The originality of N.A. Nekrasov’s civil lyrics. Essay “Civil lyrics by N.A. Nekrasov”

Essentially, Nekrasov is the first “civil poet” in Rus', consciously and freely, by virtue of internal motivation, subordinating his lyre to the goals of civil service. Only partially his predecessor can be called Lermontov, several of whose poems are imbued with the anger and caustic ridicule of the satirical poet. But own inner world Lermontov’s creativity was too great and forced him to respond not to the “events of the day” in the life around him, but to the most important facts his spiritual creative life. In the same way, Fet, Tyutchev, Maikov, Al. Tolstoy, Shcherbina and others in their lyrics reflected their own inner life: ideas, artistic images, feelings and moods that flashed through the soul. On the contrary, Nekrasov did not withdraw into his personal inner life, but, as it were, made his soul a mirror of the life around him. Facts, tragic or funny, of everyday human life aroused in him either burning indignation and pain, or joy, and served as stimulants for creative work.

Portrait of Nikolai Alekseevich Nekrasov. Artist N. Ge, 1872

In the poem " Poet and citizen"Nekrasov defines the poet's tasks as follows:

Be a citizen! Serving art
Live for the good of your neighbor,
Subordinating your genius to feeling
All-embracing love!

Nekrasov's muse listens sensitively to human life, to human grief, to the disadvantaged, the humiliated, the unfortunate, who in the torments of life curse both their lot and their lives.

Nekrasov’s muse is “The Muse of Revenge and Sorrow”, she does not know tender and beautiful songs, but in response to the groans and sobs of people she makes passionate and sobbing sounds. The poet himself says:

No, the muses tenderly singing and beautiful
I don’t remember the sweet-voiced song above me...
...Sooner the bonds weighed heavily on me
Another unkind and unloved muse,
The sad companion of the sad poor,
Born for labor, suffering and fetters.

And we see that in all his significant works the theme is essentially the same - the suffering of people. The poet is distinguished by his extraordinary sensitivity to the suffering of others, he is especially gifted keen sense human suffering, and these feelings obscure his completely personal inner life and force him to surrender entirely to the elements of human life, to serve this life with his pen, his soul.

In response to the groans of the tormented and disadvantaged, the poet’s muse makes sounds of indignation and arms herself with caustic, flagellating satire. To the poet, with sensitivity loving soul, one has to seem eternally formidable and punishing, he holds in his hands not a branch of peace, but a sword of reproof and anger. Hence the sad thorns in the fate of such a poet, depicted by Nekrasov in a poem dedicated to

Essay

Topic: “Civil lyrics by N.A. Nekrasov.”

Discipline: Literature

Completed by TS-111 student A.A. Polorotov.

Checked by: Kargapolova G.P.

Chita 2011

Introduction………………………………………………………………2
1. The main themes and ideas of N.A.’s lyrics. Nekrasova………………………3
2. “Lyrical epic” as a phenomenon of Nekrasov’s lyrics………...6
3. “Prose of love” in the lyrics of N. A. Nekrasov…………………………..12
4. The originality of civil lyrics by N.A. Nekrasova………………...15
Conclusion……………………………………………………………18
Bibliography............. .............................. ..... ......................... ..........19

Introduction

Let changing fashion tell us,
That the old theme is “the suffering of the people”
And that poetry should forget her,
Don't believe it, boys! she doesn't age....
... I dedicated the lyre to my people.
Perhaps I will die unknown to him,
But I served him - and my heart is calm...
Let not every warrior harm the enemy,
But everyone go into battle! And fate will decide the battle...
(Elegy 1874)

Nikolai Alekseevich Nekrasov entered the history of Russian literature as a great poet, whose work is rooted in deep layers folk life, as a poet - a citizen, who devoted his entire life, all his enormous talent, to serving the people. WITH with good reason the poet at the end of his life could say: “I dedicated the lyre to my people.”

