What image of the muse appears in Nekrasov's lyrics. The originality of the solution of the theme of the poet and poetry. The image of the muse in the lyrics of N. A. Nekrasov. Topics and issues

Introduction

For a quarter of a century of its development (1892-1917), non-realistic literary movements have put forward a number of great talents, whose work expressed the essential features of the artistic consciousness of the time, made an inimitable contribution to Russian and world poetry and prose. Like the entire spiritual life of Russia in the era of the three revolutions, these currents were characterized by intense, conflict dynamics. It was determined by the contradiction between aesthetic individualism and social quests. At the same time, the idea of ​​social harmony and a free person, long cherished for the Russian writer, outweighed it, no matter how utopian forms this thought sometimes took.

Among the Russian non-realist movements - symbolism, acmeism, futurism - the first in time and the most significant in terms of artistic results was symbolism. It arose at the turning point from the timelessness of the 80s to the socio-political upsurge of the 90s. In 1892, D. Merezhkovsky, in his lecture “On the Causes of Decline and New Trends in Modern Russian Literature,” called for enriching its content with a mystical idea and updating poetics with the help of symbolic forms and impressionism. At the same time, a book of poems by Merezhkovsky "Symbols" was published; to her he prefaced the words of Goethe about the transient as a symbol of the eternal. In 1894-1895. Three issues of Bryusov's sensational collections "Russian Symbolists" appeared, demonstrating the theory of new lyrics and its samples.

The image of the Muse in the lyrics of A. Akhmatova

In 1940, talking with L. Chukovskaya, A. Akhmatova noted: "... To get to the point, one must study the nests of constantly repeating images in the poet's poems - they hide the personality of the antor and the spirit of his poetry." Constantly recurring in the lyrics of A. Akhmatova is the image of the Muse - "sister", "double", "foreigner", "executioner"; “strange”, “slim”, “swarty”, “in a holey scarf”, “mocking”. He reveals to us the ethical and aesthetic attitudes of the poet in different years: the search for "his" voice and following the tradition of the young A. Akhmatova, later - the realization of the importance of the civic theme and, when summing up the work, the author's understanding of the fact that his own image and destiny are imprinted in the mirrors of art. In the poetry of A. Akhmatova, the motive of the double is important, connected with the theme of creativity and creating tragic pathos.

The lyrical heroine of the poem "Muse" (1911) opposes herself to all "girls, women, widows" who are given to experience ordinary female happiness. The state of unfreedom (“not these fetters”) arises for the heroine from the need to make a choice between love and creativity. The muse-sister takes away her ring (“the first spring gift”, “God's gift”), which is a symbol of blessed earthly love. The heavenly messenger gives creative power to the artist, but in return deprives him of the opportunity to focus on the fullness of life itself, which has been turned into the primary source of poetic fantasy.

Tomorrow they will tell me, laughing, mirrors:

“Your gaze is not clear, not bright…”

Quietly answer: "She took away

God's gift."

The poem "Three times she came to torture ..." (1911) in a draft autograph was called "Double". The one who came to torture is not called the Muse, but it is with her that the motif of the double is associated in Akhmatov's early poems. For the lyrical heroine, earthly joy is impossible, but even more terrible is the fact that her love brings death to her beloved. Moral guilt arises in the soul of a female poet without any objective reason; in the poem there is only a hint of a presentiment that punishment will follow for a sinful craft.

Oh, you didn't laugh in vain

My unforgiven lies! .

From the early work of A. Akhmatova, she singled out the poem “I came to change you, sister ...” (1912), she said that she herself did not fully understand it, even though “it turned out to be visionary”. The work consists of two monologues, indicated by quotation marks, and a short "afterword". The muse comes to the heroine in order to deprive her of earthly happiness, accessible to everyone except the artist. Poetry is associated with the “high fire”: in order for a verse to be born, the poet must fall out of love, suffer, burn out. A. Akhmatova wrote about the connection between the personal and the universal in creativity: “One hope has become less, / There will be one more song.” For poetry, love is no longer a "bonfire" guarded by one person, but a "white banner", a "beacon light" that burns for everyone, shows people the way. The birth of a song by the artist is perceived as a rite of burial of himself, his feelings. The muse-sister takes the place of a suffering woman, becomes her double, lives her life:

put on my clothes,

Forget my anxiety

Let the wind play with curls.

The heroine surrenders her “bonfire” to the Muse meekly, because she understands that the worst thing for her is “silence”. In the last stanza, the images imperceptibly merge together; there is only one path - the fate of an artist who renounces personal happiness in order to light the way for others:

And everything seemed to her that the flame

Close… the hand holds the tambourine.

And she is like a white flag,

And she's like a beacon.

