Hero of Poetry The basis of his poetry is the traditions of folk poetry: a focus on colloquial language, not complicated by metaphors and poetic figures; use of apt folk word, proverbs, sayings, introduction to verse of stable poetic turns of folklore.
From folk poetry, some constant motifs entered Tvardovsky’s work, for example, the motif of the road, the House, the hero’s trials on the path to happiness or to the goal. We can also talk about the deeper influence of folk poetry on Tvardovsky’s poetry. This is reflected in those worldview principles that form the basis of the hero’s image and determine his character: traditional peasant values, folk morality, people’s attitude towards work. Such qualities determined the true nationality of Tvardovsky’s poetry.
Great Patriotic War During the Great Patriotic War Patriotic War Tvardovsky’s poetry combines journalistic intensity, lyrical emotionality, and an epic view of events. Poems from the war period are collected in the collections “Retribution” and “Front-line Chronicle”.
Tvardovsky's war poetry did not differ thematically from the work of other poets. The main themes are the unconquered Motherland (“To the Partisans of the Smolensk Region”), the high courage and patriotism of the Soviet soldier (“When you walk the path of the columns...”, “Border,” “New Year’s Word”), sacred revenge (“Retribution”).
Tvardovsky's post-war poems are filled with a philosophical understanding of time. The poet talks about the meaning of life and creativity (“No, life has not deprived me...”, “Confession”), about the honor of man, about the connection of man with nature (“Conversation with Padun”, “The snow will darken blue...”). By the end of the 1960s, Tvardovsky understood a lot and rethought: ...willingly or unwittingly It happened, it turned out wrong, wrong.
History Soviet country he perceives it as a harsh experience that future generations must take into account. He judges himself and his peers from high moral positions, understands that the poet’s duty is to tell the truth, “no matter how bitter it is.” Tvardovsky considers it necessary for every person to do everything to correct mistakes in life.
Tvardovsky feels tragically guilty for what is happening in our country. He lyrically analyzes his own biography, and through it the biography of the entire generation, rises to a philosophical understanding of “cruel fate”: I know it’s not my fault that others did not come from the war, that they, some older, some younger, remained there , and it’s not about the same thing, That I could, but failed to save them, It’s not about that, but still, still, still...
General themes late creativity me and the world, me and the path of life, me and death, me and the people. This is the experience of learning through self-knowledge. In the lyrical cycle “In Memory of Mother,” the poet travels in memories with his mother along the roads of her life and the entire people. The motif of the connection of times organizes the entire cycle and merges with the motif of the House, the origins. Memory is inherent not only to humans, but also to nature.
In the poems “How uncomfortable these pine trees are in the park...”, “Lawn in the morning from under a typewriter...”, “Birch”, the memory of nature is a metaphor for the connection of everything in the universe, an expression of unity. The poet acutely feels the end of the personal existence of an individual, the moderation of life. But the commonality of everything in the world, the fluidity of time make it possible to overcome this finitude, to find continuation in descendants, in the rustling of trees, in the whirlwind of a snowstorm.
The tragedy of the inevitable end is enlightened by the consciousness of the futility of life (“We say goodbye to our mothers...”, “The time is soon for reprisals”). From stating the facts of socialist construction through understanding the people's soul during the war, Tvardovsky came to a philosophical understanding of the life and fate of man and country.
One day. Is this a lot or a little? Everyone sets their own regime. But not in totalitarian state. You can re-read a lot of history books, encyclopedias and just textbooks to find out how people lived in an authoritarian country. But to feel this, you need to read the work of A. I. Solzhenitsyn. The truth cannot be made up. It can be written off from reality. And all other camp works pale in comparison to the work of the author who survived this horror.