1. The main themes and ideas of N.A.’s lyrics. Nekrasova

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 the 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, self-resentment, then to a feeling of irreversible loss of human and creative values ​​and then (in the last monologue) to gloomy embitterment. The movement of feelings in the Citizen: from the demand to “smash” vices boldly, to “expose evil” to the understanding of the active struggle necessary for real poetry, civic position. Essentially, what we have before us is not a duel between two opponents, but a mutual search for the true answer to the question about 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 human soul. There is no winner in the dispute, but there is a general, only correct 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 Nekrasova, the sister of the suffering, tormented, oppressed people, entered the literature of the 19th century.
(“Yesterday, at about six o’clock…”). Nekrasov’s muse not only sympathizes, she protests and calls for struggle.
Remind the crowd that the people are in poverty,
While she rejoices and sings,
Arouse people's attention powerful 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” is written in Nekrasov’s favorite song genre. The rhythmic and stylistic structure of the poem is characterized by a special melodiousness and repetitions inherent in a folk song.
In the center of the poem is the image of a peasant girl, whom “it’s not a wonder to look at.” The poem has two time layers: the present and the future. In the present, the girl lives in anticipation of love: “you know, the alarm sounded in her heart.” But in the future, a difficult fate awaits her, usual for a peasant woman: “your picky husband will beat you and your mother-in-law will bend you to death.” The end of the poem is full of sadness (“and they will bury you in a damp grave when you go through your difficult path”). The troika is a symbolic image that often appears in folk songs (“Here is the postal troika rushing”), it is always an image of freedom, will, a symbol of movement, dreams of happiness. In the last stanza, the motive clearly sounds: happiness is just a dream: “you won’t catch up with the crazy three.”
The poem “Reflection at the Front Entrance” is dominated by an epic beginning: a generalized description of the “front entrance” and a depiction of 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 the shoulders”, “a cross on the neck and blood on the feet”. In the second part a lyrical note appears. This is the author’s appeal to the “owner of luxurious palaces,” which sounds either excitedly and pathetically (“Wake up... Turn them back! Their salvation lies in you!”), or mournfully and angry (“What is this crying sorrow to you, what is this poor people to you?” ), then evil and ironic (“and you will go to your grave a hero”).
In the final, third part, the epic and the lyrical merge together. The story of the men receives a concrete conclusion (“Behind the outpost, in a wretched tavern, the men will drink up to a 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?
The so-called “penitential lyrics” are very important for understanding the features of Nekrasov’s poetry - “I will die soon”, “Knight for an hour”, “For this I deeply despise myself”. It was Nekrasov’s 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... A pitiful inheritance,
Oh homeland, I will leave you...
A special place in the “penitential lyrics” is occupied by the theme moral ideal, in search of which lyrical hero addresses first of all those who carried within themselves pain about a person, pain about Russia (“On the Death of Shevchenko”, “In Memory of Dobrolyubov”, “Prophet”). The people's intercessor is a sufferer who makes a sacrifice. A characteristic motif is the chosenness, exclusivity of great people who are carried by a “falling star,” but without whom “the field of life would die out.” In the image " people's intercessors” their deep democracy and organic connection with folk culture.
He sees the impossibility as well as we do.
Serve good, but sacrifice yourself.
But he loves more sublimely and more widely,
There are no worldly thoughts in his soul.
Nekrasov wrote about love in a new way. While poeticizing the ups and downs of love, he did not ignore that “prose” that is “inevitable in love.” In his poems the image of an independent heroine appeared, sometimes willful and unapproachable (“I don’t like your irony...”). Relationships between became loving in Nekrasov's lyrics are more complex: spiritual intimacy gives way to disagreement and quarrel, the characters often do not understand each other, and this misunderstanding darkens their love.
You and I are stupid people:
In just a minute, the flash is ready!
Relief, worried 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 - these are the distinctive features of Nekrasov's poetry.

2. “Lyrical epicness” as a phenomenon of Nekrasov’s lyrics .

