Nekrasov is the successor and continuer of the best traditions of Russian poetry - its patriotism, citizenship and humanity.
The theme of the purpose of poetry is one of the main ones in Nekrasov's lyrics. The poem "The Poet and the Citizen" is a poet's dramatic reflection on the relationship between high citizenship and poetic art. Before us is a hero who is at a crossroads and, as it were, personifies different trends in the development of Russian poetry of those years, feeling the emerging disharmony between “civil poetry” and “pure art”.
The Poet's feelings change from irony towards the Citizen, from a feeling of superiority over him to irony, resentment against himself, then to a feeling of irreversible loss of human and creative values, and then (in the last monologue) to gloomy anger. The movement of feelings in the Citizen: from the demand to “smash” the vices boldly, “expose evil” to the understanding of the active struggle and civic position necessary for real poetry. 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. Most likely, we are talking about a clash of different thoughts and feelings in the soul of one person. There is no winner in the dispute, but there is a general, only true conclusion: the role of the artist in the life of society is so significant that it requires from him not only artistic talent, but also civic convictions.
The Muse of Nekrasov entered the literature of the 19th century - the sister of the suffering, tormented, oppressed people (“Yesterday, at six o'clock ...”). Muse Nekrasov not only sympathizes, she protests and calls to fight:
To remind the crowd that the people are in poverty,
While she rejoices and sings
Bring attention to the people the mighty of the world -
What better service could the lyre serve?
The theme of the people is traditionally considered a Nekrasov theme. Ap. Grigoriev called him "a man with a people's heart." According to Dostoevsky, the poet "loved all those who suffered from violence."
The poem "Troika" was written in Nekrasov's favorite genre of song. The rhythmic-stylistic structure of the poem is characterized by a special melodiousness, repetitions inherent in the folk song. In the center of the poem is the image of a peasant girl, whom “it is not surprising to look at”. The poem has two time layers: the present and the future. In the present, the girl lives in anticipation of love: “to know, her heart sounded alarm.” But in the future, a difficult fate awaits her, which is usual for a peasant woman: “a picky husband will beat you and your mother-in-law will bend you to three deaths.” The end of the poem is full of sadness (“and they will bury you in a damp grave, as you go through your difficult path”). A troika is an image-symbol that often appears in folk songs (“Here a postal troika rushes”), it is always an image of freedom, will, a symbol of movement, a dream of happiness. In the last stanza, the motive clearly sounds: happiness is only a dream: “you can’t catch up with the crazy three”.
In the poem “Reflections at the front door”, the epic beginning prevails: a generalized description of the “front door” and a description of the peasant petitioners. The poet does not endow each of the peasants with any specific, individual traits. The details of the portrait merge this group of people into a single poetic image: “village people”, “a thin Armenian on his shoulders”, “a cross on his neck and blood on his legs”. In the second part, a lyrical note appears. This is the author’s appeal to the “owner of luxurious chambers”, which sounds either excitedly pathetic (“Awake!.. Turn them back! Their salvation is in you!”), then mournfully and angrily (“What is this crying sorrow to you, what do you need this poor people ?”), then evil and ironic (“and you will go down to the grave ... hero”).
In the final, third part, the epic and the lyrical merge into one. The story of the peasants receives a concrete conclusion (“Beyond the outpost, in the wretched tavern, the peasants will drink everything to the ruble and go, begging along the road ...”). The poem ends with a question to which the poet does not have a definite answer:
Will you wake up full of strength?
Very important for understanding the features of Nekrasov's poetry is the so-called
“repentant lyrics” - “I will die soon”, “Knight for an hour”, “I deeply despise myself for that ...”. It was the Nekrasov hero who showed an example of courage and an attempt to overcome the tragic discord with himself, because it seemed to him that he did not correspond to the high ideal of a poet and a person.
I will die soon...
Pathetic legacy
O motherland, I will leave you...
A special place in the “repentant lyrics” is occupied by the theme of the moral ideal, in search of which the lyrical hero turns primarily to those who carried pain about a person, pain about Russia (“On the Death of Shevchenko”, “In Memory of Dobrolyubov”, “Prophet”) . The people's protector is a sufferer who makes a sacrifice. Characteristic is the motif of the chosenness, the exclusivity of great people, who are carried by the “falling star”, but without which “the field of life would have died out”. The image of the “people's defenders” reveals their deep democratism, an organic connection with folk culture.
No worse than us, he sees the impossibility
Serve the good without sacrificing yourself.
But he loves higher and wider,
There are no worldly thoughts in his soul.