Camp literature is always distinguished by its deep experience of social upheaval; it is never singular. It did not become such in A.I. Solzhenitsyn’s story “One Day in the Life of Ivan Denisovich,” despite the fact that it describes a seemingly fragmentary piece of the life of an “ordinary” prisoner. No, those prisoners are not “ordinary”, they all don’t have numbers on their faded sweatshirts, but their own privacy and behavior pattern, personal life to the zone and the same dream for everyone: to return home. How could Solzhenitsyn so restrainedly, but without holding his mouth, describe the story of one prisoner (himself?) and everyone else, but with pain and a suppressed groan of the soul?
Solzhenitsyn, while studying in his fourth year at the Faculty of Physics and Mathematics of Rostov University, simultaneously entered MIFLI as a correspondence student. At that time he was seriously interested in literature and also studied at courses in English. In 1941, like everyone else, he was mobilized and later in 1942 he went to the front. With his battery suppressing enemy artillery, he marched from Orel to eastern Prussia. And then in February 1945, censorship discovered sharply critical reviews of Stalin’s personality in Solzhenitsyn’s correspondence, for which the writer was arrested and received a prison sentence of 8 years. The wanderings began: Kaluga outpost, research institute (sharashka), general work in the camps of Kazakhstan. After his release, he lived for about three years in the south of Kazakhstan, then moved to the Ryazan region and worked as a mathematics teacher in rural school. This autobiographical moment is presented in the story “ Matrenin Dvor" And in 1962, the magazine “New World,” whose editor at that time was A. T. Tvardovsky, published the story “One Day in the Life of Ivan Denisovich.” IN last years Solzhenitsyn's novels and short stories were also published.
The figure of this writer stands out noticeably against the background of 20th century literature as a whole. Solzhenitsyn took a special place not only in literature modern Russia, but also in its spiritual culture. Solzhenitsyn’s fate, embodied in the fates of the heroes of his works, merged with pain and resentment for the country, is worthy of veneration in the civil consciousness of society. Solzhenitsyn himself became the embodiment of the moral authority and conscience of the nation.
In the minds of the average reader, the name Solzhenitsyn is usually associated with the reflection and development of the camp theme with the characteristics and criteria of real, genuine “truthfulness,” “exposure of totalitarian violence,” and “historical authenticity.” All this is true. But with the story “One Day in the Life of Ivan Denisovich” he opened for readers new world and had an unprecedented impact on the minds and souls of his contemporaries. The camp theme under his pen is not limited to suffering in the zone. The works were supposed to convey to the reader not so much everyday life camp life how much to present literary lesson. The state machine twisted destinies, redrew maps, resettled entire nations, exterminated the thinking intelligentsia, and destroyed science (for example, genetics). What could the fate of an individual mean to her? So, main theme The story is the theme of the fate of Russia.
Shukhov Ivan Denisovich - ordinary soviet man, village man. He lived, fought at the front, was surrounded and, as a result, captured - miraculously managed to escape. During his captivity, he was accused of treason and espionage for Nazi Germany. If you want to live, slander yourself, but you’re tired of it, so defend your truth, which no one needs... It’s a camp life, but life... Now he’s just a number. Despite this, Shukhov is endowed by the author with “normality”, non-flamboyant behavior, perseverance, and most importantly, indestructible inner dignity. He never “drops himself.”
Shukhov represents folk character- he does not know how and does not want to complain about hardships, but, on the contrary, is able to settle in a deliberately unfavorable environment. He is a dexterous person: he managed to wind up his trowel, hides pieces of aluminum wire, and has a folding knife. Shukhov survives in the zone as an individual. Next to Ivan Denisovich there is Alyosha, a Baptist who received a 25-year sentence for his faith. Two Estonians live and work, also serving 25 years for the fact that one is a fisherman from the coast, and the second was taken as a child to Sweden, but returned to his homeland and was immediately taken in as a foreign agent. And then there is Tsezar Markovich, brigadier Tyurin - excellent in combat and political training, but the son of a kulak, Yu-81, who “has been in camps and prisons for countless times.” Soviet authority stands”, and “Mongrel Fetyukov”.