One of the phenomena of N. A. Nekrasov’s poetry is the phenomenon of “lyrical epicness”. This phenomenon directly runs through the poet’s entire work, originating in the early collection “Dreams and Sounds.”
Turning to the tradition of studying Nekrasov’s poetic creativity,
It should be said that the main outline of most works is
biographical and socio-ideological, political issues
creativity of the poet. Tradition special attention to an "ideological" basis
the poet’s work has been firmly established since the period of “populist criticism” 19
century. At the same time, the problems are lyrical, confessional, spiritual, their
interaction in Nekrasov's poetry has been studied quite little.
Speaking about the history of researchers addressing this problem, first
In all, it is worth noting the activities of D. S. Merezhkovsky at the end of the 19th century.
A distinctive feature of the work of this researcher is the absolute
renunciation of the idea “Nekrasov is a citizen.” He was one of the first to highlight
“eternal side” in the poet’s work. Speaking of previous ones
research, he noted: “They completely lost sight of the fact that there is
another Nekrasov is a great and free poet who, against his will,
he created “not for worldly excitement, not for gain, not for battles.” Nekrasov is an idealist... a believer in the divine and suffering image... the holy embodiment of the people’s spirit.” Merezhkovsky was the first to point out this side of Nekrasov’s work, which the “populist criticism” so happily passed by, for which the poet’s works were only a collection of social political ideas. Merezhkovsky’s special vision of the problem determined his special poetic, “symbolic” worldview. Merezhkovsky subtly sensed the specific, uniquely personal nature of Nekrasov’s lyrical perception, a special attempt to master the world.
Speaking about the phenomenon of “lyrical epicness” Nekrasov should
compare his work with the work of other poets who are both
predecessors and contemporaries. Nekrasov combines in his
creativity, detached, fatal intonation of broadcasting world truths
inherited from Tyutchev with a shocked intonation beyond sensuality,
the inexpressibility of Fet's feelings. Turning to the difference between Nekrasov’s poetry and the poetry of his contemporaries and predecessors, it seems possible to us to note the “special position of the subject” in Nekrasov’s poems.
Turning to the poet’s poems, one can note the absence of artificiality and far-fetchedness in them. A characteristic phenomenon for lyric poetry of the 19th century, especially the period preceding Nekrasov’s work, is the artificial creation of roles, problems, and themes of poems. Many authors acted according to a model, according to tradition, according to a certain fixed scenario.
Turning to Nekrasov’s work from these positions, it seems obligatory for us to highlight the cardinal difference between his poems and this phenomenon. Nekrasov's poems are not far-fetched or artificial, which was the fault of most of his predecessors and contemporaries. Starting from early poetry, Nekrasov's works are filled with extreme subjectivity. Already in the poet’s early poetry collection, “Dreams and Sounds,” this tendency is evident. Despite the apparent “variegation” of this collection, it seems possible to highlight special positions of the subject in a number of poems. The manifestation of the subject in the collection is primarily noticeable at the level of expression of moods. A. Krasnov was the first to draw attention to this fact. This idea was later developed by V. Evgeniev-Maksimov. One of the leading subjective principles in this collection is the presence of two moods: “contemplative” and “pessimistic-accusatory”. According to M. Barro, this fact is a manifestation of what already in the first
Nekrasov’s book “... reflected the gradual change in his ideological and
creative ideas... during the work, a certain spiritual turning point occurred, which brought the former dreamer from the sky-high heights to the ground.”
An important element of Nekrasov’s “lyrical epicness” is
a special scale of coverage of material in lyrical works. Continuing
comparison of Nekrasov with the poets of his predecessors and contemporaries
It should be noted that, for example, in Fet’s work, the content of the lyrics
closes on the internal state of the subject, and there is no visible
exit "in external world" Nekrasov takes a fundamentally different position in this regard. His work is not limited to the “external” or “internal” aspect. His position on this issue can be described as “average”. Nekrasov's lyrics absorb the entire space of the surrounding and internal world. Social motives, inner state, worldview, landscapes and descriptions are closely intertwined in his poems. Turning to the poem “Despondency” that interests us, as an example, we can highlight the following lines:
What a delight! For a migratory bird
I'm chasing with a gun, and the free wind is blowing
Sweeps away the rubbish caused by the capital,
From my soul. I am cheerful and alive in spirit,
I am healthy in body. I think... I dream...
Don't feel over the thought of a hammer
I can't, no matter how much I wish,
But if it is raised even slightly,
But if I forget about him
For half an hour - and that’s what I value.
I find myself, reader,
And that's all a poet needs.
(Despondency)
Continuing to note the facts of the special “lyrical epicness” of Nekrasov’s poems, one cannot ignore the fact of the special features of Nekrasov’s lyrics, Nekrasov’s use of a special genre system.
Nekrasov's lyrical works are diverse, capturing the most diverse aspects of life. These are responses to the political life of the country, and themes from the life of the peasantry, and essays on urban reality, and love lyrics, and pictures of nature, and caustic ridicule of the world of bureaucrats and nobles. Nekrasov's lyrics, however, like all of his work, do not fit into the usual genres and forms. His lyrics tend towards the epic, breaking the idea of ​​genre isolation. With rare exceptions, his lyrics go beyond not only traditional genres, but also beyond the very concept of lyrics, as it has developed in the usual view, which limited lyrics to “self-expression,” “self-disclosure” of the poet, his inner world.