Nekrasov wrote about love in a new way. Poetizing the ups and downs of love, he did not ignore the "prose" that "is inevitable in love." In his poems, the image of an independent heroine appeared, sometimes wayward and impregnable (“I don’t like your irony ...”). Relations between lovers have become more complex in Nekrasov's lyrics: spiritual intimacy is replaced by disagreements and quarrels, the characters often do not understand each other, and this misunderstanding overshadows their love.
You and I are stupid people:
What a minute, the flash is ready!
Relief of an agitated chest,
An unreasonable, harsh word.
A tragic perception of life, compassion for one's neighbor, merciless reflection and at the same time an unbridled thirst for happiness - that's distinctive features poetry of Nekrasov.
Nekrasov's lyrics are a new stage in the development of Russian poetry. It reveals the thoughts, feelings, moods, views of a man of a new social era - a representative of democratic diverse circles, who survived the difficult contradictions of the period of the collapse of serfdom and the birth of bourgeois capitalist relations.
The lyrical poems of Nekrasov marked themselves first of all new approach to reality, affirmed in poetry the principle of citizenship, hitherto only outlined. In terms of the truthfulness and depth of disclosure of the inner world of a person, in terms of the completeness and diversity of coverage of life, Nekrasov's lyrics not only summed up the achievements of Russian poetry of the 19th century, but also largely determined its further development.
Comprehending his work, discussing with the apologists of pure art. Nekrasov repeatedly made poetic declarations in which he emphasized the democratic and revolutionary nature of his poetry. In 1848, he wrote a poem, the theme of which became the leitmotif of his entire work. In this poem, the image of the Muse grows into a tragic symbol of an enslaved and tortured people.
Yesterday at six o'clock
I went to the Hay
They beat a woman with a whip,
A young peasant woman.
Not a sound from her chest.
Only the whip whistled, playing ...
And I said to the Muse: “God!
Your own sister!"
Nekrasov's poetry is alien to conventionality, abstraction. The image of the Muse is captured not in the traditional symbolism of ancient mythology, but in the image of a suffering peasant woman subjected to a cruel and shameful execution. This is the Muse of the poor, the Muse of the people, proud and beautiful in her suffering, calling for revenge.
Nekrasov's views on the role of the poet and the purpose of poetry in society were reflected in another, later poem, "The Poet and the Citizen", which became the poetic manifesto of a new, democratic trend in literature. This program work affirms the socially significant orientation of poetry, its active participation in life determines the very role of the poet - a citizen, a public figure:
Go into the fire for the honor of the Fatherland,
For faith, for love...
Go and die flawlessly -
You will not die in vain: the matter is solid,
When blood flows under him ...
Nekrasov says not only that poetry is always connected with life, it requires a civic feat from the poet, but also castigates passivity, evasion of decision public problems, covered by arguments about a different purpose of poetry:
You may not be a poet.
But you have to be a citizen.
Nekrasov does not tear the poet away from serving art, but demands that this service be subordinated to lofty and humane tasks. This program was carried out by Nekrasov in his work.
The poet's love for the people gave rise to an inexorable hatred for their oppressors. Love and hate were the force that determined the inner pathos of his work. The passive contemplation of life is alien to the poet, he does not leave it, but on the contrary, vigorously and passionately fights for its reorganization, exposes those who interfere with the happiness of the people.
Lyrical pathos and satirical scourging permeate one of his most famous poems - "Reflections at the front door", which sharply exposes the autocratic-feudal regime.
The poet opposes the life of serfs to the owner of luxurious chambers, who considered “an enviable life to be red tape, gluttony, a game”; the false front side of the bureaucratic-noble society with its outward well-being is contrasted with impoverished peasant Russia, the people. With great figurative power, the poet clearly shows examples of poverty, downtroddenness, deprivation of peasant Russia:
And they went with the burning sun.
Repeating: "God judge him!"
Spreading hopelessly hands.
And as long as I could see them.
They walked with uncovered heads.
It is this humility, inability to fight, that Nekrasov seeks to set off, thereby wishing to awaken in the people the consciousness of the need for struggle. The poem ends with the author's reflection on the fate of Russia. In the mournful words of the poet one can hear not only ardent sympathy for the robbed peasant, but also an accusation against those in power. The poet calls on the people to rise up to fight against the enslavers: “Will you wake up full of strength?”
The ruthless, truthful pictures of human grief and suffering of destitute people, created by the poet, acquire a typical character in the cycle of poems “On the Street”.
A simple everyday scene, the everyday “physiology” of the capital, a seemingly accidental episode, reveals the social contradictions of the capital, the tragedy of everyday life. A hungry poor man who stole a kalach from a merchant is led to the police station. The old mother, in tears, sees off her Vanyusha, who was taken to the recruits - all these are sketch sketches of street impressions, but they are typical for the everyday life of the city, in each of these sketches lies a life drama.