Solzhenitsyn describes only one day of a political prisoner, but we see so many broken destinies and ruined, innocent people human lives. There are hundreds of thousands of prisoners, who in the overwhelming majority were not at all guilty of what the Soviet authorities accused them of, which they served both in freedom and in the camp. And arbitrariness and impunity reigned in the camp. Under these conditions, the strong, like Shukhov, survived and were respected, and the weak, as a rule, died.
Solzhenitsyn closes the circle in the artistic topography of the story, that is, the work has a ring composition, which gives it symbolic meaning. Prisoner's view: circle surrounded by barbed wire; Spotlights are blinding from above, depriving them of air, sky, horizon; in the morning they go to a point - their place of work, and in the evening they return back to the barracks. And so every day, as if in a vicious and damned circle. As a result, prisoners do not have a normal life. But they have their own inner world, a space of memory in which images of the village, the world appear...
Solzhenitsyn, using a number of proverbs and folk beliefs, abstains from loud words and manifestations of emotions. He does not allow expression: it is enough for the reader to feel these feelings in his own soul. And this is the writer’s goal, which is achieved and guaranteed by the entire narrative. Solzhenitsyn, having independently experienced this nightmare, which lasted not only eight camp years, but also 70 years of communist totalitarian times, told readers about the slavery of prisoners, about the humiliation of human dignity, that in a totalitarian state a person cannot be free. And that means happy. The camp is a copy of reality. And the entire Soviet reality was one big camp. And the people in it were all equal - all imprisoned in the cruel framework of authoritarianism and the cult of personality.
Literary and artistic figures in defense of the Fatherland. Painting by A. Deineka and A. Plastov. Music by D. Shostakovich and songs of the war years (S. Solovyov-Sedoy, V. Lebedev-Kumach, I. Dunaevsky, etc.). Cinematography of the heroic era.
Lyrical hero in the poems of front-line poets: O. Berggolts, K. Simonov, A. Tvardovsky, A. Surkov, M. Isakovsky, M. Aliger, Y. Drunina, M. Jalil and others.
Journalism of the war years: M. Sholokhov, I. Ehrenburg, A. Tolstoy.
Realistic and romantic depiction of war in prose: stories by L. Sobolev, V. Kozhevnikov, K. Paustovsky, M. Sholokhov.
Section 8. Features of the development of literature from the 1950s to the 1980s.
Death of I.V. Stalin. XX Party Congress. Changes in social and cultural life countries. New trends in literature. Topics and problems, traditions and innovations in the works of writers and poets.
Reflection of the conflicts of history in the destinies of the heroes: P. Nilin “Cruelty”, A. Solzhenitsyn “One Day in the Life of Ivan Denisovich”, V. Dudintsev “Not by Bread Alone...”
A.A. Akhmatova.
Life and creative path.
Poems: “Confusion”, “I pray to the window ray...”, “Linden trees smell sweet...”, “The gray-eyed king”, “Song of the last meeting”, “I have no use for odic armies”, “I clasped my hands under dark veil...”, “I am not with those who abandoned the lands ...”, “Native Land”, “I had a voice”, “Oath”, “Courage”, “To the Winners”, “Muse”, “Poem without a Hero”. Poem "Requiem". Articles about Pushkin.
Akhmatova’s early lyrics: the depth, brightness of the poet’s experiences, his joy, sorrow, anxiety. Theme and tone of the lyrics of the period of the First World War: the fate of the country and the people.
Personal and social themes in poems of the revolutionary and first post-revolutionary years. Themes of love for native land, to the Motherland, to Russia. Pushkin themes in the works of Akhmatova. The theme of love for the Motherland and civil courage in the lyrics of the war years. The theme of poetic skill in the work of the poetess.
Poem "Requiem". The historical scale and tragedy of the poem. The tragedy of the life and fate of the lyrical heroine and poetess. The originality of Akhmatova's lyrics.
