hunt" is also characteristic of other

satirical poems created by Nekrasov in the mid-40s (“Modern Ode”,

“Lullaby”, 1845; "The Moral Man", 1847). New satirical verses

Nekrasov is an important stage in his creative development.

The lyrical hero who appeared in his poems in the second half of the 40s appeared

a kind of discovery in Russian poetry. This is a typical commoner who is very hard

a break with the noble past is given. No less important is the appearance in Nekrasov and the image

lyric heroine. Such, for example, is the poem “Am I going at night ...” The story of death

extraordinary woman is told in this poem with sincere humanity, with deep

respect for the heroine, which is highly characterized by an unbridled desire for will.

At the end of the 40s, Nekrasov had the first poems dedicated to

A.Ya.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, complex and

the painful relationship of the hero and heroin (“If tormented by a rebellious passion ...”, 1847; “You

always good incomparably...”, 1847; “Amazed by the loss of irretrievable...”, 1848; “Yes, our life

rebellion flowed ... ”, 1850, and others, up to the“ Three Elegies ”, written in 1874 and, as it were,

ending the cycle.

The years of the “gloomy seven years” were very difficult for Nekrasov as a poet and editor

"Contemporary". He writes much less poetry and almost never publishes it. For support

magazine Nekrasov, together with Panaeva, wrote two novels: "Three countries of the world" (1848-1849) and

"Dead Lake" (1851). These novels are, of course, of a certain interest, but in

Nevertheless, Nekrasov entered the history of Russian literature not as a playwright or prose writer, but as a poet.

One of the most significant poems written by Nekrasov in the first half

50s, - “Excerpts from the travel notes of Count Garansky” (1853) - could be published

only in 1856, when the “gloomy seven years” had already ended and the oppression of censorship was somewhat

weakened.

One of the clear signs of the beginning of the social upsurge was the publication

collection of poems by Nekrasov in 1856. The poet included in it the best works created by him for

10 years (poems from the first half of the 1940s were not included at all). The collection opened

poem "The Poet and the Citizen", in which Nekrasov expounded his views on the appointment

poetry in life, acted as a defender of highly ideological civil art. AT

the poem presents a kind of internal dialogue, an internal dispute, which

reflected in the later lyrics of Nekrasov.

The poetry collection of 1856 was built according to a clear plan. The first department consisted of

poems about the people, in the second satirical poems were placed. Published in the third section

the poem "Sasha", and in the fourth - lyrical poems. And within each division the poems were

arranged in a certain order (not always in chronological order). So,

the first department, which already included famous works"On the road", "Ogorodnik", "Troika" and

etc., ended with two new poems, in which were expressed especially important for

the poet's thoughts about the people, their position and fate: "Forgotten Village" (1855) and "Schoolboy" (1856).

The second section, in which such satirical verses as “Hound Hunting” were placed,

“Lullaby”, “Moral Man”, “Modern Ode”, also ended with the most

acute in social and anti-serfdom work - “Excerpts from travel

Notes of Count Garansky. Irony develops here into angry sarcasm, which helps, as it were,

"from within" to expose the true face of the landowner-aristocrat, on whose behalf

narration.

"Sasha" (1855), which occupied the third section of the collection, was the first poem in the work

Nekrasov. At the center of it is the problem of the formation of democratic convictions among representatives

advanced youth. The plot of the poem is based on the history of the relationship between Agarin and the young

Sasha's girls, daughters of poor neighbors of a liberal landowner. The hero of the poem can not stand

severe life tests that came after 1848 during the “gloomy seven years, and

departs from the former freedom-loving views. Agarin is organically included in the typological

a number of "superfluous people". Sasha is opposed to him with her elemental thirst for a new life.

a certain contrast with Turgenev's novel "Rudin", published for the first time simultaneously with

"Sasha" in the journal "Contemporary" (1856, No. 1).

Lyric poems by Nekrasov, collected in the fourth section of the collection, 1856, were carried on

imprint of poetic originality and innovation. Autobiographical poems about native

at home, memories of childhood (“Motherland”) acquired a generalized civil sound. Themes

friendship (“In memory of a friend”), love (“When out of the darkness of delusion”...” “Am I going at night...”)

revealed socially.

Nekrasov's 1856 collection was a significant event in many respects, “...You

they gave us a book,” Chernyshevsky wrote to Nekrasov, “which has never happened before in Russian literature.”