The fate of the peasant was difficult, but even more difficult was the fate of the peasant woman, the description of which occupies a significant place in Nekrasov's lyrics. In the poem “Am I driving down a dark street at night?” the poet paints a typical picture of the need, suffering, grief that befell the downtime of a Russian woman. This is a story about the joyless love of the poor, about sinister poverty, crippling the brightest, purest feelings of a person.
Drawing terrible pictures of the suffering and disasters of the people and seeing the only way to reorganize life in the revolution, Nekrasov creates images of people who are able to stand at the head of the insurgent masses. A whole cycle is devoted to the image of democratic revolutionaries. In the poem "In Memory of Dobrolyubov", one of the best in this cycle, Nekrasov draws a portrait of a man of a new social formation, conveys the features of a revolutionary. In the guise of Dobrolyubov, he primarily highlights the subordination of personal life to high social goals, the interests of the people, the readiness for self-sacrifice:
You were harsh, you were young
He knew how to subjugate passion to reason.
You taught to live for glory, for freedom.
But pain, you taught to die.
Dobrolyubov Nekrasov reveals spiritual purity, faith in a lofty ideal, revolutionary patriotism in the following lines:
Consciously worldly pleasures
You rejected, you kept purity ...
As a woman, you loved your homeland ...
In order to convey the spiritual greatness of Dobrolyubov, the poet turns to the sublime-odic style. This poem is a poetic monument to a new man, a revolutionary, whose appearance Nekrasov saw in Dobrolyubov.
Thus, we see that Nekrasov has widely pushed the boundaries of lyrics. First of all, he unusually expanded the range of topics: not only the personal experiences of the poet became the property of his poetry, but also the whole diversity of the surrounding world.
This is the lyrics of life, the lyrics of action. Passivity, contemplation, reticence are alien to her. The central place in it is the people in their pursuit of happiness, beauty, and justice. This is the desire of Nekrasov; acquires a concrete, social character.
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Slides captions:
The main themes and ideas of the lyrics by N.A. Nekrasov “Nekrasov is a whole poetic state living by its own laws” R. Gamzatov
N.A. Nekrasov - the successor of the traditions of his great predecessors - Pushkin and Lermontov, Nekrasov at the same time opened a new page in the history of our poetry. His poetic works caused heated debate: his poems were considered close to prose, dissertations on given topics, but, nevertheless, Nekrasov immediately found his reader.
The innovation of N.A. Nekrasov Nekrasov's poetry opened to readers the spiritual world of the Russian peasant, his needs and aspirations; In his poems, Nekrasov talks about everyday non-poetic phenomena: about a dirty St. Petersburg street, about a peasant who beat his wives under a drunken hand, about the work of barge haulers, etc.;
N.A. Nekrasov's innovation New heroes introduce new speech into poetry, sometimes “rough”, “dissonant”, from the point of view of supporters of “pure art”; The intonations of live speech also affect the nature of the verse, its rhythm, so Nekrasov makes extensive use of three-syllable rhymes that convey the shades of a live voice;
The innovation of N.A. Nekrasov Polyphonism is characteristic of Nekrasov's lyrics: the voices of the author and the characters merge into one; Poetry is always social: it reflects the issues of society, structure human relations. Imbued with citizenship.
The main themes of the lyrics The theme of the poet and poetry; The theme of the motherland and the people; The theme of the ideal of a public figure; satirical theme; Love theme.
The theme of the poet and poetry "The Poet and the Citizen" (1856) What are the heroes of the poem arguing about? Who won this dispute? What can be the conclusion? Text
The theme of the poet and poetry "Muse" (1852) Who is the Muse? How does the poet portray the Muse? What can be the conclusion? Text
The theme of the poet and poetry "Elegy" (1874) What is an elegy? Why did Nekrasov choose the elegy genre? What is verse 1 talking about? What does verse 2 say? What explains the presence of rhetorical questions in stanza 3? What is the point of these questions? What does verse 4 say? How is the people represented in the elegy? What can you say about the author of the elegy after reading it? Text
The theme of the homeland and the people N.A. Nekrasov for the first time introduced the image of the Russian people into Russian poetry: A peasant woman; Burlak; Peasant petitioners; Railroad builders.