Repetition. The image of St. Petersburg in Russian literature of the 19th century (A. S. Pushkin, N. V. Gogol, F. M. Dostoevsky). Love lyrics Russian poets.
Theory of literature. The problem of tradition and innovation in poetry. Poetic mastery.
Demonstrations. Portraits of A. A. Akhmatova by K. S. Petrov-Vodkin, Yu. P. Annenkov, A. Modigliani. I.V. Mozart "Requiem". Illustrations by M.V. Dobuzhinsky to the book “Plantain”.
Creative tasks. Research and preparation of the abstract: “Civil and patriotic poems by A. Akhmatova and Soviet literature”; “The tragedy of the “hundred-million people” in A. Akhmatova’s poem “Requiem.” Preparation virtual tour from one of A. Akhmatova’s museums. By heart. Two or three poems (students' choice).
B.L. Parsnip.
Information from the biography.
Poems: “February. Get some ink and cry...", "About these poems", "Definition of poetry", "Hamlet", "Being famous is ugly", "In everything I want to get to the very essence...", " Winter night" Poems "Nine Hundred and Fifth" and "Lieutenant Schmidt".
Aesthetic searches and experiments in early lyrics. Philosophical lyrics. The theme of the path is the leading one in Pasternak’s poetry. Features of poetic perception. Simplicity and lightness of late lyrics. Originality artistic form poems.
Repetition. The theme of the intelligentsia and revolution in the literature of the 20th century (A. A. Blok. Poem “The Twelve”, article “Intellectuals and Revolution”; M.A. Bulgakov. “ White Guard"; A. A. Fadeev. "Destruction")
Theory of literature. Style. Lyrics. Lyrical cycle. Novel.
Demonstrations. Video film "Boris Pasternak". A. Scriabin. 1st and 2nd sonatas; F. Chopin. Sketches; I. Stravinsky. Music for the ballet "Petrushka". B.L. Parsnip. "Prelude". M. Vrubel. "Daemon". Painting and graphic works by L.O. Pasternak. Dictation based on a text prepared by students in a Russian language lesson.
Creative task. Research and preparation of an abstract (message, report): “A look at the Civil War from the 1920s and from the 1950s - what is the difference?” By heart. Two or three poems (students' choice)
A.T. Tvardovsky.
Information from the biography.
Poems: “The whole essence is in one single covenant”, “In memory of the mother”, “I know: it’s not my fault...”, “To the bitter grievances of one’s own person...”, “On the day when the war ended...”, “ You, stupid death, threaten people.” The poem “By the right of memory.” The theme of war and memory in the lyrics of A. Tvardovsky. Statement moral values
The poem “By Right of Memory”* is redemption and warning, poetic and civil understanding of the tragic past. The lyrical hero of the poem, his life position. The artistic originality of A. Tvardovsky’s creativity.
Repetition. The theme of the poet and poetry in the poetry of the 19th-20th centuries. Images of home and road in Russian poetry. The theme of war in poetry of the 20th century.
Theory of literature. Style. Lyrics. Lyro-epic. Lyrical cycle. Poem.
Demonstration. Illustrations for the works of A. Tvardovsky.
Creative tasks. Research and preparation of the report: “The theme of the poet and poetry in Russian lyrics of the 19th-20th centuries”, “Images of the road and house in the lyrics of A. Tvardovsky”. By heart Two or three poems (students' choice).
V.M. Shukshin.
Information from the biography.
Stories: “Weirdo”, “Choosing a village to live in”, “Cut off”, “Microscope”, “Oratorical reception”. A depiction of the life of a Russian village: the depth and integrity of the spiritual world of the Russian person. Artistic Features prose by V. Shukshin.
A.I. Solzhenitsyn.
Information from the biography.
"Matrenin's yard" "One day in the life of Ivan Denisovich." New approach to the image of the past. The problem of generational responsibility. The writer's thoughts about possible ways development of humanity in the story. The skill of A. Solzhenitsyn - a psychologist: the depth of characters, historical and philosophical generalization in the writer’s work.