In a whole cycle of poems created at the very beginning of the 60s (“Healer”, “On

Volga”, “Village news”, “Peasant children” “Village suffering is in full swing ...”,

“Orina, a soldier's mother”), he acted as a spokesman for people's thoughts and aspirations, grief and joy. AT

this is the time of the people, but also for the people. This is how the poem Peddlers (1861) was conceived. Nekrasov

connects the lyrical plot of the poem - the love story of the village girl Katerina to

peddler Vanya - with a wide range of phenomena of the then Russian life. The poem was

included the "Song of the Wretched Wanderer", which expanded and deepened its social content.

The wide use of folklore traditions allowed Nekrasov to create a work,

become close and understood by the people. Suffice it to recall that the beginning of the poem (“Oh, full, full

korobushka...”) turned into a popular folk song.

Two years later, Nekrasov wrote one of his most remarkable works -

poem "Frost, Red Nose" (1863-1864). People's life in it is depicted more comprehensively,

the image of a Russian peasant woman became here the embodiment of the best features of the national character.

The epic depiction of folk life in the first part of the poem, when a specific household

case - the death of a peasant, rose in the author's narrative to the level of an event

of great emotional and aesthetic significance, organically combined with the second part, where

there are very few external events, but the lyrical beginning is noticeably enhanced (internal

dying Daria. The form of sleep often used in literature made it possible for Nekrasov

create an idea of ​​the healthy foundations of folk life. Bright, colorful pictures

joyful peasant labor explained how the type of “stately Slav” could have been formed:

“There is a clear and strong consciousness in her, / That all their salvation is in work.” Continuing the traditions of Koltsov,

Nekrasov praised work as the basis of life.

The artistic originality of the poem is associated with the wide use in it of the most

various folklore genres. In the folk tale “Morozko”, the heroine is awarded for

passive virtue, for the humble expectation of a reward that comes from somewhere outside. frost at

Nekrasov, for all his poetry, is the embodiment of evil power. Daria has nowhere to wait for help,

although for diligence, kindness, courage, she deserves a reward.

Nekrasov's folk poems are a new and significant stage in his creative development, in

history of Russian poetry.

Nekrasov's lyrics of the last period are one of the highest artistic achievements of his

poetry. A frank and direct conversation, begun in the “Song of Yeryomushka”, determined the tone

a number of lyrical poems by Nekrasov of the 60-70s. So, "Elegy" (1874), which is

one of the most important aesthetic manifestos of the poet, begins with an open appeal to

young generation:

Let the changing fashion tell us

What is the theme of the old "suffering of the people"

And that poetry must forget it,

Don't believe me guys! she doesn't age.

The Railroad (1864) is also directly addressed to young people. Initially

unusual, it is chosen according to the principle of not correspondence, but contrast to the subsequent presentation.

The whole poem is built as a polemic with the general, it affirms the true role of the people

in construction railway and in history in general. There is a struggle for Vanya, for the young

a generation that above all needs the truth.

Drawing a bitter scene of people's darkness and downtroddenness at the end of "Railway", the poet

asserted the idea of ​​the need for an active struggle for freedom, the struggle for freedom, that

a happy future will not come by itself: it must be conquered, the path to it must be paved with the breast.

An important place in the lyrics of Nekrasov of the last period is occupied by poems about “folk

intercessors." The theme of the friends of the people has already been presented in the poetic work of Nekrasov

50s, but mainly in the genre of a poem (“V. G. Belinsky”, 1855; “Unfortunate”, 1856).

In the poem “In Memory of Dobrolyubov” (1864) one can find a resemblance to the novel

Chernyshevsky "What to do?". Be it people like Rakhmetov, it is said there, life “would have died out,

would sour ... ". “The field of life would have died out,” Nekrasov picks up this thought.

In the "late" lyrics of Nekrasov, romantic tendencies are consistently intensifying.

Lyrical poems become more psychological. They have motives

sacrifice, the theme of the tragic loneliness of the lyrical hero, religious symbolism.

The structure of the atext becomes more complicated. In the poem "To the Poet (In Memory of Schiller"), which is one

From the most important aesthetic declarations of Nekrasov, an ideal image of a romantic poet was created.

In the 70s, Nekrasov continued to work in the genre of the poem. Historical revolutionary

poems, as well as part of his lyrics, were directly addressed to the younger generation. In particular this

refers to "Grandfather" (1870): the poem was built as a conversation returned from exile

grandfather-Decembrist with his grandson Sasha. Nekrasov deliberately depicts his hero not

broken mentally or physically. The poet frankly admires the former Decembrist,

emphasizes its organic connection with native nature.