The theme of the homeland and the people "Reflections at the front door" (1858) What compositional features can be distinguished? What is the conclusion to be drawn? Text
The theme of the homeland and the people "The Forgotten Village" (1856) What is this poem about? What pictures come to mind while reading the poem? Can this poem be called lyrical? Is it only the motive of the author's regret about the life of the peasants and the fate of the village that we see in the poem? Text
The ideal of a public figure The ideal appears in Nekrasov's work, permeated with boundless love for the motherland, capable of giving his life in its name. An example of high honesty, spiritual nobility, selfless service to the motherland, we see in the poem "The Memory of Dobrolyubov" (1864)
The ideal of a public figure goodies, the best people time and unique individual portraits of Dobrolyubov and Belinsky. In the work of Nekrasov, the theme "Belinsky" was not only deeply personal, but also socially important. In 1853, when the name of Belinsky was under the ban of censorship, the poet publishes the poem "In Memory of a Friend", the poems "V. G. Belinsky", "Unfortunate".
Nekrasov the satirist 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.
Nekrasov-satirist "Lullaby" (1845) What is the tone of the poem? What is the relationship of the poet to his hero? Text
Nekrasov-satirist "Moral Man" (1847) What is the hero of this poem? What does the author say about morality? Text
Love lyrics Nekrasov's love lyrics are very different from the "poetry of the heart" of other authors. There is nothing romantic in it, but it was precisely the “grounding” that gave his poems a special drama, the prose of life clearly appeared in them. He has a cycle of poems dedicated to his beloved - the “Panaevsky” cycle, in which the poet captured the story of his complex, joyful and painful love. And even after parting, he noted that in the best of times they were united by a commonality of views and mutual understanding.
Contemporaries about Avdotya Yakovlevna Panaeva: “How much good is in her. She has a lot of intelligence and true kindness.” (T. Granovsky) " Not only impeccably beautiful, but also an attractive brunette." (A. Fet) “I was in love in earnest, now it’s passing, but I don’t know yet ... She is smart and pretty, in addition, kind and utterly direct.” (F. Dostoevsky)
Avdotya Yakovlevna Panaeva was born in St. Petersburg on July 31, 1820. Her parents served as actors on the Imperial stage: her father, A. G. Bryansky, acted in tragic roles, her mother played various roles in drama, comedy and operetta. A far from ideal atmosphere reigned in the house, which was created by a despotic gambler mother and an avid billiard player, a cruel, eccentric father. “No one caressed me,” Avdotya Yakovlevna recalled, “and therefore I was very sensitive to caresses.” But, apparently, the character still inherited her mother's - imperious and decisive. Life in the parental home seemed to the girl a torment, and therefore, before reaching the age of nineteen, she married the writer Ivan Panaev.
He came from a noble family rich and glorious in cultural traditions (by his father, he is the great-nephew of G. R. Derzhavin; his uncle was a major government official and a well-known idyllic poet). Having lost his father early, who was also not alien to literary creativity, Panaev grew up in his grandmother's house. The mother practically did not engage in raising her son, preferring to live for her own pleasure - widely and without counting money. This passion for a carefree, luxurious life was then passed on to her son. The service weighed heavily on Ivan Panaev, he loved freedom and managed to successfully combine secular entertainment and literature. A wide circle of acquaintances in all strata of St. Petersburg society, a striking journalistic scent and "ubiquity" ensured his novels and short stories continued success, sometimes with a hint of scandal. His name in the 1840s and 50s was on everyone's lips.
The romantic story of his marriage also became a talk of the town. In 1893, the year of Avdotya Yakovlevna's death, the writer's cousin V. A. Panaev testified in Russian Antiquity: “Ivan Ivanovich's mother did not even want to hear about her son's marriage to the actor's daughter. For two and a half years, Ivan Ivanovich, in various ways and in every possible way, obtained the consent of his mother, but to no avail; finally, he decided to get married quietly, without the consent of his mother, and, having got married, straight from the church, got into a carriage, drove with his young wife to Kazan ... Mother, having learned, of course, on the same day about what had happened, sent a letter to Ivan Ivanovich in Kazan with curse."
“Relatives,” writes literary critic V. Tunimanov, “gloated about the misalliance and arrogantly accepted the plebeian. However, Panaev’s mother did not differ in vindictiveness, she soon reconciled, and the daughter-in-law had to act as a young mistress of the house, which rather resembled a secular aristocratic salon (in the Panaevs’ house they are used to living carelessly, luxuriously, like a lord). For her, romance very soon turned into a stunned at first, and then hardened prose of life. In addition, Ivan Ivanovich understood marital duty in a very peculiar way, not at all intending to abandon the secular-bohemian habits that had long become the norm. I must say that he clearly did not appreciate the strong, proud character of Avdotya Yakovlevna, who was created to reign, to command, and not to play the role of a timid and elegant doll in the salon of a secular writer.