The image of the Muse in the poetry of A. Akhmatova changed. In the poems of the second half of the 1910s, a “barely audible” voice becomes the characteristic details of her portrait; "drawn-out" and "dull" singing, holey handkerchief; "exhausted", bowed "in a dark wreath" head. Noteworthy is N. Gumilyov's review of the poem “After all, somewhere there is a simple life and light ...”: “... But the last stanza is magnificent; only [this is not] a typo? - “The voice of the Muse is barely audible ...” Of course, “clearly or distinctly audible” should have been said. And even better "so far audible". The muse that dictated "Hell" to Dante, severe, laconic and strong, will appear in the lyrics of A. Akhmatova later, only in the mid-1920s. The image of a double, losing strength, leaving the lyrical heroine (“Why are you pretending ...”, 1915; “The Muse left along the road ...”, 1915; “Everything is taken away: both strength and love ...”, 1916), gives the poet the opportunity to convey almost “ tangible" human suffering, and at the same time a premonition of even more terrible historical changes. The "reckless" wind of time has already begun to cut off the voices of life.

And we are alive solemnly and hard

And we honor the rites of our bitter meetings,

When on the fly the wind is reckless

Slightly started interrupting the speech ...

(“After all, somewhere there is a simple life and light ...”, 1915)

The ability to experience guilt for imperfect crimes, the willingness to atone for other people's sins characterize the lyrical heroine A. Akhmatova as a "whole" person, disposed to a tragic role. After the First World War and the revolution, the death of N. Nedobrovo, A. Blok, N. Gumilyov, the situation of the death of a lover will receive social motivation and will be connected in the poet's work with: the theme of the fate of a generation; the lyrical heroine will more than once experience guilt for the crimes of her century (“I called death to my dear ones ...”, 1921; “New Year's Ballad”, 1922).

At the moment when “worlds are collapsing”, A. Akhmatova plays a special role in the artist. He must discover the "superpersonal connections of existence" (Vyach. Ivanov), defeat chaos with a form - the form of his life and creativity. A. Akhmatova, who believed that in the 20th century poetry would play the role of “a great comforter in a sea of ​​grief” in people's lives, believed in the necessity of the poet's personal feat, in the “ideality” of his fate. Her constant concern for the biography of the artist is called today the construction of a myth - about herself, about Modigliani, about Mandelstam, etc. The work of A. Akhmatova restores faith in the moral support of the world, the artist undertakes to reconstruct history. Certain things and places associated with bright events, immortal names, conjugate time with eternity, in which the past is in the same “space” with the current and the coming. In the 1920s, their function in Akhmatov's life and poetry became more complicated: they serve not only as signs of the connection of times, but justify, fill the world with meaning. Things begin to speak when words reach the limits of silence, when tragedy is destroyed by horror. An “involuntary monument” to all those who suffered in their homeland during resolutions, wars, repressions, becomes the “sacred city of Peter”, and Tsarskoye Selo is perceived as a “wreath” to dead poets.

Researchers consider “Muse” (1924) to be an indicative, milestone poem that reveals the essence of the evolution of the theme of the poet and poetry in the post-revolutionary work of A. Akhmatova. The connection of Akhmatov's work with the "voice" of Dante has been noted more than once, however, in our opinion, the allusion to Pushkin's "Prophet" in the text is no less important. A. Akhmatova tries to emphasize the continuity, transtemporality of culture. Muse is a being of divine origin, she came from eternity, not knowing such earthly conventions as past, present and future; she is like a six-winged seraph. It is difficult to agree that “in the first lines of the octist line of the Muses of 1924, the appearance of the “dear guest with a pipe in her hand” is still idyllically deceptive, and in the last “the abyss opens” (V. Vilenkin), because the main image of the poem is not “ guest", and the lyrical heroine waiting for the Muse, who is rapidly "transformed" in the second stanza. The work is “plotted”, and all the most important structural components of both the canonically biblical and Pushkin situations are present: spiritual languor - the appearance of a messenger - the discovery of truth. The poet is experiencing a moment of spiritual insight, shock.

In the first half of the poem, A. Akhmatova seemed to sum up her early work, in which she called the Muse a sister, a double, a rival and characterized her as a sweet dark-skinned guest. A mysterious creature came to torture the heroine, deprived her of the happiness of loving and being loved, giving her the ability to create. The muse took away freedom, but the lack of freedom that she left seemed the sweetest of all. We can say that a “personal” relationship has been established between the lyrical heroine and her double. The poet expects such a guest:

When I wait for her arrival at night,

Life seems to hang by a thread.

What honors, what youth, what freedom

Before a mile of a guest with a pipe in his hand.

And the Muse appears, not equal, not sweet, not verbose. She does not even reveal the truth to the poet with a word, as does the seraphs in the “Prophet” by A. Pushkin (“arise”, “see”, “hear”, “be fulfilled”, “burn”), but with a gesture (“And so she entered. Throwing back veil, / She looked at me attentively). Mz "for appears under the veil, like Beatrice in Dante's Divine Comedy. Silence means that She is the Muse of tragedy, that where she came from, everyone is silent from grief, that there can no longer be a struggle between her and the lyrical heroine. Muse now - something super-personal, she will not accept the words “I can’t” from the artist, but she will demand one thing - “should.” The heroine recognizes her, understands everything without evil (“I tell her: “Did you dictate to Dante / Pages of Hell?” Answers : "I").