"Russian Women" (1872-1873), who sang the feat of the wives of the Decembrists, consists of two

parts written in a different creative manner: romantic (“Princess Volkonskaya”). AT

“To Princess Trubetskoy” the narrative is not built according to a linear principle, but in fragments:

the present is mixed with the past, reality with dreams. In "Princess Volkonskaya"

the pace is calmer, even somewhat slower. The main source of this part of the poem

were the autobiographical notes of Maria Volkonskaya herself. More in the poem

it was told about Volkonskaya's break with her environment, with her father. The poem was first titled

“Decembrists”, but in the process of work Nekrasov gave her a different name: “Russian Women”,

thereby giving his story a more generalized meaning.

The satirical poem "Contemporaries" (1875) closely adjoins two other poems, above

which Nekrasov worked almost simultaneously: “Russian Women” and “Who Lives in Russia

well". There is a kind of trilogy, summing up all artistic creativity

poet. "Contemporaries" was built as a portrait gallery (such a subtitle was in the manuscript).

Thus, the poet got the opportunity to comprehensively depict the era, “the meanest of which was not”,

when bankers, capitalists, predators of all stripes could be "anniversaries and triumphs",

"Heroes of time" (as the two parts of the poem are called). In the literature of the 70s, Nekrasov's poem

can be put on a par only with the works of Saltykov-Shchedrin: the similarity

is found both in the subject matter, and in the ideological orientation, and in the satirical methods of generalization

life phenomena.

“Who should live well in Russia” (1866-1876) can be called an encyclopedia of the peasant

parts written by Nekrasov. According to Nekrasov's notes, the sequence of individual

fragments should be like this: Part One, “Last Child” (from the second part), “Feast - for the whole world”

(from the second part), “Peasant woman” (from the third part). However, for various reasons, this order

violated, and "Feast - for the whole world" is traditionally printed at the end of the work. Not all

The researchers agree with this decision. There is no unity of views on the question of the idea of ​​the poem and

its subsequent incarnation. Judging by the Prologue, the wanderers had to take turns

meet with six alleged lucky ones: a landowner, a priest, a merchant, an official,

minister, king. However, after conversations with two of them (the landowner and the priest), the wanderers seem to

forget about their own original plans.

In The Last One, wanderers even change the search formula itself:

We are looking for, Uncle Vlas,

Unwhacked province

Ungutted Volost

Redundant village!...

Thus, the main problem of the poem is clarified, the author's intention is formulated: the search for

paths to public well-being.

In “To whom it is good to live in Russia”, a number of very colorful, original

folk characters. But the main goal of Nekrasov is to create a collective image of the people, as

and should be, if we are talking about the epic. The compositional technique chosen by the poet

travel gave him the opportunity to most fully and widely show the whole of peasant Russia in

weekdays and holidays, in work, at the fair, in disputes, songs, legends, in its past and present.

Nekrasov does not idealize the peasant masses, does not close his eyes to the negative phenomena

folk life (the slavish nature of the “exemplary serf” Yakov, the betrayal of Gleb, etc.). But

his main attention is drawn to the fundamental basis of the people's way of life and consciousness.

Deeply revealing the fate of individual heroes acting in their usual and,

seemingly ordinary environment, Nekrasov seeks to show something new that is already manifesting

in the peasantry, in its psychology (Yakim Nagoi, Ermil Girin from Part One, Agap Petrov from

"Last Child").

To reveal the character of the peasant woman Matrena Timofeevna, her inner world

Nekrasov uses the form of confession. None of the Nekrasov heroes use it like that

widely and skillfully in almost all genres of oral folk art, like Matrena Timofeevna.

This alone testifies to her undoubted talent (no wonder one of the prototypes

Nekrasov’s heroine was a wonderful folk poetess - “prisoner” Irina Fedosova).

Savely is also an artistic discovery of Nekrasov. peasant riot,

the murder of the tough steward Vogel, hard labor - such is the life path of the hero Saveliy. He

an active fighter not so much for his personal interests as for public interests,

Gogol, wrote with undisguised excitement: “Those are great names, // They bore them, glorified them//

Intercessors of the people!”

If the wanderers could rise to the level of Grisha Dobrosklonov, the goal of the search was

would be achieved, and they could, with a pure heart, having found a happy one, return home: “To be

to our wanderers under the native roof // If only they could know what happened to Grisha. But

they could not know this, therefore the poem does not end, the wanderers still have a long

the path, and where it will lead, is unknown, because Nekrasov did not finish the poem.

The changes that happen to seven men in the course of their search are extremely important.