Was it any wonder that her regiment of admirers arrived as soon as the young poet Nikolai Nekrasov appeared in the Panaevs' salon. .. Avdotya Yakovlevna made a great impression on the beginning and still unknown poet (he was only a year younger than the mistress who charmed him). The young man long and stubbornly sought her love, but she rejected him, not daring to leave her husband. Panaev, not indifferent to secular pleasures, gradually returned to his former bachelor habits and spent time in revelry and amorous entertainment, and the young wife was left to herself. The frivolous behavior of Ivan Ivanovich was reflected in the financial situation of the family. The constant lack of money and the debts that he made oppressed and annoyed Avdotya Yakovlevna.
And Nekrasov did not leave the hope of winning the heart of this "extraordinary woman." “He was a passionate man and gentleman,” Alexander Blok would say about him years later. Like dozens of predecessors, he immediately rushed to the attack, but Madame Panaeva laid siege to the excessively zealous gentleman. However, hardened by the struggle for a place in the sun, Nekrasov was not going to give up. He told her about love, she got angry and did not believe, he talked to her about feelings, she laughed and did not take seriously ... And the more stubbornly she pushed away, the more surely she attracted. One day the knight rode his lady along the Neva in a boat and started "for the umpteenth time about the main story," she again snorted contemptuously. The unfortunate lover had no choice but to resort to blackmail. He put the tormentor on notice that he could not swim, and jumped into the Neva. They say, if you are not mine, then what is life without you ...
The frightened Avdotya Yakovlevna raised a cry, the unfortunate jumper was dragged into the light of day, and he again for his own: “Either mine, or I will repeat the trick. Yes, this time it’s lucky to immediately drop a stone to the bottom ... ”She did not open her arms, but the cold of distrust was replaced by warmth of sympathy ... In the summer of 1846, Nekrasov had a happy opportunity to appreciate how delightful evenings are in Russia. Ah, what a glorious time it was! Avdotya Yakovlevna, her legal husband Ivan Ivanovich and, in fact, the poet spent marvelous months in the Kazan province. It was there that something happened, about which the happy Panaeva left the lines: “Happy day! I distinguish him In the family of ordinary days From him I count my life And celebrate in my soul!
The future classic did not remain in debt: How long you were harsh, How you wanted to believe me, And how you believed, and hesitated again, And how you completely believed! Nekrasov wrote about the ups and downs of his relationship with Avdotya Yakovlevna. He began to visit the Panaevs' house more and more often. Since the autumn of 1845, he looked here almost every day, and a year later he settled with them in the same apartment. Busy with his endless romantic adventures, the head of the house and the personal life of his wife looked through his fingers. Avdotya Yakovlevna became the common-law wife of Nekrasov - in those days it was almost impossible to get permission for a divorce. Rumors and gossip about their "indecent" relationship did not stop for a very long time. Well, after these two fully justified mutual trust, it was unbearable (and ridiculous) to part. And here's another teamwork on the revival of the Sovremennik magazine!
"Panaevsky cycle" "Panaevsky cycle" is an example of how the personal, intimate in the lyrics becomes universal. In it we will hardly find social motives inherent in all of Nekrasov's lyrics. We can say that the poems of the cycle are intentionally asocial, devoid of any specific details and hints. In the foreground here is the psychological motivation, the depiction of the feelings and experiences of the heroes, like in Tyutchev, “the fatal duel”. What can be said about these two? He is a reflective person, prone to suspiciousness, suspicion, despondency, anger. However, little is known about him. At the center of the “Panaev cycle” is she. And it was in the creation of the character of the heroine that Nekrasov's innovation manifested itself. This character is completely new, and besides, it is “given in development, in various, even unexpected, manifestations, selfless and cruel, loving and jealous, suffering and making suffer”
The motives of the lyrics of the "Panaev's cycle" The motive is a stable, recurring element of the plot, characteristic of several works. In the "Panaev's cycle" the following motives can be distinguished: motives of a quarrel (“If, tormented by a rebellious passion ...”, “We are stupid people ...”); parting, separation (“So this is a joke? My dear ...”, “Farewell”) or their premonitions (“I do not like your irony ...”); memories (“Yes, our life flowed rebelliously ...”, “For a long time - rejected by you ...”); letters (“Burned Letters”) and other “Panaevsky” verses are characterized by some pairing (cf., for example, “A hard year - an illness broke me ...” and “I got a heavy cross ...”, “Forgive me” and "Farewell").
"Panaevsky cycle" What is the originality of Nekrasov's intimate lyrics? Are you used to describing feelings for your beloved? What image of the beloved woman does Nekrasov create in poems dedicated to Panaeva? What are the leading motives? "I don't like your irony" "Amazed by the irretrievable loss" "I'm sorry!"