By the beginning of the 1920s, it became clear that Akhmatov's heroine could not imagine herself outside the historical system of coordinates. The poet's lyrics are almost always situational, autobiographical, however, through modern history and personal life, a certain "higher" plan is visible, indicating to the heroine a "way out" from the chaos of what is happening. The artist opposes “eternal” images and plots to “emptiness” and unconsciousness. Gradually, in the work of A. Akhmatova, Christian motifs and “alien voices” from the near and distant past will sound even louder, “strong portraits” will appear. The dialogue of the lyrical heroine with the Muse gives way to an appeal to Dante, Shakespeare, Pushkin (Dante, 1936; In the fortieth year, 1940; Pushkin, 1943). Since the 1920s, A. Akhmatova has been carefully and professionally studying their life and work, translating, commenting on texts.

From the mid-1950s, the "fruitful autumn" of Akhmatov's lyrics began. The poet gazes intently at the logic of the fate of his heroine, who has experienced historical events for half a century as facts of her own biography. Acting as a competent “Akhmatova scholar”, the poet creates an artistic version of understanding his life path and the evolution of creativity. The image of the Muse, on the one hand, testifies to the connection between the life and work of the author with the tragic events of the 20th century, it is to a certain extent documentary, political (“To whom and when did I say ...”, 1958; “My Muse turned out to be flour ...”, 1960; “As if daughter of the blind Oedipus…”, 1960). However, the unearthly nature of the eternal companion of poets is emphasized in those works where A. Akhmatova focuses on studying the psychology of creativity and reader's perception, on understanding the results of personal and collective (cultural) memory. The lyrical heroine acquires a double, endlessly dwelling in the mind of the reader, now she herself is “silence”, the Song, or, perhaps. The muse of another poet (“Almost in an Album”, 1961; “Everything in Moscow is saturated with poems ...”, 1963; “Midnight Poems”, 1963-1965). So, the image of the Muse in the late lyrics of A. Akhmatova allows us to note the gradual switching of the author's interest from the theme of history to thinking about time as a philosophical category, about human memory as the only way to overcome it.

The image of the Muse in the lyrics of A. Blok

Muse Akhmatova block lyrics

Few Russian poets nurtured their life and artistic ideal as carefully as Alexander Blok. Even another great poet, Alexander Pushkin, cannot, perhaps, compare with him in this. Blok formed his ideal very early, filled it with deep content, and was faithful to it for a very long time. And although the aesthetic appearance of this ideal has changed over the years, its essence remained unchanged.

The lyrical hero also becomes a constant admirer and admirer of the "Mistress of the Universe". He escapes from the real world of cruelty, injustice, violence to the unearthly "nightingale garden", to the world of the Beautiful Lady, which is mystical, unreal, full of secrets, mysteries.

The cycle of poems opens with "Introduction", in which a traveler is depicted, marching unstoppably to where the heroine is. It is interesting that here the poet also places it in a Russian wooden tower, decorated with carvings, a ridge, and a high domed top. It seems to me that Blok relies here on a folklore source, on the song: “My joy lives in a high tower ...” Only the poet makes this song “joy” a fabulous Princess, this word begins to be written with a capital letter, and he himself penetrates the gates of an inaccessible tower through the flames of the glowing fire.

This lady is very indefinite, incorporeal, it is difficult to see her face, figure, clothes, gait. But she is wonderful. No wonder the word Lady is preceded by the corresponding epithet. The light coming from her is beautiful, the rustle of her steps is mysterious, the sounds of her appearance are wonderful, the signals of her approach are promising, the voices accompanying her are musical. In general, everything connected with it is covered with the spirit of music.

This image is not accidental. After all, Blok creates at this time as a symbolist. He does not use realistic images, but symbols. In each symbol there is something of an objective image, but something of an identifying sign, a sign, an indication of the meaning of the phenomenon. If you understand this, then you can see in the image of the Beautiful Lady the image of Eternal Femininity. This symbol is devoid of flesh, but there is nothing in it from naturalism, from vulgarity, from earthiness, there is a lot of mysterious, sublime in it. Therefore, there are so many allegories, conventions, reticences here. Consider how the attitude towards this image, the image of the Beautiful Lady, the lyrical hero in Blok's poems, is changing. Once in "paradise", he does not realize all the charm of the Lady, his feelings for her are still vague, the flame of future passions is only emerging in the soul of a young romantic. He wants to clarify the image of the fantastic Virgin, "tells" over her:

Divination-filled days

I cherish the years - do not call ...

Soon the lights will go out

Enchanted dark love?

But soon the "epiphany" comes by itself. The lyrical hero already admires the beauty of the Beautiful Lady, idolizes her. But this image is vague, because it is the fruit of the hero's incessant fantasies. He creates the “Virgin of the Rainbow Gates” only for himself, and often earthly features also show through in a mythologized image:

Your face is so familiar to me

Like you lived with me...

…I see your thin profile.

The young man is directed towards her with all his being, happy only from the mere consciousness that she exists, all this endows him with a supersensible attitude. Complicated are the relations between the Beautiful Lady and the hero "I" - an earthly being, aspiring soul to the heavenly heights, to the One who "flows in a number of other luminaries." The princess is not just an object of reverence, respect, a young man, she conquered him with her extraordinary beauty, unearthly charm, and he is madly in love with her, so much so that he becomes a slave to his own feelings:

Your passions defeated by force,

Weak under the yoke.