Repetition. Prose by V. Shalamov. Theory of literature. Epic. Novel. Tale. Story. Literary hero. Journalism.
Demonstration. Stills from film adaptations of A. I. Solzhenitsyn’s works.
Creative tasks. Research and preparation of the report: “The originality of the language of Solzhenitsyn the publicist”; “The visual and expressive language of cinema and literature.”
The work of poets in the 1950s - 1980s.
Development of the traditions of Russian classics and the search for a new poetic language, form, genre in poetry of the 1950-1980s. Lyrics of front-line poets. The work of authors who developed the genre of art songs. Literary associations and trends in poetry of the 1950-1980s. Poetry by N. Rubtsov: artistic media, originality lyrical hero. The theme of the homeland in the poet's lyrics. Harmony of man and nature. Yesenin traditions in the lyrics of N. Rubtsov. Poetry of R. Gamzatov: functions of parallelism, originality of the lyrical hero. The theme of the homeland in the poetry of R. Gamzatov. The relationship between the national and the universal in the poetry of R. Gamzatov. Poetry of B. Okudzhava: artistic means of creating an image, the originality of the lyrical hero. Theme of war, images of Moscow and Arbat in the poetry of B. Okudzhava. Poetry of A. Voznesensky: artistic means of creating an image, the originality of the lyrical hero. Themes of A. Voznesensky's poems. Creative tasks. Research and preparation of reports about the poet (optional).
Briefly:
Conflict (from lat. conflictus - clash) - disagreement, contradiction, clash embodied in the plot literary work.
Distinguish life and artistic conflicts. The first include contradictions that reflect social phenomena(for example, in I. Turgenev’s novel “Fathers and Sons” the confrontation between two generations is depicted, personifying two social forces - the nobility and the common democrats), and the artistic conflict is a clash of characters that reveals their character traits; in this sense, the conflict determines the development of action in plot (for example, the relationship between Pavel Petrovich Kirsanov and Evgeny Bazarov in the indicated essay).
Both types of conflict in a work are interconnected: artistic conflict is convincing only if it reflects the relationships that exist in reality itself. And life is rich if it is embodied highly artistically.
There are also temporary conflicts(emerging and exhausting themselves as the plot develops, they are often built on twists and turns) and sustainable(unsolvable within the limits of the depicted life situations or unsolvable in principle). Examples of the former can be found in the tragedies of W. Shakespeare, detective literature, and secondly - in “ new drama", works of modernist authors.
Source: Student's Handbook: grades 5-11. - M.: AST-PRESS, 2000
More details:
An artistic conflict—a clash of human wills, worldviews, and vital interests—serves as a source of plot dynamics in a work, provoking, at the will of the author, the spiritual self-identification of the characters. Resonating throughout the compositional space of the work and in the system of characters, it draws both the main and minor participants in the action into its spiritual field.
All this, however, is quite obvious. But something else is much less obvious and infinitely more important: the reincarnation of a private life conflict, firmly outlined in the form of external intrigue, its sublimation into the higher spiritual spheres, which is the more obvious, the more significant artistic creation. The usual concept of “generalization” here does not so much clarify as confuse the essence of the matter. After all, the essence lies precisely in this: in great works of literature, the conflict often retains its private, sometimes accidental, sometimes exclusively individual life shell, rooted in the prosaic thickness of existence. From it it is no longer possible to smoothly ascend to the heights where the highest forces of life reign and where, for example, Hamlet's revenge the very specific and spiritually insignificant culprits behind the death of his father are transformed into a battle with the whole world, drowning in dirt and vice. What is possible here is only an instantaneous leap, as it were, into another dimension of existence, namely the reincarnation of a collision, which leaves no trace of its bearer’s presence in the “former world,” at the prosaic foothills of life.