"Panaevsky cycle" Nekrasov's works about love are distinguished by sincerity. It can be seen that they arose under the influence of direct feelings, are the result of a passionate lyrical movement. Nekrasov's love lyrics show that he could be a "pure lyricist", free from tendentiousness and far-fetchedness. Sometimes Nekrasov's feelings are distinguished by loftiness and poetic grace: So this is a joke? My dear, How timid, how slow-witted I am! I cried over your calculated, harsh, Short and dry letter: Neither friendly affection, nor a frank word You pleased my heart in it ... It turned out that the poet's fears were in vain - the beloved woman still loved him: Everything is over! With your single word, you returned to my soul again Both the former peace and former love, And the heart sends blessings to you, As the messenger of unexpected salvation ...
"Panaev's cycle" In conclusion, let's return to the issue of innovation love lyrics Nekrasov. It consists not only in the novelty of the content (“the prose of life”), but also in the fact that in order to depict “non-poetic” phenomena, the poet finds an appropriate artistic form: colloquial speech, proseisms.
Nekrasov paid tribute to romanticism with the collection of poems Dreams and Sounds (1840), severely condemned, even ridiculed at the same time by Belinsky. Mature Nekrasov, starting with the poem "On the Road" ("Boring? Boring! .. Daring Coachman ..."), is the successor of Pushkin's line in Russian poetry - mostly realistic. In Nekrasov's poetry there is a lyrical hero, but his unity is determined not by the range of topics and ideas associated with a certain type of personality, as in Lermontov, but general principles relation to reality. And here Nekrasov acts as an outstanding innovator who significantly enriched Russian lyrical poetry and expanded the horizons of reality. The subject matter of Ne-Krasov's lyrics is varied.
The first of the artistic principles of Ne-Krasov-lyric can be called social. He supplemented the narrow circle of lyrical themes new topic- social. Let us recall the textbook lines "Yesterday, at six o'clock." In his last poem, "O Muse, I am at the door of the coffin ..." the poet in last time he will remember “this pale, in blood, excised Muse with a whip ...” The source of inspiration for the poet, Muse, in Nekrasov is the sister of the unfortunate, subjected to violence and oppression. Not love for a woman, not the beauty of nature, but the suffering of the poor, tortured by need - this is the source of lyrical experiences in many of Nekrasov's poems. And this social theme changes the character and actually love lyrics. "Night. We managed to enjoy everything. What are we to do? I don’t want to sleep, ”the poem of 1858 begins. And the hero offers to pray for those "who endure everything", "whose rude hands work, leaving us to respectfully immerse ourselves in the arts, in the sciences, indulge in dreams and passions." It is clear that Nekrasov, a nobleman by birth, expresses here the consciousness of a commoner, a true democrat who knows dark sides social life, which has experienced hunger and cold, who does not know how, is not able to turn away from the wrong side of life with aristocratic squeamishness and arrogance.
At the same time, the lyrical hero of Nekrasov is not just a commoner, but a commoner intellectual. Here is another masterpiece of Nekrasov's love lyrics "I do not like your irony ..." (dated presumably 1850 and also presumably addressed to K. Ya. Panaeva). At the same time, this is an example of intellectual poetry: the hero and the heroine are cultured people, in their relationship there is irony and, most importantly, a high level of self-consciousness. They know, understand the fate of their love and are sad in advance. The intimate situation reproduced by Nekrasov and the possible ways of resolving it are reminiscent of the relationship between the heroes of Chernyshevsky's What Is To Be Done?
The clearest manifestation of a new lyrical theme - a social one - was the poem "Am I driving down a dark street at night." This is a heartbreaking story of a woman who is driven to the panel by poverty, hunger and the death of a child. "Defenseless, sick and homeless", the woman is pitiful, but there is no way to help the unfortunate victim of social disorder. From the same series, many poems of the 40-50s: "On the road." “Before the Rain”, “Troika”, “Rodina”, “Hound Hunt”, the cycle “On the Street”, “Uncompressed Strip”, “Masha”, “She got a heavy cross”, “In the hospital”. The pathos of these poems, the source of lyricism, is summed up and generalized in them in a short poem "Knight for an Hour", especially in the famous lines:
From the jubilant, idly chatting,
Blood-stained hands
Take me to the camp of the perishing
For the great work of love! — the poet addresses his mother. These lines excite even today.