Sometimes a servant; sometimes - cute;

And forever - a slave.

The high love of the lyrical hero is love-worship, through which only a timid hope for future happiness glimmers:

I believe in the Sun of the Covenant,

I see dawns in the distance.

Waiting for universal light

From spring earth.

The lyrical hero is blissful and suffers in the ecstasy of love. Feelings are so strong that they overwhelm and overwhelm him, he is ready to humbly accept even death:

For a brief dream that is now dreaming,

And there's no tomorrow

Ready to submit to death

Young poet.

The life of the hero - the poet of his Muse - is an eternal impulse and aspiration for the World Soul. And in this impulse there is his spiritual growth, purification.

But at the same time, the idea of ​​the Meeting with the Ideal is not so radiant. It would seem that it should transform the world and the hero himself, destroy the power of time, create the kingdom of God on Earth. But over time, the lyrical hero begins to fear that their reunion, that is, the arrival of the Beautiful Lady in real life, reality, may turn into a mental catastrophe for himself. He is afraid that at the moment of incarnation the Virgin may turn into an earthly, sinful creature, and her “descent” into the world will be a fall:

I anticipate you. Years pass by

All in the guise of one I foresee You...

How clear is the horizon: and radiance is near.

But I'm afraid: you will change your appearance.

And the desired transformation, and the world, and the "I" of the lyrical hero does not occur. Having incarnated, the Beautiful Lady turns out to be “different” - faceless, and not heavenly. Having descended from heaven, from the world of dreams and fantasies, the lyrical hero does not cross out the past, in his soul the melodies of the “past” are still sung:

When despair and anger fade,

Sleep descends. And we both sleep soundly

At different poles of the earth ...

And I see in my dreams your image, your beautiful,

How he was before the night, angry and passionate,

What was to me. Look:

Still the same you that once bloomed.

The result of the lyrical hero's stay in the world of the Beautiful Lady is both a tragic doubt about the reality of the ideal, and fidelity to bright youthful hopes for the future fullness of love and happiness, for the coming renewal of the world. The presence of the hero in the world of the Beautiful Lady, his immersion in her love made the young knight abandon his selfish aspirations, overcome his isolation and separation from the world, instilled a desire to do good, to bring good to people.

The theme of art in the poetry of the Symbolist era was one of the leading ones. The early Blok is not alien to this topic:

The muse in the dress of spring knocked on the door of the poet,

Covered in the dusk of the night, whispering indistinct speeches...

In this poem of 1898 there is a very interesting image in which, as in a mirror, the philosophical concept of symbolism is reflected:

Let the body be destroyed - the soul will fly over the desert.

Soul, spirit here are absolute and eternal, like art is eternal. This poem is very characteristic of the young Blok: the poet is convinced that art is absolute, and only art is capable of improving the world. Years later, Alexander Blok's point of view on art will seriously change, and the Russian revolution of 1905, the "terrible world" that burst into the bright and harmonious world of the poet, will play an important role here. In 1913, Blok created the poem "Artist", which reflected his new concept of art. “A light, hitherto unheard ringing” is the beginning of creative inspiration, the voice of space, time, the Muse. But the artist of the word no longer feels joy, because he is obliged to “understand, fix and kill” the image that arose in his fantasy. The poet becomes a collector of images, one who makes exhibits of a poetic freak show out of words. This bitter labor is hopeless:

Wings clipped, songs memorized.

Do you like to stand under the window?

You like songs. I'm exhausted

I'm waiting for a new one - and I miss it again.

The story of earthly, quite real love develops in Blok's work into a romantic-symbolic mystical-philosophical myth. It has its own plot and its own plot. The basis of the plot - "earthly" (the lyrical hero) and heavenly (the Beautiful Lady) oppose each other and at the same time strive for unity, "meeting", which will mark the transformation of the world, complete harmony. The lyrical plot complicates and dramatizes the plot. From poem to poem, there is a change in the mood of the hero: bright hopes give way to doubts, the expectation of love - the fear of its collapse, faith in the immutability of the image of the Virgin - the fear of losing it ("But it's scary for me to change your appearance"). Years pass, and Blok's Lady, changing her appearance, being subjected to the strange influence of terrible reality, will pass through the cycles "City", "Snow Mask", "Faina", "Carmen", "Yamba". But each time she will be beautiful in her own way, for she will always carry within herself the lofty light of Blok's ideal.

Conclusion

The Silver Age began with Russian symbolism at the turn of the century and was immediately perceived as decadence, that is, decline. From the very first steps, a struggle began with decadence, overcoming decadence, denying decadence. Similarly, symbolism was perceived in the West. Decline - in relation to what? In relation to the classical tradition and the social tasks of art. The discussions were very sharp and, in terms of the development of artistic ideas, natural. But later the term acquired a negative ideological meaning as a synonym for reactionary art, (bourgeois ;decaying, etc.). Artistic argumentation has lost its significance, and it is absolutely necessary for understanding the process itself.