It is obvious that in the sphere of a very private and very specific confrontation that obliges Hamlet to take revenge, it proceeds quite successfully, in essence, without hesitation and any signs of reflective relaxation. At spiritual heights, his revenge is overgrown with many doubts precisely because Hamlet initially feels like a warrior, called upon to fight the “sea of evil,” fully aware that the act of his private revenge is blatantly incommensurate with this higher goal, which tragically eludes him. The concept of “generalization” is not suitable for such conflicts precisely because it leaves a feeling of a spiritual “gap” and incommensurability between the external and internal action the hero, between his specific and narrow goal, immersed in the empirics of everyday, social, concrete historical relations, and his highest purpose, the spiritual “task”, which does not fit within the boundaries of external conflict.
In Shakespearean tragedies"gap" between external conflict and his spiritual reincarnation, of course, is more tangible than anywhere else; tragic heroes Shakespeare: Lear, Hamlet, Othello, and Timon of Athens are placed in the face of a world that has lost its way (“the connection of times has fallen apart”). In many classical works this feeling of heroic combat with the whole world is absent or muted. But even in them, the conflict, which locks in the will and thoughts of the hero, is addressed, as it were, to two spheres at once: to the environment, to society, to modernity and at the same time to the world of unshakable values, which are always encroached upon by everyday life, society, and history. Sometimes only a glimpse of the eternal shines through in the everyday vicissitudes of the confrontation and struggle of the characters. However, even in these cases, a classic is a classic because its collisions break through to the timeless foundations of existence, to the essence of human nature.
Only in adventure or detective genres or in "comedies of intrigue" This contact of conflicts with higher values and the life of the spirit is completely absent. But that’s why the characters here turn into simple function plot and their originality is indicated only by an external set of actions that do not refer to the originality of the soul.
The world of a literary work is almost always (perhaps only with the exception of idyllic genres) an emphatically conflicting world. But infinitely stronger than in reality, the harmonious beginning of existence reminds itself here: whether in the sphere of the author’s ideal, or in the plot-embodied forms of cathartic purification of horror, suffering and pain. The artist’s mission is, of course, not to smooth out the conflicts of reality, neutralizing them with pacifying endings, but only to, without weakening their drama and energy, see the eternal behind the temporary and awaken the memory of harmony and beauty. After all, it is in them that the highest truths of the world remind themselves of themselves.
External conflict, expressed in the plot-imprinted clashes of characters, is sometimes only a projection internal conflict, played out in the soul of the hero. The beginning of an external conflict in this case carries only a provoking moment, falling on spiritual soil that is already quite ready for a strong dramatic crisis. The loss of a bracelet in Lermontov's drama "Masquerade", of course, instantly pushes the action forward, tying up all the knots of external conflicts, feeding the dramatic intrigue with ever-increasing energy, prompting the hero to search for ways to take revenge. But this situation in itself could be perceived as the collapse of the world only by a soul in which there was no longer peace, a soul in latent anxiety, pressed by the ghosts of past years, having experienced the temptations and treachery of life, knowing the extent of this treachery and therefore eternally ready for defense Happiness is perceived by Arbenin as a random whim of fate, which must certainly be followed by retribution. But the most important thing is that Arbenin is already beginning to be burdened by the stormless harmony of peace, which he is not yet ready to admit to himself and which comes through dully and almost unconsciously in his monologue preceding Nina’s return from the masquerade.
That is why Arbenin’s spirit so quickly breaks away from this unstable point of peace, from this position of precarious balance. In a single moment, previous storms awaken in him, and Arbenin, who has long cherished revenge on the world, is ready to bring this revenge down on those around him, without even trying to doubt the validity of his suspicions, because the whole world in his eyes has long been under suspicion.