In our opinion, Nekrasov not only refused to adhere to the genre
differentiation inherited from the poetry of classicism and romanticism, but also from the precise distinction between the lyrical and epic principles of poetry. There is a question of determining the genres of such works by Nekrasov as “A Knight for an Hour”, “Peasant Children”, “Silence”, “Despondency”. They can be called poems, but they are devoid of plot, express, first of all, or state of mind the poet himself, or his thoughts, and in “Peasant Children” - a series of meetings and impressions of the author. The combination of lyrical and epic principles in one work is especially characteristic of Nekrasov. This is the innovative principle of his poetry.
One can, of course, base the distinction between lyric and epic
Nekrasov’s purely quantitative principle: “small poems” and large works - but this will not be a solution to the problem, since in this case the question of the internal, structural principle would be ignored.
In the work of A. Garkavi “The Formation of Realistic Genres in the Poetry of N.A.
Nekrasov” rightly noted that “Nekrasov created a new genre,
carried out already in the verses of the 40s, which then received further
development".
Using the experience of the “physiological sketch” of prose writers “ natural school", Nekrasov created "completely different, new poetic genres, in
in which the leading role was played by the author’s narration.” In works such as “Peasant Children” this is especially clear.
The poem is built on the principle of an essay, in which the author’s factual observations and reasoning occupy the main place, and the author’s speech, with the dialogue of the characters included in it, determines the entire verse structure. Nekrasov abandoned the traditional division of genres (although, of course, this does not exclude the division into such “types” of poetry as poems and lyric poems). Nekrasov’s poems merged satire, love lyrics, journalistic invective, and elegiac reflection. How to determine the “genre” of such poems as “Reflections at the Main Entrance”, “A Knight for an Hour”, “A Beautiful Party”? Nekrasov countered the genre isolation of the poets of “pure art” with the rejection of genre boundaries and involvement in poetry artistic principles another “kind” of art - primarily prose.
Poetry and prose are not at all opposed to each other. In Russian literature there are many examples of “poetic prose” and “proseization” of verse. As an example, we can cite Gogol, who wrote prose in which the orientation towards poetic and verse forms is undeniable. Many pages of Turgenev’s novels also come close to his “prose poems,” and the latter are written not in poetry, but in “prose.” In turn, Nekrasov transfers the methods of prose into his poems, without at all reducing or violating their poetry. After all, the very transfer of the principles of prose narration: plot, colloquial phraseology, does not yet make his poems “prosaic”; despite this, they remain genuine poetry, as was the case with Pushkin’s “Eugene Onegin,” which outlined the development of the Russian novel of the 19th century. However, the most artistic method, manner, style acquires something different and new in them.
quality. Nekrasov's considerations about the relationship between prose and poetry are extremely important for understanding his artistic method. “Synthesis” of the structural features of prose and poetry, the interpenetration of “image” and “thought”—this is the task of the poet. From “prose,” poetry borrows, first of all, thought, the reproduction of life - and at the same time, the poet is able to convey in one image, in one word, what for a prose writer requires “a whole series of features.” This “demand for the primacy of “thought” both in prose and poetry is especially significant, since it explains the main feature of Nekrasov’s poetry: the constant filling of his works with “thought”, the direct and precise correlation of word and meaning.”
This requirement of thought, “content”, their significance is constantly
Nekrasov also expresses this when evaluating other people’s poems.
The principles of prose are not mechanically transferred to poetry, but acquire a special form in it, a different sound, first of all, since the word itself is
verse carries an immeasurably large amount of figurative, rhythmic and intonation
load.
Nekrasov’s plot organization moved from prose to poetry
narratives. His poems in most cases are plot-based or filled with a series of events. But the plot in prose and the plot in a poem are in many ways different things. In a poem and even an epic, it is the logical, narrative framework that determines both the development of action and the selection of material. Naturally, verbal expression here cannot be as unlimitedly free as in prose. Also, from the prosaic manner into Nekrasov’s poetry, a love for precise, expressive detail, strictly realistic and at the same time deeply poetic, passed over. After all, if this detail were in the context of a prose narrative, it is possible that it would not stand out and would be lost in the general flow.
The connection between Nekrasov’s poetry and the prose culture of his time was
deeply fruitful for expanding the traditional possibilities of poetic genres, for deepening realism in his creative method.
Nekrasov, “both in poems and in lyrics, relies on artistic