Nekrasov needed to be shown how, under the influence of reality itself,

the traditional, speculative ideas of the peasants are gradually and naturally disappearing, as

new meetings, new observations broaden their horizons, make them more thoughtful, more

deep understanding of life.

Life teaches wanderers a lot, it also teaches a new idea of ​​happiness.

From the original ideas of happiness, and in accordance with this about the supposed

lucky wanderers naturally come to a new understanding of the issues that were

before them at the beginning of the poem.

“To whom in Russia it is good to live” - a wide epic canvas, imbued with hot

to the fore. The position of the narrator is absolutely precise. He is with the people.

The work begins quite in the spirit of folklore, which is not characteristic of

specification: “In what year - count, // In what land - guess ...” But then it appears

an exact indication that determines the social and legal status of male wanderers: “The family

temporarily liable...” It immediately becomes clear that the action takes place in Russia in

a certain time period: two more years after the abolition of serfdom (1861) peasants

undertook to bear some obligations in favor of their former owners, which is why

called "temporary". And this combination of fabulous and real is characteristic of all

poems, although their ratio is constantly changing: with the development of the action, fairy-tale elements

(tablecloth-self-assembly, for example) are gradually disappearing.

Negative heroes exist in a closed sphere, they are not given access to a wide

scope for active life. The wanderers-truth seekers are depicted on the latissimus

the space of the Russian land; they are constantly on the road, on the road. That's why the motive of the road,

extremely characteristic of Nekrasov (“On the road”, “Peddlers”, “Railway”,

“Russian Women”), becomes decisive in the construction of the entire poem. Thus,

spatio-temporal relationships help to penetrate deeper into a complex structure

artistic text.

The innovation of the poem “To whom it is good to live in Russia” was manifested in all components

text, including in the verse of the poem, which combined folklore and literary traditions.

The artistic system of the poem organically includes the world of oral folk

creativity. There is not a single folklore genre that would not be reflected in one way or another in

Nekrasov's poem (magic and everyday fairy tale, epics, songs, lamentations, proverbs,

proverbs, riddles). But the poet uses the richest folklore material not blindly, not

mechanically; he subordinates it to his ideological and artistic task, sometimes rethinking

one or another of his motives and images.

Nekrasov's work was a natural continuation and development of the best traditions

Russian literature. Ryleev's citizenship, energy

denial, the power of Lermontov's protest, nationality, Koltsov's folklorism. In the greatest

Pushkin and Gogol influenced the formation of Nekrasov's creativity.

The language and style of Nekrasov is characterized by the combination of the most heterogeneous elements. In his

creativity clearly reflects the song beginning associated with the use of folklore traditions.

Nekrasov contributed to the development of the Russian literary language, enriched it with new speech

elements. Nekrasov's genre innovation was also important. The views he created

poems - folk, historical-revolutionary, satirical - were a genuine contribution to

history of Russian poetry.

Mikhail Evgrafovich Saltykov-Shchedrin

Early work, "Provincial essays" and works of the second half of the 50s.

"History of a city".

A cycle of satires of the 70s.

"Lord Golovlyovs"

Creativity of the 80s.

"Poshekhonskaya antiquity".

Support expressions.

Socio-political satire. The theme of social contradictions. Grotesquely pointed images

symbols. "History of one city" as a satire on the autocratic regime. The problem of the people

authorities. satirical typography. Exposure of predation, cynicism. irony, sarcasm, picture,

disintegration of the noble family. Judas Golovlev. Speech characteristic. Psychological

analysis. satirical tales. The theme of the people. Criticism of autocracy.

Literature:

Bushmin A.S. The evolution of the satire of Saltykov-Shchedrin. L., 1984

Goryachkina M.S. Satire of Saltykov-Shchedrin. M., 1976

Nikolaev D.P. Shchedrin's satire and realistic grotesque. M., 1977

Nikolaev D.P. Laughter Shchedrin. M., 1988

Prozorov V.V. Saltykov - Shchedrin. M., 1988

M.E., Saltykov-Shchedrin occupies an honorable place in the brilliant galaxy of wonderful satirists,

constituting the glory of world culture (Rabelais, Swift, Voltaire).

Saltykov entered literature in the late 40s, during the heyday of the "natural school". Already

his first story "Contradictions" (1847), dedicated to the image of the most everyday

everyday life, was polemically opposed to any embellishment

reality. The plot of the story, the description of the characters to some extent

reminiscent of Herzen's novel "Who is to blame?". As already emphasized by the title, in the story

the theme of social contradictions, distorting the fate of heroes, depriving

"little man" the right to personal happiness. At the same time, Saltykov is concerned about the problem

internal psychological contradictions associated with the attempts of the hero of the story to get away from the rough

reality into a world of fiction and fantasy. In this case, we can talk about

similarities early creativity Saltykov with the artistic world of Dostoevsky.