The syncretic culture of the beginning of the 20th century, which was based on literary symbolism, was marked by new trends in the development of the arts, manifested in the emergence of synthesized forms of artistic creativity. Despite the controversy of the theoretical foundations of symbolism, the new culture he created was still reformatory in its aspirations. The desire to find new laws for a form expressing a new aesthetics united the Symbolists in search of possibilities for the synthesis of poetry and other forms of art. When determining the properties and patterns of interaction between different types of arts, the leading role was assigned to music. Connecting with the experience of French symbolism, the poets "experience" lyric poetry in bringing it to music in a rhythmic-intonation structure - in what constitutes the musical element of speech. "Musicality" becomes the most important aesthetic category in the poetics of symbolism, and music becomes the rhythmic-intonation and figurative-thematic basis of poetic works. Often they are simply called as musical works - preludes, minuets, songs, sonatas, symphonies.

List of used literature

1.Akhmatova A.A. Op. in two volumes / Vst. Art., comp., note. MM. Kralin. T. 2. - M.: Citadel, 1997.

2.Akhmatova A. Collected works: In 6 volumes / Compiled, prepared, text, comments. and article by N.V. Queen. - M.: Ellis Luck, 1998-2002

.Beketova M. Alexander Blok, ed. 2. L., "Academia", 1930, 236 p.

.Block Alexander. Collected Works in eight volumes. T. 3. M.-L., Goslitizdat, 1960-1963, 589 p.

.Vilenkin V.Ya. In the hundred and first mirror (Anna Akhmatova). - M.: Sov. writer, 1990. Ed. 2nd, supplemented.

.Gumilyov N.S. Sobr. cit.: In 3 volumes / Intro. Art., comp., note. ON THE. Bogomolov. T. 3. - M.: Khudozh. lit., 1991.

.Mayakovsky V. Complete works, vol. 1. M., GIHL, 1955, 670 p.

.Piast V. Memories of Blok. P., "Ateney", 1923, 297 p.

.Razmakhnina V.K. Silver Age. Essays for study. Krasnoyarsk, 1993. - 190 p.

.Toporov V. On the Echoes of Western European Poetry by Akhmatova // Slavic Poetics. Essays in honor of Kiril Taranovsky. - Mouton (The Hague-Paris), 1973. - P. 467-475.

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Topic: "Muse in the work of N. A. Nekrasov"

Goals:

1. to show the originality and social conditionality of Nekrasov's muse, comparing it with the image of the muse in the work of other poets;
2. develop the ability to analyze poetic works;
3. compare, prove, fully and competently express their thoughts;
4. instill a sense of citizenship and patriotism.

During the classes:

I. Introductory speech of the teacher on the interdependence of the era and the work of the poet. The teacher invites tenth graders to recall the characteristic features of the time in which N.A. Nekrasov entered the literature:

The era in which Nekrasov's literary activity began almost completely determined the nature of his work. Free personal self-expression - the meaning and purpose of art - faded into the background, social problems came to the fore. Among the problems that Russia was "rich" at that time, the most acute problem, long overdue, was the need to free the people from serfdom. Moral, social and economic aspects are intertwined here; every year the knot tightened more and more tightly, the burden of unresolved problems became ever heavier - and hindered the development of the suffering country. The government did not dare to carry out democratic reforms, and the "new people" saw the meaning of their lives in achieving these reforms.

Art in this situation becomes not an end, but a means. It is mobilized for the service of society. The poet's work requires social benefit, accessibility, simplicity.

The humane goal of the struggle for the disadvantaged allows the "new people", the democrats, to feel their historical destiny. Their youth came at a time when life was fettered by register and dogma. Therefore, the death of Nicholas I in itself became a liberation for them, betrayed confidence that changes were not far off. They were infinitely glad at the very opportunity to do something for their people: they felt the need to work for the good of the nation as happiness. Their urged , and after the torment and reflection of the meaningless existence of the 40s, they felt theirdemand.

The main and only becomes for them service , which takes a person entirely, leaving no time for a private, ordinary human life.

This ideal was chosen by Nekrasov. He was a man of obsession and passion. He devoted his whole life to serving the humanistic idea, took on the role of a people's defender - and this became his "lifelong role".

Nekrasov, like Pushkin in his time, was an innovator in the field of poetic content and form. He expanded the boundaries of poetry, believing that its object could be any subject, any feeling or feeling

Telling, the teacher draws the attention of students to the scheme of his lecture, depicted on the blackboard. Students write it down in their notebooks. According to this scheme, it will be easy for them to restore in memory everything said by the teacher:

(Free personal expression - the purpose and meaning of art - is in the background.

The first is social issues.

Therefore: art is not a goal, but

reference material:

Muse Calliope. Appeal to her in antiquity is a ritual. In the period of classicism, which imitated antique models in everything, the same thing happens. For romantics, the Muse is ethereal, she is a creature of another world, a “pure genius”, a “beautiful maiden”. In the middle of the 19th century, the appeal to the Muse loses its popularity. Only in the second half of the 19th century did the Muse have a special place. This is especially evident in the work of N. A. Nekrasov.