principles of the modern realistic novel”, going back to Pushkin’s “Eugene Onegin”, Gogol’s “Dead Souls”, Lermontov’s “Hero of Our Time” and in-depth in the prose of writers of the 40-60s - Turgenev, Tolstoy, Dostoevsky, Goncharov. This is, first of all, the image of a person in his social environment, so consistently carried out by Gogol; secondly, a combination in character of typical and individual traits. It was these properties that meant “the triumph of realism in the Russian novel.”
However, Nekrasov does not mechanically transfer these artistic principles developed in prose into poetry. Naturally, in a poetic work they acquire their own characteristics.
A wide scope of life phenomena and their deep social analysis determined Nekrasov’s appeal to the epic. In his creative heritage there are poems
occupy the main place. In them he could show everything more fully and deeply
diversity of life, social conditions, in which they were formed
the characters he portrays. “Sasha”, “Peddlers”, “Frost, Red Nose”, “Railway”, “Contemporaries” and the epic “Who Lives Well in Rus'” give a picture of Russian life from the 50s to the 70s of the 19th century. In his poems, Nekrasov appears as an innovative artist who created a new social and realistic genre of poem. Nekrasov's attraction to the epic form, to the poem, begins at the initial stage of his creative path.
Already in such poems as “On the Road” or “Official”, Nekrasov created a broad picture of life based on the narrative experience of essay prose of the “natural school”, with an acute social tendency. Nekrasov's poems "opposed the canons of the romantic poem, which had become widespread in Russian poetry since the time of the southern poems of Pushkin and the romantic poems of Lermontov." The pathetic emotionality of these poems, their unusual heroes, their plot and dramatic tension - Nekrasov and the followers of the “natural school” “contrasted events taken from everyday life, used the experience of prose genres and, to a certain extent, “Eugene Onegin” and such poems by Pushkin as “The House in Kolomna” and “Count Nulin” ", which marked an appeal to everyday life, a departure from the principles of the romantic poem."
To summarize the above, it can be noted that in
In Nekrasov's work, a special type of lyric-epic genre emerged. This type very closely combines the epic principle - what is revealed with the eyes, which was characteristic of real life And lyrical beginning– feelings, pain of the poet. It is in the combination of these principles that literary innovation, Nekrasov’s discovery, lies. Nekrasov's works are lyre-epic at their core, by their nature. Also, a problem associated with the “lyrical epicness” of Nekrasov’s works is the problem of combining the subjective and objective, the visible connection of the hero and the poet. Nekrasov uses his characters and descriptions of the situation to express his own feelings and moral ideals. The poet does not just “put on the mask” of a certain hero, but, as a rule, he “gets used to” his image, sees, thinks, analyzes from the point of view of this hero. And this often led to the identification of the author with the lyrical hero of the poems. And this is not affected by the fact that the hero is often spoken about in the third person. This was especially reflected in the “repentant” lyrics of the last years of Nekrasov’s life; his “last songs” were perceived as the confession of a real person, beyond mediation and abstraction. Based on this, a peculiarity has developed in the perception and analysis of these poems for many years. The reason for this can be cited, first of all, “the inexperience of the general public in matters of creativity.” Everyone, from ordinary readers to professional critics, has been guilty of this. Critic V. Zaitsev, referring to Nekrasov’s poems, says: “I approach his works with the same requirements with which I approach the works of a critic, historian, publicist, and fiction writer. From all of them equally, every reader requires, first of all, an honest, fresh thought, a correct view of the subject... ... and a clear statement of his opinion.”
Returning to Nekrasov’s work, we should find out what exactly is in
his poems themselves give rise to the identification of the poet and his hero.
One of the reasons is close connection spiritual content of Nekrasov's lyrics
with the formation of the poet's personality. Indicative from this point of view is the presence in Nekrasov’s work of points of contact, “supporting milestones” with his real biography. A similar tendency permeates all creativity, and is present in Nekrasov, starting with his first collection “Dreams and Sounds”. The earliest point of contact between lyrical creativity and real life is a response to the premature death of his elder brother Andrei. We have already noted Nekrasov’s great attention to the period of his life associated with his transition to an independent life,
his formation as a poet in the records of his contemporaries. No less, but even
much greater attention to this period of biography can be seen in his lyrical works.
How do we see the poems of Nekrasov’s first collection “Dreams and
sounds” clearly indicate a less important event in Nekrasov’s life than his leaving his native place and moving to St. Petersburg. Throughout his work, Nekrasov repeatedly turned to the theme of childhood and homeland. This can be seen in a number of works absolutely different years: “Motherland” 1846, “The Unhappy” 1856, “On the Volga” 1860, “Despondency” 1874, “Mother” 1877. Directly specific biographical facts related to the time of “St. Petersburg wanderings” and “literary day labor” were not reflected in Nekrasov’s lyrics. The bulk of the poems, one way or another, dedicated to this period contain the mood of a spiritual crisis, a turning point that befell the poet. Most of Nekrasov’s poems reflect the author’s feelings associated with A. Panaeva. These poems can be considered as a psychological story of loving people, a work with its own composition - a plot, development of action, climax, denouement, epilogue. The main content of these poems is lyrical confessions:
etc.................