This also applies to Saltykov's second story "A Tangled Case" (1848). In "Tangled"

the theme of the "little man" was also placed on the first one, but it is already being decided on a higher

artistic level.

Saltykov's early stories attracted the attention of the tsarist government, and he "for a harmful image

thoughts" was in 1848 exiled to Vyatka, where he stayed until 1855. Impression

provincial life served as the basis for the creation of "Provincial Essays" (1856), published

under the pseudonym N. Shchedrin.

Saltykov-Shchedrin's appeal to a special genre education - a cycle of essays - a phenomenon

characteristic of the literature of the 50s -70s.

In the "Provincial Essays" Saltykov-Shchedrin, on the basis of specific observations, created

broad artistic picture of great generalizing power. He condemns not specific

cases of fraud, but the inhumanity of the entire bureaucratic system, the general "order

In the work of Saltykov-Shchedrin, "The History of a City" (1869-1870) occupies one of

central places. This is a prime example of political satire. In the satirical "History of one

cities" combines elements of everyday life and fantasy, in a peculiar way the past and

defining the structure of the entire book. Outwardly, the narrative seems to cover

a completely defined historical period - from 1731 to 1825. But from the very first, the writer

constantly correlates the events of the 18th century with living modernity. However, the Foolov

city ​​governors as a whole do not at all personify specific Russian tsars or their

ministers. The meaning of Shchedrin's satire is much broader. It covers the entire system.

autocratic rule, a system of anti-people and anti-human, remaining in its

main features unchanged. No matter how outwardly the mayors differ from each other, their

one thing unites them: any of their actions is directed against the people. On the very first pages

"History of one city" about the mayors it was said: "They all flog the townsfolk ...". So with

From the very beginning, the main problem of the work is posed: autocracy and the people. Having lost all

life support, representatives of the autocratic-feudal regime live in some

fantasy world. On the other hand, Shchedrin's fiction itself is not so far removed from

real reality. So, the phrase "empty head" grows in Saltykov -

Shchedrin in the image of a mayor with a stuffed head (pimple). From another mayor

there is a small organ in the head, which could play only two romances: "I will ruin" and

"I will not tolerate."

The attitude of the writer to the people was fundamentally different from his attitude to the world of oppressors and

exploiters. With deep and sincere regret he writes about the Foolovites, whom he calls

"poor stunned". However, the image of Saltykov-Shchedrin is far from unambiguous.

He resolutely does not accept the mood of passivity, humility, non-resistance to evil. In history

one city" satirical and tragic beginnings are in a complex interaction. In this

particularly important are the chapters "Hungry City" and "Straw City" in which

what stands out above all is not the stupidity of the "philistines", but their poverty and starvation.

The tragedy of the position of the Foolovites lay in the fact that instead of any help, their

expects only hard pacification with the help of military force. Art world "History

one city" is based on new principles of satirical typification. The main methods

images of reality become sharpened, grotesque, satirical fiction. This is

special and very effective forms of artistic generalization of reality, capable of

to reveal the deepest contradictions of life, to make them as clear as possible. "The story of one

city", in which the artistic style of the author was brought to a high degree

perfection, is one of the masterpieces of Russian and world satire.

After the closure of the Sovremennik magazine (1866), Saltykov-Shchedrin switched to the transformed

years, including the satirical cycle "Pompadours and Pompadourses", begun by him earlier (1863-

1874). These essays, as well as subsequent cycles, sometimes called public

satirical novels ("Lords of Tashkent", 1869-1872; "Diary of a provincial in

Petersburg", 1872; "Well-meaning speeches", 1872-1876, etc.), are devoted primarily to

artistic study of the changes that have taken place in Russian social

life, politics, psychology after 1861. Among the characters of the cycle there are heroes from other

literary works. Saltykov - Shchedrin, as it were, "revives" Rudin, Lavretsky,

Raisky, Volokhov; they are representatives of liberal trends. But their

liberal statements bother another pompadour, and he replaces them with Skotinins,

Nozdrev, Derzhimorda.

The problems of another satirical cycle by Saltykov-Shchedrin - "Lords of Tashkent"

is a continuation and development of the writer's constant thought about the rottenness of the foundations of modern

him society, about his degeneration and doom.