As soon as conflict comes into play, the characters' system immediately experiences polarization of forces: The characters are grouped around the main antagonists. Even the side branches of the plot find themselves in one way or another drawn into this “infecting” environment of the main conflict (such, for example, is the line of Prince Shakhovsky in A. K. Tolstoy’s drama “Tsar Fyodor Ioannovich”). In general, a clearly and boldly outlined conflict in the composition of a work has a special binding force. IN dramatic forms, subject to the law of a steady increase in tension, this binding energy of conflict is expressed in the most distinct manifestations. The dramatic intrigue with its entire “mass” rushes “forward”, and a single collision here cuts off everything that could slow down this movement or weaken its pace.
The all-pervasive conflict (the motor “nerve” of the work) not only does not exclude, but also presupposes the existence of small collisions, the scope of which is an episode, situation, scene. Sometimes it seems that they are far away from the confrontation of central forces, just as far, for example, at first glance, are those “little comedies” that are played out in the compositional space "Woe from Mind" at the moment when a string of guests appears, invited to Famusov’s ball. It seems that all this is just a personalized paraphernalia of the social background, carrying within itself a self-sufficient comedy that is in no way included in the context of a single intrigue. Meanwhile, this whole panopticon of monsters, each of which is nothing more than funny, in its entirety gives rise to an ominous impression: the crack between Chatsky and the world around him grows here to the size of an abyss. From this moment on, Chatsky’s loneliness is absolute and thick tragic shadows begin to fall on the comedic fabric of the conflict.
Outside of social and everyday clashes, where the artist breaks through to the spiritual and moral foundations of existence, conflicts sometimes become particularly problematic. Special because their insolubility is fueled by duality, the hidden antinomy of opposing forces. Each of them turns out to be ethically heterogeneous, so that the death of one of these forces does not excite only the thought of the unconditional triumph of justice and goodness, but rather instills a feeling of heavy sadness caused by the fall of that which carried within itself the fullness of the strengths and possibilities of being, even if broken fatal damage. This is the final defeat of Lermontov’s Demon, surrounded, as it were, by a cloud of tragic sadness, generated by the death of a powerful and renewing aspiration for harmony and goodness, but fatally broken by the inescapability of demonism and, therefore, carrying tragedy in itself. Such is the defeat and death of Pushkin's Evgenia in " Bronze Horseman» , despite all the glaring incommensurability of him with Lermontov’s symbolic character.
Chained by strong bonds to everyday life and, it would seem, forever separated from great history by the ordinariness of his consciousness, pursuing only small everyday goals, Eugene, in a moment of “high madness”, when his “thoughts became terribly clear” (the scene of rebellion), soars to such a tragic height at which he finds himself, at least for a moment, as an antagonist equal to Peter, a herald of the living pain of the Personality, pressed by the bulk of the State. And at that moment his truth is no longer the subjective truth of a private person, but a Truth equal to the truth of Peter. And these are equal Truths on the scales of history, tragically irreconcilable, for, equally dual, they contain both sources of good and sources of evil.
That is why the contrasting coupling of the everyday and the heroic in the composition and style of Pushkin’s poem is not just a sign of the confrontation between two non-contacting spheres of life, assigned to opposing forces (Peter I, Eugene). No, these are spheres, like waves, interfering both in the space of Eugene and in the space of Peter. Only for a moment (however, a dazzlingly bright, equal-sized whole life) Eugene joins the world where the highest historical elements rule, as if breaking through into the space of Peter 1. But the space of the latter, heroically ascended to the supernatural heights of great History, like an ugly shadow, is accompanied by the pitiful living space of Eugene: after all, this is the second face of the royal city, Petrov's brainchild. And in symbolic sense this is a rebellion that disturbs the elements and awakens it, the result of his statesmanship is the trampling of the individual thrown on the altar of the state idea.
The concern of the artist of the word, forming a conflict, is not limited to cutting its Gordian knot, crowning his creation with an act of triumph of some opposing force. Sometimes the vigilance and depth of artistic thinking lies in refraining from the temptation to resolve a conflict in such a way that reality does not provide grounds for it. Courage artistic thought especially irresistible where she refuses to follow the lead of the prevailing this moment spiritual trends of the time. Great art always goes “against the grain.”