Composition

“The Poet and the Citizen” - dramatic reflections by N. A. Nekrasov 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 and self-resentment, then to a feeling of irreversible loss of human and creative values ​​and then (in the last monologue) to gloomy embitterment. The movement of the Citizen’s feelings: from the demand to “smash vices boldly”, to expose evil - to the understanding of the active struggle and civic position necessary for real poetry. Essentially, what we have before us is not a duel between two opponents, but a mutual search for the true answer to the question about the role of the poet and the purpose of poetry in public life. More likely we're talking about about the 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 correct 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.

IN literature of the 19th century century, the Muse of Nekrasov entered - the sister of the suffering, tormented, oppressed people (“Yesterday, at about six o’clock ...”). Nekrasov’s muse not only sympathizes, she protests and calls for fight:

Remind the crowd that the people are in poverty

While she rejoices and sings,

To the people to arouse the attention of the powers that be -

What better service could the lyre serve?..

("Elegy")

In search of a moral ideal, the lyrical hero turns first of all to those who carried within themselves pain about man, pain about Russia (“To the Death of Shevchenko”, “In Memory of Dobrolyubov”, “Prophet”). The people's intercessor is a sufferer who makes a sacrifice. A characteristic motif is the chosenness, exclusivity of great people who sweep by as a “falling star,” but without whom “the field of life would die out.” The ascetic appearance of the “people’s intercessors” reveals their deep democracy, organic connection with folk culture.

You taught to live for glory, for freedom, But more than that you taught to die. You consciously rejected worldly pleasures...

(“In Memory of Dobrolyubov”)

Nikolai Alekseevich Nekrasov (1821-1877). His poems were devoted mainly to the suffering of the people, the idyll and tragedy of the peasantry. Nekrasov introduced wealth into Russian poetry vernacular and folklore, widely using prose and speech patterns in his works common people- from everyday life to journalistic, from popular vernacular to poetic vocabulary, from oratorical to parody-satirical style. Nekrasov was the first to decide on a bold combination of elegiac, lyrical and satirical motifs within one poem, which had not been practiced before.

In Nekrasov’s work, perhaps for the first time in Russian poetry, life of the working class in the post-reform era . His style was distinguished by democracy, the ability to put art at the service of social aspirations and a realistic depiction of reality. His creativity played big role in the development of advanced Russian literature and in the formation of the realistic style of Soviet poetry.

Nekrasov did in his poems main emphasis on highly social content and even often to the detriment of artistic qualities. Despite the fact that most of his works are full of sad pictures of people's grief, they create an invigorating impression, do not leave indifferent and always excite. For three decades (1840-60s) of the 19th century, Nekrasov was actually one of the leaders of the progressive literary movement in Russia. And in the years revolutionary situation in Russia (1859-1861) his work began to have an impact noticeable influence to the advanced strata of society. Nekrasov enjoyed enormous popularity among poets of the revolutionary-democratic movement of the 1860-80s. They saw in him the head of a new poetic school. Nekrasov’s poetry was highly valued by Lenin, who noted that, despite some hesitations, all of Nekrasov’s sympathies were on the side of revolutionary democracy.

The main properties of Nekrasov’s poetry, according to literary critic Vladimir Zhdanov, this is hers close connection with national life, closeness to the people and the ability to speak on their behalf, as well as the use of realistic artistic method, an unusually active invasion of life and the reproduction of life in art . The poet did not ignore the theme of love in his work. He managed to create a formula that was later used to evaluate his “intimate” lyrics - “prose of love.” Nekrasov's love is a romantic world of “Dostoevsky” passions and jealousy, a world of self-remorse and self-affirmation. N. G. Chernyshevsky called Nekrasovskaya “prose of love” - “poetry of the heart.” His lyrics are characterized by a departure from sociality and biography, a noticeable transition from personal feeling to the general feeling of all men, and personal tragedy develops into a general tragedy. Nekrasov's lyrics are characterized by a sincere dialogue between a man and a woman and the creation of the character of the heroine.

According to the Soviet literary scholar and critic Vladimir Zhdanov, Nekrasov became a reformer of Russian verse, an artist of the Russian word, who absorbed all the riches folk speech. He was the greatest exponent of the national consciousness of the Russian people in one of the difficult eras of its development. Being the editor of the best Russian magazines XIX century - "Contemporary" and "Notes of the Fatherland" - Nikolai Nekrasov stood at the center of the literary and social movement of his time. As an innovative artist who sought and proposed new paths in Russian literature, he raised Russian literature to a new stage of development. According to Dostoevsky’s definition, Nekrasov as a poet “must stand directly behind Pushkin and Lermontov.”

In 1856 he wrote a poem "Poet and Citizen"", where Nekrasov asserts the need to give creativity a civic content. The poem is a dialogue between a poet and a citizen, who have completely different understandings of the meaning of life, homeland, and fatherland. A citizen cannot understand the poet’s apathy and indifference to what is happening around him, because now it is simply impossible and impossible to be indifferent to life. Being part of society is the main task of every person. Before Nekrasov, it was believed that poetry is a way of expressing feelings, and prose is an expression of thoughts. Nekrasov looked at it from the other side: “From harmonious combination prose with poetry and what comes out is real poetry.” It is this process that is observed in his lyrics. The poet believes that love for the homeland should be manifested not so much in feelings as in real actions, since inaction cannot make Russia better. The role of the poet is enormous, for he is the “herald of age-old truths,” he always strives for the truth and is not afraid to speak it. The poet is well aware that indifference is immoral and unworthy. He gives an explanation like this life position and the reasons that made him this way. The lyrical hero still remembers those days when he “honestly hated” and “sincerely loved.” But so many ill-wishers and hatred appeared in his life that he had to re-evaluate a lot. Those around him perceived his words, his desire for truth as lies and slander. No, the lyrical hero does not blame either people or fate. Once he was young and chose life between silence and death. After all, he was only twenty years old, and “life slyly beckoned forward.” Thus, the author of the poem shows how society can influence a person’s consciousness and worldview, that it is society that makes us who we are. For the lyrical hero, whole life was a prison, and he himself is a slave to reality. The poet was broken by fate, he was never able to resist the world and did not know true creativity. Now, looking back, the lyrical hero begins to understand that truth can only be achieved at the cost of suffering, opposition and extraordinary spiritual strength. Only now did the poet understand that life is suffering and that it was not worth giving up on his ideas.