III. What is innovationNekrasov in the image of the Muse?

We answer this question gradually, compiling a comparison table with students:

IV. Poems that can be analyzed in the lesson, given the image of Muse Nekrasov:

- "Oh Muse, I'm at the door of the coffin ...";

- "Yesterday...";

- "Muse";

- "I'll die soon...",

- "The enemy rejoices, yesterday's friend is silent in perplexity ...";

- "Celebration of life - years of youth ...".

V. The teacher sums up the lesson.

VI. Homework.

Analysis of one of the poems at the choice of the teacher, as well as the poem "Yesterday ..." - by heart.

EPOCH

the nature of N.A. Nekrasov

art is a tool

means of what?

Democratic reforms

Development of the people

Fight for the underprivileged

Nekrasov and the Democrats felt their historical destiny

service motive, therefore:

1st half of the 19th century.

The protagonist is a “suffering egoist”, “an extra person”.

2nd half of the 19th century.

The main character is a man of action. His life does not depend on historical circumstances, but on himself, so the main motive of their work is the motive of responsibility.

innovation of form and content

1. Any object, any feeling can be an object of art.

2. You can put an equal sign between the prosperous and the humiliated.

3. Art can be subordinated to social necessity. (A poem by N. A. Nekrasov dedicated to Muravyov, the hangman.)

Nekrasov, a representative of civil lyrics, had a difficult relationship with his muse. In many poems she appears to him, she lives her own separate fate, exhausted, cut with a whip, a companion of all the poor and peasants, singing about injustice and a terrible fate.

The muse of Nekrasov “taught me to feel my suffering, and blessed the world to announce them ...”

Nekrasov's childhood was spent on the road with his tyrant father, who worked as a police officer - he beat out debts from the peasants. From childhood, Nikolai saw terrible pictures of hunger, poverty and death. Therefore, his poetry is so far from "pure art", because he dedicated the lyre to "his people." For this, he was mercilessly scourged by his contemporaries, who, being wealthy and privileged people, did not understand and did not want to see the suffering of workers and peasants.

In many poems, he talks about his muse - not singing and beautiful, but "the sad companion of the sad poor." In a poem written in 1852, the life periods of the poet are clearly traced. Difficult childhood, difficult youth, a miserable existence (the father deprived his son of maintenance because he found his field in literary work).

Genre, direction, size

Genre of the work: civil-philosophical lyrics. The author talks about his mission - to help ordinary people, to tell exactly their story.

Direction: realism. The poet talks about what is really happening around: about hunger, poverty, injustice and lack of rights of a person whose work keeps the country.

Poem size: iambic.

Images and symbols

Nekrasov's muse is not an ephemeral young lady, but a young peasant woman. We can meet such a definition of it in the poem "Yesterday, at six o'clock ...". This poem dates from 1848 and is considered to be Nekrasov's first mention of his muse. “There they beat a woman with a whip, a young peasant woman” - we meet in this poem. The whip is a symbol of autocracy in Russia, it turns out that she, Nekrasov's muse, was tormented by the regime that prevails in Russia.

That Muse weeping, grieving and aching,
Always thirsty, humbly asking –

It is this image of the muse from the poem of the same name that runs like a leitmotif through all of Nekrasov's work. In her face, we see the features of all Mother Russia, which suffers from poverty and humiliation, from terrible working conditions and life itself. This is the peculiarity of the muse of the peasant poet.

Nekrasov's muse ceases to be the embodiment of high creativity, she is a completely visible character, she is all the pain of the Russian people, she is the muse of revenge and sadness, she is the one who taught Nekrasov to feel the suffering of the peasants in early childhood.

Topics and issues

The problems and themes of the work are typical of Nekrasov's work: these are the social and political questions that the liberal intelligentsia addressed to the authorities: why is life so difficult for the peasantry? How long should he endure oppression and injustice?

• The main theme is the purpose of the poet. "Muse" is dedicated to the global theme of Russian writing - the poet and poetry. Nekrasov shares with his readers the difficulties of communicating with a very special muse that torments the poet, instead of singing "sweet-voiced songs."
• The problem of slavery and tyranny. If we identify the ugly muse with the Russian people, we see that she, like the people, is "silent under the scourge" (a line from "Yesterday, at six o'clock"). Blind obedience is the mystery of the Russian people. Why are calls for revenge (“vengeance! And with a violent tongue//The Lord’s thunder called on the heads of enemies!”) Are still replaced by a bowed head, accepting lawlessness and enslavement?

main idea

As we said earlier, Nekrasov is far from “pure art” and does not consider himself a real poet; in many poems dedicated to the muse, he seems to “justify himself” for his work, talking about the culprit of his suffering.

Nekrasov's muse is "unkind and unloved", she is full of everything that Nikolai saw in his childhood and youth - poor villages and St. Petersburg slums. These pictures robbed the poet of his carefree adolescence, plunging him into all of Russia's darkness. Muse taught him to hate and avenge the entire Russian people. This message is the meaning of the work.