The new trends that have manifested themselves in post-reform Russian life have found a comprehensive disclosure

in essays by Saltykov-Shchedrin, united under the title "Diary of a provincial in St. Petersburg".

The narration is conducted on behalf of a certain Provincial, who, having arrived in Petersburg,

supposed to find in the capital a center of education, education and freethinking, but finds

the triumph of predation, cynicism, debauchery, rampant reaction and betrayal. Writer with

masterfully used here a form of parody, which becomes one of the

the main style-forming factors of his satire.

In Russian literature of the 70s, the works of Saltykov-Shchedrin, built on the principle

visibility, can be compared with Nekrasov's satirical poem "Contemporaries". exposure

capitalist predation becomes the central theme for the entire work of the writer

70s. It is inextricably intertwined with the image of the degeneration of the nobility. This

issues that reflect the real life situation, has already been presented in Russian

literature (in Ostrovsky, Nekrasov, Dostoevsky), but in Saltykov-Shchedrin it is expressed

especially acute and bold in the cycle "Well-intentioned speeches". Satirical cycles of Saltykov-

Shchedrin in the 1970s, which captured important trends in the post-reform Russian

in fact, is a brilliant example of the artistic development of the main theme

writer: exposing the foundations of a proprietary society, its economy, politics, psychology,

life, manners, morals.

The writer worked on the novel "Lord Golovlev" (1875-1880) for several years. Its first chapters

from the beginning they were published as part of the cycle "Well-intentioned speeches". This circumstance allows

perceive Golovlyov among those satirical characters who like to pronounce

"well-intentioned speeches" in defense of the "sacred principles" of the state, church, property,

families, constantly breaking them. "Gentlemen Golovlevs" is a family and everyday novel, but at the same time it

also turns into a socio-political novel in its tendencies and into a psychological one.

on the basis of storytelling. In Shchedrin's novel, three

generations of the Golovlev family: Arina Petrovna, her children and grandchildren. In the first generation, the family

seems strong. Arina Petrovna, with her characteristic energy and enterprise,

lays the foundations of Golovlev's welfare. But even then the family is violated

natural human relationships. The abolition of serfdom accelerates the process of decomposition,

and in the second generation, the features of "escheat", doom become more noticeable. Children

Arina Petrovna turns out to be unadapted to life. Arina Petrovna herself is forced

was to admit that her exceptional service to the family was in reality a service

ghost, which she herself created: "All her life she arranged something, over something

was killed, but it turns out that she was killed over a ghost. All her life the word "family" did not leave her

from the tongue, in the name of the family, she executed some, rewarded others; in the name of the family, she exposed herself

deprivation, tortured herself, mutilated her whole life - and suddenly it turns out that she has families and

The seal of doom is even more clearly manifested in the third generation, which perishes completely.

young. Against this background, the sinister figure of the middle son of Arina Petrovna, Porfiry, grows up.

called Judas. The image of Judas is the personification of predation, greed, hypocrisy. He,

who killed all his loved ones - mother, brothers, children, nieces, dooms himself to

inevitable death. He is hypocritical constantly - not only in front of others, but also in front of himself,

hypocrites even when it does not bring him any practical benefit. For example

Judas clearly shows what role Saltykov-Shchedrin plays in creating a satirical image

speech characteristic. So, appearing to the dying brother Paul, Judas literally harasses

its sickening and unctuous idle talk, all the more disgusting because it

seasoned with "related" words formed with the help of diminutive suffixes:

"mother", "friend", "cushion", "vodichka" and even "wooden oil". Just before

death itself awakens a feral conscience.

In The Golovlyov Gentlemen, Saltykov-Shchedrin almost never uses the techniques that were characteristic

for "History of a City". Instead of satirical grotesque, hyperbole, science fiction writer

uses the method of psychological analysis, closely examines the inner world of his characters,

First of all, Judas Golovlev. Psychological analysis is carried out with the help of a complex

interweaving of the speech structure of the characters with the author's assessment of their thoughts and experiences.

realistic content, psychological skill, breadth of generalization Judas

Golovlev is one of the most perfect images in world classical literature.