"Poet and Citizen" is perceived as his poetic. manifesto. Ch. the author’s thought is affirmed in polemics with those who are trying to cleanse poetry of socio-political themes, considering them unworthy high art. On behalf of a citizen, he reproaches the poet for leading the reader away from the pressing issues of our time into the world of intimate feelings and experiences. N. warns the poet, who is at a crossroads, against the danger of sharing the fate of liberals, “rich in word, poor in deed,” mired in empty talk and inaction. The excited monologue of the citizen calls on the poet, “the chosen one of heaven,” “the herald of the age-old truths,” to dedicate his muse to the disadvantaged, oppressed masses of working people. Poetry, according to N., cannot serve intellectual elite, and the people, in whom there is a need for beauty, justice, faith. Those. N. affirms the civil character of poetry in verse, believing that the poet “in times of grief” should stand together with the people.

This poem became the banner of democratic ethics. Dobrolyubov wrote: “Remember and love poetry: they are didactic, if you want, but they go straight to a young heart, not yet completely mired in the mire of vulgarity.” The call to revolutionary feat in this poem is undeniable. “Didacticism” lies not in the instructiveness of the poem, but in its conventionality. In essence, Nekrasov's work is a political and poetic proclamation. The idea of ​​the highest human feat determined the entire artistic structure of the poem. It can be described as maximalism. However, the ending of the poem, ignored by Nekrasov’s contemporary youth who considered “Song” their anthem, is also significant, but is by no means accidental. In this “Song,” Nekrasov condemns the “vulgar experience” of opportunists who are crawling their way to the blessings of life, and calls on the younger generation to devote their lives to the struggle for people’s happiness. The poet does not yet know how to get the people out of their state spiritual sleep, what lullabies should be sung to him so that he grows up to be a hero. The answer to these questions is contained in “Eremushka’s Song.” At the end of the 50s, Nekrasov, with his poem, calls for sympathy for the people and helping them get out of a state of spiritual sleep.

Life ideal nannies - a free and idle life as a reward for constant humility, servile patience and humiliation before the “masters of life.” The aspirations that a passing person considers human - Fraternity, Equality, Liberty - are the slogans of the French Revolution.

It is up to readers to create a holistic picture of the world in poetry. This brilliant man combined in his work many aspects that before him were considered incompatible and belonged to completely different literary genres.

about the author

Nikolai Alekseevich was born on November 28 (December 10), 1821 in small town Nemirov, Podolsk province, in Russian Empire, in a noble, once rich family. In addition to his poems, Nekrasov became famous thanks to his firm position as a revolutionary with democratic sentiments.

The poet was included in the list of classics of Russian literature. For a long time he published a magazine called Sovremennik, and a little later - Otechestvennye zapiski. Lyrics N.A. Nekrasova is based on the theme of the people, their deprivation. The writer often used popular expressions. It was thanks to Nikolai Alekseevich that some phrases appeared in the official grammar. Nekrasov was famous for his satirical works, poems, pamphlets.

He himself was a nobleman. His family was not as rich as their noble ancestors, but they did not experience need either. My father served as a lieutenant in the army.

The poet’s whole life was included in the main themes of Nekrasov’s lyrics.

Homeland in the poet's work

For him, the common people always came first. Accordingly, it was this line that became fundamental in his poetry.

The main themes of Nekrasov's lyrics are quite diverse and insightful. He didn't just scratch the surface exciting topics, but also immersed himself in them completely. It seemed that the poet, thanks to his work, was transferring himself into the life of the peasants and experiencing the same feelings.

It is possible that this is precisely why Nekrasov’s lyrics are popular and relevant today. His poems were extremely socially sensitive; he gave genuine descriptions of such problems as poverty and slavery.

Nekrasov has repeatedly confessed his love for ordinary people. He also expected with them that someday a hero would appear who could save all those suffering and avenge their misfortunes.

His love for his homeland always came first, and no matter what was happening at that time in his life.

Unhappy peasants

To judge how much Nikolai Alekseevich was a fan ordinary people Russia, how deeply he worried about their fate, can already be seen from the fact that in one of his works the immortal Muse appeared to him in the guise of a peasant.

In this work, a girl was brutally beaten by her owners, and Nekrasov saw this picture.