One of the key moments of the poem is the line: "Forgive your enemies!". This is whispered by the muse, but in fact the whole people are whispering. Why is that?! Why do the peasants grovel before a handful of landowners and officials? This riddle will torment Nekrasov until his death. And after the long-awaited abolition of serfdom, the poet will write: “The people have been liberated, but are the people happy?” The Russian people are very complex and multifaceted, sometimes they themselves do not understand what will be best for them. Such is the Nekrasov muse. The main idea of ​​the poet is to show not only pain, but also the bright moral image of people who suffer, but still forgive the offenders their recently shed tears. This is the beauty and greatness of Rus'.

means of expression

The text is extremely rich in epithets with a negative connotation - unkind, unloved, sad, crying, grieving, aching, thirsty all the time, humbly begging, wretched, bent ...

To emphasize the sadness of the current situation, the author uses the repetition of the "sad companion of the sad poor."

Frequent inversions of “suddenly she cried” create dynamics, a feeling of an incessant suffering muse. For the same purpose, the author uses the omission of the subject “she played frantically with my cradle”, “taught me to feel my suffering”.

There are many gradations in the poem: “calculations of petty and dirty fuss<. .. >curses, complaints, impotent threats. They create the poignant atmosphere of the poem.

Nekrasov's paths complement and color his thoughts with emotions, and although he himself modestly refused the title of a poet, we see that his works are characterized by the charm of belles-lettres.

The theme of the poet and poetry is eternal in literature. In works about the role and significance of the poet and poetry, the author expresses his views, beliefs, and creative tasks.

In the middle of the 19th century, in Russian poetry, the original image of the Poet was created by N. Nekrasov. Already in the early lyrics, he speaks of himself as a poet of a new type. According to him, he was never a "darling of freedom" and "a friend of laziness." In his poems, he embodied the boiling "heart torment". Nekrasov was strict with himself and his Muse. About his poetry he says:

But I do not flatter that in the memory of the people
Some of them survived...
There is no free poetry in you,
My harsh, clumsy verse!

The poet claims that his poems consist of "living blood", "vengeful feelings" and love.

The love that glorifies the good
What marks the villain and the fool
And endows with a wreath of thorns
defenseless singer.

Nekrasov writes about the composition of poetry as about hard work. He does not have sublime, poetic intonations, as, for example, in Pushkin. In life, Nekrasov had to work hard, painfully for the sake of earning money, and his own poems helped, at least for some time, to escape from compulsory service. Left without the help of his family, Nekrasov from his youth was a "literary laborer." To survive in St. Petersburg, he had to write reviews, couplets, feuilletons and much more. Such work exhausted the poet, took away his strength and health. Nekrasov's poems are "severe poems", they contain the power of love and hatred for the rich who oppress the people.

On the death of Gogol, Nekrasov wrote the poem "Blessed is the gentle poet ...". In it, the hero-poet is a "denunciator of the crowd", who goes on a "thorny path", they do not understand him and curse him.

At a new stage in history, in the second half of the 19th century, Nekrasov wrote the poem "Prophet". His poet-prophet sacrifices himself for the sake of people, their happy and just life in the future. The poem is written in the form of a dialogue between a prophet and a person from the crowd. Prophet Nekrasov is ready to sacrifice:

It is possible to live for oneself only in the world,
But it is possible for others to die.

The prophet is sure that it is possible to serve good if one sacrifices oneself, like Christ. The poet was sent to remind people of God. Nekrasov called God himself "the God of anger and sadness."

In the poem "The Poet and the Citizen", a purely Nekrasian image of "love-hate" arises, which neither Pushkin nor Lermontov had:

I swear I honestly hated it!
I swear I truly loved!

Unlike his great predecessors, Nekrasov lacks the motive of resentment, of confronting the whole world. His poet is not a titan and not an otherworldly being chosen by God. "Hostile words of denial" the poet Nekrasova utters in the name of love for people. Nekrasov defended the right of civil poetry to denounce the unrest of public life:

Who lives without sorrow and anger,
He does not love his homeland ...

Nekrasov's innovation is that he rethought the role of the poet and poetry. If Pushkin's poem "The Conversation of a Bookseller with a Poet" is about creative freedom, then Nekrasov's is about the poet's duty to society and its citizens.

The poem "The Poet and the Citizen" speaks of the decline of poetry, of a time when poets, at a loss, do not know what to write about. A citizen who comes to a dull poet demands verses from him for “work and good”:

You may not be a poet
But you have to be a citizen.

You can choose the path of a "harmless" poet, or you can benefit the country. The citizen says that there are “acquisitives and thieves” or “inactive wise men”, various irresponsible talkers around. It is now that accusatory verses can bring many benefits, become a real “work”. The poet justifies himself and quotes Pushkin's lines: "We were born for inspiration, / For sweet sounds and prayers." But the citizen answers him:

No, you are not Pushkin. But as long as
The sun is nowhere to be seen
It's a shame to sleep with your talent...
The son cannot look calmly
On the mother's mountain...

In the final part of the poem, Nekrasov talks about his talent, about the Muse. These lines sound like a confession. The drama of the poet who “stands at the door of the coffin” is not in the approaching death, but in the fact that the Muse left him, he lost his inspiration. Nekrasov presents his life as a tragic "romance" with the Muse. The muse left the poet because he did not become a hero in the fight against tyranny, he is "the son of a sick age", unworthy of her. The poet turned out to be a weak person, did not justify the talent given to him.