The constant thoughts of Saltykov-Shchedrin about contemporary reality did not concern

only Russia, but also Western Europe. Essays "Abroad" (1880-1881), written in

trips abroad, were of great international importance, What Saltykov would not write about -

Shchedrin, he never forgot about Russia. In 1876 Saltykov-Shchedrin wrote to one of his

correspondents: "It is hard for a modern person to live and even somewhat ashamed. However,

a few are still ashamed, and most even people of the so-called culture are simply without shame

lives. The awakening of shame is at present the most grateful subject for literary

development, and I try, if possible, to touch it." The writer devoted this topic

"Modern Idyll" (1877-1883) - one of the few works of the satirist, in which

a clear plot. The work is based on the adventures of heroes: the Narrator (who,

Ostrovsky's play Enough Simplicity for Every Wise Man. Both the Narrator and Glumov are typical

Russian intellectuals. At first, they give in to the pressure of surrounding circumstances reluctantly,

with difficulty, with internal resistance, It seems to them that they only need to survive. "wait",

endure, hold back. Get rid of the "triumphant pig" with small concessions. But

gradually it turns out that they, who have already embarked on the path of conciliation, have to voluntarily

compose projects for the police, finally, they begin to publish the newspaper Verbal Fertilizer.

Only at the very last moment does the human element awaken in them, which does not give them

finally turn into royal spies, scoundrels and scoundrels. They get ashamed

in other words, public consciousness. Even compared to other works

Saltykov-Shchedrin "Modern idyll" is rich and diverse

used in it artistic techniques. Traditional for a satirical writer

grotesque, parody, elements of fantasy (the trial of

sick minnow, who was suspected of treason) are combined with specific

realistic descriptions, colorful and most truthful everyday sketches,

accurate reproduction of the details of Russian life. The action of the satirical novel takes place in

Petersburg apartment of heroes and in the police station, lawyer's office, tavern, beggar

village, noble estate, court, in the editorial office of a newspaper ... The principle of "montage" association

episodes, a combination of "large" and "general" plans bring Saltykov-Shchedrin's novel closer to

art of the twentieth century.

Saltykov-Shchedrin turned to the genre of satirical fairy tales as early as 1869; most of them

written in the mid 80s. In fairy tales, many motifs, images,

themes outlined in the previous work of the satirist. We meet here again

pompadours, but they are presented in the form of a bear, a wolf, we meet with trembling

liberals - in the form of a wise minnow. In the center of the writer's attention is always the people -

his destiny, present and future, his strength and weakness. In this regard, one of the earliest

fairy tales "The Tale of How One Man Feeded Two Generals". history itself

miraculous appearance of two generals (in nightgowns) on a desert island, of course,

fantastic; but this fantasy, as always with Saltykov-Shchedrin, is built on a realistic

In numerous fairy tales on the theme "The Man and the Master" the lordly stupidity invariably

opposed to peasant cunning, dexterity and resourcefulness. Saltykov-Shchedrin follows

behind the established tradition, making his man skillful and quick-witted. though

the satirist bitterly notes the humility and extreme downtroddenness of a strong and hardy peasant,

who could easily deal with his oppressors, but does not protest, is not indignant.

Moreover, he himself twisted the rope, with which his generals tied him to a tree for the night. Subject

people passes directly or indirectly through all the satirical works of Saltykov-Shchedrin,

determining its ideological direction. In the fairy tale "Konyaga" in the most concentrated form

all the pain of the writer-democrat for the Russian peasant was reflected. On the meaninglessness of utopian

hopes for a "good" ruler, the satirist recalls in the brilliant fairy tale "The Bear in the Voivodeship".

The tale "The Eagle-Maecenas" is permeated with caustic irony, ridiculing the official versions of

generosity of kings, their outstanding role in the development of sciences and arts. Talking about regular

the collapse of the next attempts to make a philanthropist out of the eagle ("king of birds"), Saltykov-Shchedrin with the crafty

ingenuously writes: "Either ... education is harmful to eagles, or that eagles are for

enlightenment are harmful, or, finally, both together. "The satirist created a number of classical

literary types, symbolizing philistine lack of spirituality and lack of ideas. Such

for example, "The Wise Minnow", who "lived and trembled and died trembling", "Dried vobla",

"Self-sacrificing hare", "Liberal", who once began with humiliated requests "for

opportunities", then humbly begging from the authorities "at least something", and finishing

his way of life "in relation to meanness."

For the satire of Saltykov-Shchedrin in general and for "Tales" in particular, the original

combination of fantastic and real motifs. Grotesque situations are intertwined with

open allusions to contemporary events, specific realistic details. So,

The wise gudgeon not only swam in the water and was afraid of pike; he was "enlightened, moderately

liberal", dreamed of winning two hundred thousand. Toptygin I ("Bear in the Voivodeship") has children

go to the gymnasium; two generals on a desert island find a well-known newspaper

"Moskovskie Vedomosti". All this strengthened the satirical effect of Shchedrin's narrative. AT

in his fairy tales, Saltykov-Shchedrin updated and rethought the traditional genre form, becoming

creator of a new type of political fairy tale.