Deep knowledge of psychology and human nature helped the poet to draw strikingly vivid and believable images in his works. However, he most often tried to convey the peasant. He not only loved the people who lived in his country, but also hated those who made the lives of others unbearable.

Nekrasov always remained ready to rise up to fight the oppressors. He waited for such actions to begin, without hesitation, he laid down his life to open the eyes of the whole world to injustice.

Nekrasov explained his position in the poem “Knight for an Hour.” There he expressed the idea that the real struggle for people's rights is a great cause for all who love.

The poet was not afraid to talk about the real state of things. He had compassion for everyone who was oppressed.

Inspiration

What inspired Nekrasov? The wide expanses of the country, its green spaces, white winters, forests, fields, rivers, lakes and mountains. Despite the fact that the poet described the peasants with compassion, for him the people were always presented in the courageous, beautiful appearance of strong and unbroken people. His work entitled “Silence” can be perceived as a declaration of love for his homeland. The poet says that he loves only her, he does not need anyone else. Nekrasov wanted to see, during his lifetime, free peasants from whom all chains of oppression had been removed. He complained that he might not see the moment when the peasants would be made free and happy.

The poet imagined what would happen at that moment when people became even stronger. The country will begin to prosper.

Female motives of Nekrasov's lyrics

The people's poet also drew his inspiration from simple girlish images. He liked to turn an unremarkable girl at first glance into a character who will forever remain in the hearts of readers. This type of Nekrasov’s lyrics is one of the main ones in the poet’s works.

The main character is a peasant woman who is capable of a variety of feats. She is devoted to her homeland. A woman can also be a loving mother.

The wealthy class beats and humiliates a simple peasant woman, but she endures everything in silence. The heroine works tirelessly.

The image of a simple Russian beauty with tall moral qualities can be found in most of Nekrasov's poems.

The poet wanted to teach his readers that not only what catches the eye, what is on the outside, is important, but also the inner world of a person. He himself admired such qualities as hard work, pride, and dedication.

In a poem about women from Russian villages, Nekrasov compares peasant women with real queens.

Bright image of the mother

The poet grew up in a family where he constantly saw the suffering of himself loved one. His father played cards and was quite vulgar. And the mother was an intelligent woman who fell in love with an illiterate young man. She got married without her parents' consent and lived her whole life unhappy.

Nekrasov was very internally worried about his mother and the entire situation in the family. He later wrote about his mother’s share in such works as “A Knight for an Hour,” “Mother,” “ Latest songs" This woman inspired him. She was the prototype for the most beloved heroines, strong and persistent in spirit, capable of surviving in difficult conditions.

Mother always remained positive character in any poem. In addition to her, in some poems there are also such heroes as the hero’s sister, as well as the father. But while the first is his friend, assistant, suffering from a cruel parent, the latter is described as a real despot.

Love lyrics

This style of writing poetry suggests the presence of feelings. If the ancient Greeks called lyrics and ballads that tell about love, then nothing changed in the time of the poet.

The themes of Nekrasov's lyrics have become even more intimate. It was love that inspired him to write new works.

However, the poet brought slightly different shades to it. If everyone else’s love lyrics are sublime and very inspiring, then Nekrasov’s is quite the opposite. His lovers become stupid, ironic and almost divorced from reality.

Personal life

He drew many of his ideas from personal experiences and problems; they definitely left their mark on his lyrics. He loved three people at the same time different women. Two of them were absolutely inaccessible to the poet.

It is quite possible that by calling his characters rebellious or out of touch with reality, he subconsciously sought to get the same life, to experience the same emotions.

Civil lyrics by Nekrasov

Despite the fact that the poet’s love lyrics shine through in almost every poem, they take a wide variety of forms: suffering in the Fatherland, experiences, fears and hopes. Nekrasov keenly felt all the injustice of the world of those times.

He himself fulfilled his duty to the country and urged others to be guided by their own head and heart, not forgetting to give themselves for the good of the Motherland. One of the most frequently quoted phrases of Nikolai Alekseevich says that even if a person never becomes a poet, he will always remain a citizen.

An example of such lyrics by Nekrasov is not difficult to find. But the most revealing is “The Poet and the Citizen.” In it, the creator expresses all his thoughts about what an ideal resident of Russia should be like. Nekrasov talks about the morality of actions that will later influence the future generation.

The main line of this poem is the idea of ​​​​everyone's duty, which is to participate. Nekrasov's civic lyrics hint that anyone who sees other people's suffering should not simply pass by them. He is obliged to help somehow, to protect the oppressed people.

Nekrasov focused himself on the following personalities:

• Shevchenko;
• Dobrolyubova;
• Belinsky.

Their own essays and works were as socially acute as Nekrasov's lyrics. Poems dedicated to these great geniuses speak of the invaluable contribution they made to the art form of literature.