The image of the suffering Muse is shown in the poem "Yesterday, at six o'clock ...":

Yesterday at six o'clock
I went to Sennaya;
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: “Look!
Your dear sister! .. "

Nekrasov's muse is not an ancient creature, but a simple girl who is subjected to shameful public punishment. She proudly bears him, calling for revenge.

Nekrasov's self-criticism in relation to himself is not always justified. His civil lyrics really were a weapon, calling for a fight, bringing confusion into the ranks of the enemies of freedom.

Continuing the traditions of A. S. Pushkin, N. A. Nekrasov dedicated his work to the people. He himself wrote about himself: "I dedicated the lyre to my people." But unlike Pushkin and other poets of this period, Nekrasov's Muse is his own, special. She is not like the sophisticated society ladies who inspired the poets of that time. She appears before us in the form of a simple peasant girl, a woman.

In 1848, at the very beginning of his career, Nekrasov wrote a wonderful poem “Yesterday, at five o'clock ...”, which he dedicated to a peasant girl who was publicly subjected to cruel and shameful punishment. This is the Muse of the poor, humiliated, but proud and beautiful.

Of course, Nekrasov could not print this poem about a young peasant woman who was punished on Senate Square in St. Petersburg, but who stoically withstood the merciless reprisal and was called the Muse by the poet. Written with a simple pencil on a piece of paper, it lay for 25 years in the table before Nekrasov entered it in the album of his friend. And it was printed 10 years later, after the death of the poet. But it was the image of this girl that accompanied Nekrasov throughout his entire work and became his real muse.
The whole structure of the poem is devoid of any pathos. The first line "yesterday at one o'clock at six" emphasizes the modernity of the action. The event has just happened, and the poet is under its impression. The second line “I went to the Sennaya” indicates the place of action, and the verb “I went” emphasizes that the lyrical hero did not go there on purpose, but ended up there by accident.
However, the execution itself could not take place on Senate Square in 1848, since such things were usually carried out on Trinity or Horse Square, where a special scaffold was built for them. But executions, including women, were really carried out in St. Petersburg, though not with a whip. And with a whip. Why did Nekrasov choose this instrument of torture?

The action of the poem unfolds not so much in a concrete household, but in a symbolic way. Sennaya Square was not chosen by chance - it was the most democratic place in the capital. And the whip became a symbol of shameful and humiliating punishment. The peasant woman-Muse becomes a symbol of the humiliated and enslaved Russia.

The poet chose the image of a peasant woman for his Muse also not by chance. Nekrasov is a national poet, he loved Russia with all his heart, and Russia has always been associated with a woman, with a mother. In addition, the position of women in Russia, especially peasant women, has always been without rights. Nekrasov highly valued her patience and pride in a woman. Humiliated and abused, the peasant woman Muse does not cry, does not ask for mercy. She stoically experiences pain and shame. But it is precisely this stoic patience that sounds like a formidable accusation to a society in which the cruel and shameful treatment of women was the norm.

The image of a humiliated, but not broken by suffering, peasant woman worried the poet throughout his entire work. The image of a peasant woman is presented in such poems as Peddlers, Frost, Red Nose. In each of these poems, the reader is presented with a strong female character, capable of surviving any life hardships, with her head held high, to get out of the most humiliating situation.

Most vividly, reflections on a Russian woman were reflected in the image of Matryona Timofeevna in the poem “Who in Rus' should live well?” Nekrasov saw in a woman not only a downtrodden and powerless creature. Not to break under the yoke of her husband, mother-in-law, the whole difficult fate of a peasant woman was, according to Nekrasov, a real feat. It is no coincidence that he wrote the following lines about Matryona: “There are women in Russian villages.” Matrena embodies all the best qualities of a Russian woman's character. He creates the image of a “stately Slav”, a peasant woman of the Central Russian strip, endowed with restrained and strict beauty, filled with self-esteem. The story about the fate of Matrena Timofeevna is not only about her fate. The voice of Matryona is the voice of the whole people, of all the peasant women of Russia. Therefore, in the poem, she sings more often than tells, and she sings songs not specially invented for her by Nekrasov, but taken from folklore.

But not only simple peasant women could become the Muses of Nekrasov. In the poems "Princess Trubetskaya" and "Princess Volkonskaya" the poet continues his thoughts about the character of a Russian woman. But now women of the noble circle are sung here, and it becomes clear that not only peasant women are capable of high deeds. Any Russian woman is ready for anything for the sake of the one she loves, is capable of her own happiness and well-being. The heroines of both poems go to hard labor for their Decembrist husbands. Their characters mature and grow stronger in the course of meetings and clashes with different people during their long journey. The psychological duel between Princess Trubetskoy and the governor of Irkutsk is full of intense drama. On the road, the self-awareness of Princess Volkonskaya grows.

Reflecting on the fate of Russian women, Nekrasov made his Muse a woman, strong in spirit, able to endure many hardships of her fate, who would never break and kneel before her oppressors.