"Poshekhonskaya antiquity" (1887-1889) is Shchedrin's last work. It

created after the closure of "Notes of the Fatherland" (1884) and printed on the pages

magazine "Bulletin of Europe". "Poshekhonskaya antiquity" is largely autobiographical. It reflects

childhood impressions of the writer, but, of course, its meaning is much broader. Saltykov-Shchedrin

considered it necessary to tell the young reader about what really happened in

Russian life in the 30-40s. In Russian literature of the middle of the XIX century. many families have been established

chronicles dedicated to depicting the life of a landowner's estate (S.T. Aksakov, L.N. Tolstoy).

The general tone of such works, as a rule, was light, cheerful. At

Saltykov-Shchedrin, the narration is sustained in gloomy tones; it's not about flourishing

human personality, but, on the contrary, its degeneration and death: "Everything was cursed in this environment,

everything was groping in the darkness of hopelessness and despair that enveloped her. Some were

corrupted to the marrow, others crushed to the point of losing their human form. Only

unconsciousness and helped to live in such a daze. "The narration is carried out in an underlined

in a calm, impassive tone. Reality itself turned out to be more terrible and even

more fantastical than any fiction. Addressing young readers, "children",

Saltykov-Shchedrin bequeathed: "Do not let your hearts turn to stone, look often and

intently into luminous dots that twinkle in the prospects of the future", By fair

observation of Academician A.S. Bushmin, "if the formula "laughter" is applicable to Gogol's humor

through tears", then the formula "laughter through

contempt and indignation". The hatred of Saltykov-Shchedrin, his denunciation, his laughter were

imbued with the desire to educate the "future man". He was convinced that

literature can play a huge role in "preparing the soil of the future." Was not in

second half of the 19th century neither in Russian, nor in the world literature of a satirist, equal in scale

Saltykov-Shchedrin. His satire included the depiction of reality in the forms of

life, deep psychologism, the subtlety of the analysis of the inner world of a person and at the same time

grotesqueness, deformation of the usual proportions, "puppetry" of characters, sharpening and

fantastic plots, parody, rethinking of situations and heroes from other

literary sources. Allegories, "Aesopian manner" of writing were not only a cover

from censorship; they proved to be an effective means of satirical depiction of life,

allowing you to approach certain phenomena from an unexpected angle and wittily illuminate them.

In the second section of the collection, Nekrasov appears as a very original satirical poet. What is its originality? 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.

Often Nekrasov also uses satirical "rehash", which should not be confused with parody. In "Lullaby (Imitation of Lermontov)" the rhythmic-intonation structure of Lermontov's "Cossack Lullaby" is reproduced, its high poetic vocabulary is partially borrowed, but not in the name of parody, but in order to sharpen the baseness of those relations that Nekrasov is talking about was shaded. Parodic use ("rehashing") is here a means of enhancing the satirical effect.

Search for a "new man"

The third section of the collection, the poem "Sasha", is one of the first experiments 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 former 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 an intelligent, gifted and educated person, but there is no firmness and faith in the character of the "eternal wanderer":

What will the last book tell him?
Then on top of his soul will lie:
To believe, not to believe - he doesn't care,
If only it was proven 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 "luxurious fruit" in the future. The heroes of the "word" will soon be replaced by the heroes of the "deed". The poem "Sasha" was accepted by contemporaries with particular enthusiasm: in the public life of those years, the displacement of cultured nobles by 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, sometimes wayward and uncompromising (“I don’t like your irony ...”), appeared. And therefore, the relationship between the lovers became more complex in Nekrasov's lyrics: spiritual closeness 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" the spouses cannot (*177) understand each other, because they received a different upbringing, have different ideas about the 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 "Am I driving along a dark street at night ..." conflicts are in many ways 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.

In the second section of the collection, Nekrasov appears as a very original satirical poet. What is its originality? 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.

The Lullaby (Imitation of Lermontov) reproduces the rhythmic-intonational structure of Lermontov's Cossack lullaby, partially borrows its high poetic vocabulary, but not in the name of parody, but so that against the background of the high element of maternal feelings resurrected in the mind of the reader, the baseness of those relations is more sharply set off that 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 created in a happy time of the rise of the 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 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 magnificent fruit in the future. The heroes of the word will soon be replaced by the heroes of the deed. Sasha's poem was accepted by contemporaries with particular enthusiasm: in the public life of those years, the displacement of cultured nobles by 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.