The second artistic principle of Nekrasov-va-lyric is social analyticism. And this was new in Russian poetry, absent from both Pushkin and Lermontov, especially Tyutchev and Fet. With preschool age we remember the verses “Once, in the cold winter season ...” - about a peasant with a fingernail. But not everyone knows what precedes this passage in the poem "Peasant Children", which shows the "other side" of peasant childhood: doesn't bother him." That is, the hero of Nekrasov's lyrics is able to see the social meaning of the reproduced phenomena. In other words, the bearer, the subject of social typification is not only the author, but also his lyrical hero. Social analytics pervades two famous poems- "Reflections at the front door" and "Railroad". In "Reflections" a specific single fact - the arrival of peasants with a request or complaint to the Minister of State Property - is elevated to the rank of a typical phenomenon: "To know, they wandered for a long time from some distant provinces." The lyrical hero conjectures what, as they say, is not written on the men he saw from the window. The same in the quatrain “Beyond the outpost, in the wretched tavern ...” and, at the end, the famous finale of the poem “Tell me such a monastery ...”
Behind " railroad"The editor of Sovremennik, where it was first published, and he was the author of the poem, received the second, penultimate warning about the possible closure of the magazine from the Minister of the Interior Valuev himself, a well-known author of liberal reform projects. At first glance, a completely innocent epigraph caused special criticism from the censors: the censors realized that everything “terribly spectacular”, as one of them put it, the poem gives the epigraph a sharp social meaning and casts a shadow not only on the leader
the construction of the Nikolaev railway by the former head of the railways, Count Kleinmichel, but also on his deceased patron, and on his now reigning son. The second and fourth parts of the poem, held in them social analysis resulted in a terrible accusation of the government of genocide, as they would say today, and soldering their own people. Just as socially pointed is the contemptuous attitude of Vanyushin's father-general to the hard labor of the common people.
Two principles of reflecting reality in Nekrasov's lyrics naturally led to the third principle - revolutionary. The lyrical hero of Nekrasov's poetry is convinced that only a popular, peasant revolution can change the life of Russia for the better. The revolutionary nature of the consciousness of the lyrical hero Nekrasov gave his poems an agitational and propaganda character.
This side of the consciousness of the lyrical hero was especially strongly manifested in poems dedicated to Nekrasov's associates in the revolutionary democratic movement, the leaders of this movement: Belinsky, Dobrolyubov, Chernyshevsky, Pisarev. Nekrasov, in describing their personalities, proceeds from the fact that revolutionary-democratic activity is the most enviable and desirable lot, and in general, the role of the "people's defender" for Nekrasov is, using Fet's formula, a "patent for nobility" for any honest-minded contemporary . The features of the leaders of revolutionary democracy acquire an iconic character, their life path is presented in the traditions of the life of an ascetic martyr, an ascetic for the people.
Such is the poem "In Memory of Dobrolyubov." It is not necessary to look for real or fictional features in its content, it reproduces mainly what is due. The untimely deceased critic in Nekrasov’s poem is not a specific person who once lived, but “the ideal of a public figure who at one time cherished Dobrolyubov,” as the author himself later admitted.
Usually Nekrasov is presented as a poet of rural and peasant themes. But he also has urban lyrics, that is, poems about the city, in which he acts as a worthy successor to the St. Petersburg pages of "Eugene Onegin" and "The Bronze Horseman" and the predecessor of Blok. An ingenious example of a poem about big city with his social dramas is "Morning-ro". But the first three stanzas in it are not urban. First, the poet refers to "her", linking her sadness and mental suffering with "the poverty surrounding us", with which "here nature is at one with it." Then follow two “rural” stanzas with characteristic, emotionally colored epithets: dull, pitiful, wet, sleepy, “a nag with a drunken peasant, running galloping through force”, fog, cloudy sky, and the conclusion of the author: “Even cry ?”, “But the rich city is not more beautiful.” The poem resurrects the motifs of early "urban" poems: "Am I driving at night", "On the street", "Poor and elegant", the cycle "About the weather". The life of the city is terrible, there is no consolation for the tormented soul of the hero in it. First of all, there is no sense in the bustle of the city, the labor efforts of the inhabitants of the capital are alienated from them, their deeds are obvious - their faces, people are not visible: “with an iron shovel ... the pavement is being scraped”, “work begins everywhere”, “ they announced a fire from the tower”, “someone was brought to the shameful square” - impersonal and indefinitely personal constructions prevail. The same is true in the last lines: “someone died”, “shots were fired somewhere - someone committed suicide”.
The human figures in the poem symbolize the alienation of people from each other and from life. The first, if not faces - there are no faces - then the first kind of activity encountered in the poem is the work of the executioner. Now they will carry out a civil execution, that is, a ritual of public deprivation of civil and political rights. Then we see the officers riding to the duel. Another series of images passes before us.
Trade, this engine of bourgeois progress, in the poet of revolutionary democracy is the triumph of nonsense:
Traders wake up together
And they rush to sit down at the counters:
They need to measure all day,
To have a hearty meal in the evening.