Russian mission literature of the 19th century centuries at the most critical moments of historical existence was to shift the interest of society from the historical surface into the depths, and in the understanding of man to shift the direction of a caring view from a social person to a spiritual person. To bring back, for example, the idea of personal guilt, as Herzen did in the novel “Who is to Blame?”, at a time when the theory of comprehensive environmental guilt was clearly claiming dominance. To return this idea, without, of course, losing sight of the guilt of the environment, but trying to understand the dialectic of both - this was the corrective effort of art in the era of the tragic, in essence, captivity of Russian thought by superficial social doctrinaire. The wisdom of Herzen the artist is all the more obvious here since he himself, as a political thinker, participated in this captivity.
groups 1T7, 1T8, 1PKS7, 1PKS8+1AK4
discipline: Literature
Questions for testing (interim assessment form)
General characteristics of the cultural-historical process turn of the XIX century and XX centuries and its reflection in literature.
Traditions of Russian classical literature of the 19th century and their development in the literature of the 20th century.
Innovation in literature at the beginning of the 20th century. Manifold literary movements(symbolism, acmeism, futurism).
“Mr. from San Francisco” by I. A. Bunin. The theme of a “declining” civilization and the image of a “new man with an old heart.”
“Clean Monday” by I. A. Bunin. The theme of Russia, its spiritual secrets and inviolable values.
Poetic depiction of nature, the richness of the spiritual world of the heroes in the story “Olesya” by A. I. Kuprin.
The theme of love in A. I. Kuprin’s story “The Garnet Bracelet.”
The main themes and motives of M. Tsvetaeva’s poetry.
Romanticism of M. Gorky's early stories.
Depiction of the truth of life in M. Gorky’s play “At the Lower Depths” and its philosophical meaning.
The romantic image of a “soul in love” in “Poems about To the beautiful lady» A. Blok.
The diversity of ideological and artistic positions of Soviet writers in covering the theme of revolution and civil war.
Problems artistic originality lyrics by V. Mayakovsky.
The artistic originality of S. Yesenin’s work: deep lyricism, extraordinary imagery, folk song basis of the poems.
Characteristic features of time in the story. A. Platonov “Pit”.
Problems and features of the poetics of I. Babel’s prose.
M.A. Bulgakov.
Fantastic and realistic in the novel “The Master and Margarita”.
Roman M.A. Bulgakov "The Master and Margarita". The originality of the genre. The novel's versatility.
Roman M.A. Bulgakov "The Master and Margarita". System of images.
Love and fate of the Master in the novel by M.A. Bulgakov "The Master and Margarita". Novel " Quiet Don
» M.A. Sholokhova. The originality of the genre.
Features of the composition. The collision of the old and new worlds in the novel. The novel “Quiet Don” by M.A. Sholokhov. Patriotism and humanism of the novel. Image of Grigory Melekhov. The tragedy of a man from the people at a turning point in history, its meaning and significance. The novel “Quiet Don” by M.A. Sholokhov.
Women's destinies
. Love on the pages of a novel. Versatility of the story.
Literary and artistic figures in defense of the Fatherland.
V.V. Nabokov. Novel "Mashenka". Problems and system of images in the novel. Mashenka's image. The meaning of the novel's ending.
Psychological depth and brightness of A. Akhmatova’s lyrics.
The unity of the human soul and the elements of the world in the lyrics of B. Pasternak. Reflection on the past, present and future of the Motherland, affirmation of moral values in the poetry of A. Tvardovsky.: “Farewell to Matera” by V. Rasputin.
Reflection of the conflicts of history in the destinies of the heroes: A. Solzhenitsyn “One Day in the Life of Ivan Denisovich.”
Artistic features of V. Shukshin's prose.
Traditions and innovation in the latest prose of the 80-90s.
Art world foreign literature XX century.
Modern literary process.