Only. It is clear that the singer of capitalist Petersburg was not a fan and supporter of capitalism. And here are the echoes of Nekrasov’s literary predecessors: “Chu! cannons roared from the fortress! Flood threatens the capital" - an echo of "The Bronze Horseman", but in a completely different emotional coloring. The beating of a thief by a janitor no longer evokes in the hero's soul those feelings, that sympathy that permeates the scene of the thief's capture in the cycle "On the Street". The words “pounds” and “gotcha” are low vocabulary, colloquialism: “Again, a thief! They hit again." “They drive a herd of geese for slaughter” - it’s understandable: to eat. And the final chord - suicide in the attic - you can’t imagine better in this vale!
However, there is no conclusion, no chord, because at the end of the poem there is not a dot, but dots, that is, this meaningless series can be extended indefinitely. Nekrasov cut off his oppressive, maddening and to the grave review of the capital's life in mid-sentence... To match the emotional coloring of the poem, the meter is a three-foot anapaest, melodiously viscous and mournful. It is sung heavily, the melody creaks and slips: the meter is violated by super-scheme stresses at the beginning of the verse: “I believe it’s not hard to suffer here”; “Into the hidden distance ...”, “Terrible to the nerves ...”; “Chu! from the fortress ... "; "Shot - someone committed suicide ..."
Most of the works of Russian classics combine artistic permanence with depth and truly inexhaustible meaning.
Nekrasov is a people's poet not only because he spoke about the people, but because the people spoke to them. Hence all its features: heroes, themes, images, rhythms. People's poet. And there is no writer in the great Russian literature whom these words would define so precisely and comprehensively. The poet's lyrics are distinguished by an abundance of heroes. This is sometimes a whole gallery of reincarnations.
Nekrasov's ability to enter the world of others, of many people, to become a poet of the masses determined the originality of his multi-dark, multi-heroic and polyphonic lyrics. The ability to penetrate the world of other people also determined a completely new image of character common man, man - there was no such thing in the lyrics before Nekrasov. This is especially clearly seen in the example of the poem “On the Road”, which tells about the tragic story of a peasant girl, brought up in a noble family and, at the whim of a landowner, given to a peasant family, to her death and grief to a peasant peasant.
- World folk life appeared decomposable, analyzed, explored in its essence, in its nakedness. All mediations turned out to be removed, the usual aesthetic forms of familiarizing with the people through folk art, through song were rejected. Nekrasov's gaze is already striving to penetrate beyond what a song can give. In fact, the song can be as much a means to the study of folk life as a means to stay in a purely aesthetic sphere. It's not that the song doesn't talk about a hard life. A song is rejected, even singing about misfortune: ... Daring Yamshik,
- Disperse my boredom with something!
- Song, or something, buddy, sing
- About recruiting and separation.
- But the song didn't work.
The poet preferred the unusual one to the usual aesthetic form of representing people's life in poetry - a living story in verse - and through it he gave an analysis that is impossible in a song. But the lyrics were still lyrics. This is not an essay or a story. This is a lyrical revelation of the type of folk consciousness. The essence of the poem (and this is Nekrasov's discovery) is not simply and not only in exposing oppression and lordly arbitrariness, but also in the perception of complexity and inconsistency folk character as a result of this arbitrariness. Horror seizes, perhaps, not so much from the story told, but from this immediacy, from this naivety:
- And listen, beat - so almost never beat,
- Is it only under a drunken hand ...
The peculiar lyricism of the poem is also due to this artlessness, this wholeness of view of the world. But it is possible in the work only as a consequence of the loss, albeit temporary, by the poet himself of an integral perception of folk life ... Suffering itself in Nekrasov's poem is presented in unusual complexity, it is felt doubly or even triple: it is also from the grief of the peasant, who was crushed by the "villainous wife" , and from the grief of the unfortunate Pear, and from the general grief of the people's life.
- Well, that's enough, coachman!
- You dispersed my unrelenting boredom! ..
without this end, without these two lines, there would be no truly Nekrasov work. The lyrical self of the poet himself appeared, and this is very important. Only in 1856, after seventeen years of hard and fruitful work, was the second, and in essence the first, book of Nekrasov's poems published. All contemporaries write about success, unseen "since the time of Pushkin." The collection was being prepared at a very difficult time for the poet. "Last elegies" - so farewell he titled a number of poems. A serious illness made me think about the near end.
Therefore, in the eyes of Nekrasov, the first collection also acquired the character of a poetic testament. This, in particular, explains the thorough thoughtfulness of the composition of the collection, which turned out to be a book with a clear plan, with an internal correlation of the sections that make it up. The nature of the book as a whole was determined by the introduction, the role of which was played by the famous poem "The Poet and the Citizen".
