The value is an artistic part in the dictionary of literary terms. Artistic part in the literature: concept and examples

Value of the artistic part in the dictionary of literary terms

Detail of art

- (from Franz. Detail - detail, trifle, private) - one of the means of creating an image: an artistic image element, which is highlighted by the author, carrying a significant semantic and emotional burden in the work. D. X. may reproduce the traits of life, furnishings, landscape, portrait (portrait detail), interior, actions or state (psychological detail), speech of the hero (speech detail), etc.; It is used to clearly imagine and characterize the heroes and the environment surrounding them. The desire of the author to detail is dictated, as a rule, the task of achieving an exhaustive completeness of the image. Efficiency of using D. x. It is determined how important this item is in aesthetic and semantic plans: especially significant from an artistic point of view D. X. It is often becoming the motive of OM or the leitmotif OM of the text (for example, the hero of the hero of the play by E. Rostan "Sirano de Bergerac" or Ivanov Ivanov's iron artist in the story of A.P. Chekhov "Violin Rothschild"). Art detail may be necessary or, on the contrary, redundant. In particular, in the description of the heroine story A.P. Chekhov "Ionch": "... Vera Josephovna, thin, the Miloid Lady in the Pence-nez, wrote a story and novels and willingly read them out loud to their guests" - Detail of Portrait (PENCE-NEZ - Men's Glasses) emphasizes the ironic attitude of the author to emancipation Vera Josephovna, and the indication "loud", excessive to the combination "read guests", - a mockery over the "education and talent" of the heroine.

Dictionary of literary terms. 2012

Literature

Dover by E. Hero. Plot. Detail. - M.: Soviet writer, 1962
Dover E. plot and reality. Art art. - L.: Soviet writer, 1981

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When analyzing speech matter, not only words and suggestions are relevant, but also building units (phonemes, morphemes, etc.). Images are born only in text. The most important stylistic trend in the art. Lit-Re - Mute common concepts and emergence in the consciousness of the reader representation.

The smallest unit of the objective world is called artistic detail. Detail belongs to K. metaslisian The world of the work: "The shape of a litthic work concludes 3 sides: a system of details of the subject image, the system of composite techniques and speech system." Usually details include the details of the life, landscape, portrait, etc. Detailing of the objective world in lit-rep is inevitable, this is not a decoration, but the essence of the image. The writer is not able to recreate the subject in all its features, and it is the item and their aggregate "replace" in the text of the whole, causing the reader the necessary to the author of the association. Such "Elimination of incomplete definiteness places" Ingared Call specification. Selecting certain details, the writer turns objects a specific side to the reader. The degree of detail of the MB image is motivated in the text of the spatial and / or temporary point of view of the narrator / narrator / character, etc. Detailing, like a "close-up" in the cinema, needs a "general terms". In literature, a brief message about events, the total designation of objects is often called generalization. Alternation of detail and generalization participates in the creation rhythm Images. Their contrast is one of the stylistic dominant.

The classification of parts repeats the structure of the objective world, the foundation from events, actions, portraits, psychological and speech characteristics, landscape, interior, etc. A.B. Eustinoffered to highlight 3 types: details scene, descriptive and psychological. The predominance of one or another type creates the corresponding property of the style: " scene"(" Taras Bulba ")," descriptive" ("Dead Souls"), " psychologist" ("Crime and Punishment"). In the epic works, a commentary of the narrator to the words of the characters often exceeds the volume of their replicas and leads to the image of the 2nd non-verbal dialogue. Such a dialogue has its own iconic system. Its is kineica (gestures, elements of facial expressions and pantomime) and paralynguistic elements (laughter, cry, speech pace, pause, etc.). Details of MB are given in opposition, and can form an ensemble.

E. S. Kotov offered his typology, based on the criterion single / set, and used different terms for this: " Detail acts in a set. Detail Supports to unity. " The difference between them is not absolute, there are transitional forms. " Freight"(On Shklovsky) Detail, i.e. Driving a dissonance, has a huge informative meaning. The noticeability of the part contrasting with the general background is promoted by composite techniques: repeat, "close-up", retardation, etc. repeating and gaining additional sense, the part becomes motive (leitmotif), often grows in symbol. At first she can surprise, but then already explains the character. The symbolic detail of the MB is carried out in the title of the work ("Gooseberry", "Light Snhanier"). Details (in understanding killed) closer to signHer appearance in the text causes the joy of recognition, exciting a stable chain of associations. Details - Signs are designed for a specific reader's waiting horizon, for its ability to decrypt one or another cultural code. More than classic, details - signs supplies fiction.

Question 47. Landscape, its views. Semiotics landscape.

Landscape is one of the components of the world of the literary work, an image of any closed space of the outside world.

With the exception of the so-called wild landscape, the description of nature usually absorbs the images of things created by man. In the literary analysis of a specific landscape, all elements of the description are considered in aggregate, otherwise the integrity of the subject and its aesthetic perception will be violated.

The landscape has its own characteristics in various kinds of literature. Skuping is presented in Drama. Because of such "economy", the symbolic load of the landscape increases. Much more opportunities for introducing a landscape that performs a variety of functions (designation of the place and time of action, the plot motivation, the form of psychologism, landscape as the form of the author's presence) in epic works.

In lyrics, the landscape is emphasized expressive, often symbolic: psychological parallelism, personification, metaphors and other trails are widely used.

Depending on the subject, or the description of the description, the scenery of the village and urban, or urbanist ("Cathedral of the Parisian Mother of God" V.GUGU), steppe ("Taras Bulba" N.V. Gogol, "Steppe" A.P.hekhova), Forest ("Notes of the Hunter", "Trip in Polesie" I.S.Turgenev), Sea ("Mirror of the Seas" J. Konrad, Mobi Dick J. Mequilila), Mountain (his discovery is associated with Dante names and especially -Sh.russo), the north and southern, exotic, contrast background for which the flora and the fauna of the native author of the edge serves (this is characteristic of the genre of the old Russian "walking", in general, the literature "Travels": "Pallada frigate" I.A. Goncharov), etc.

Depending on the literary direction, 3 types of landscape distinguish: the perfect, dull, stormy landscape.

Of all the varieties of the landscape, the perfect landscape, which was still in the ancient literature, should be put in the first place, which was still in the ancient literature - at Homer, Feokritia, Vergilia, Ovid, and then for many centuries developed in the literature of the Middle Ages and Renaissance.

The elements of the perfect landscape, as it formed in the ancient and medieval European literature, can be considered as follows: 1) Soft breeze, a shelter, delicate, infant pleasant smells; 2) Eternal source, cool rods, quenching thirst; 3) Flowers, wide carpet rimming land; 4) trees stretching with a wide tent, giving shadow; 5) Birds singing on the branches.

Perhaps the most compressed list of idyllic landscape motifs in their parody refractions gives Pushkin in the message "to Delvigu". The Scripture Scripture has already suggests the presence of "ideal nature" in them, as if inseparable from the essence of the poetic:

"Admit, - We were told -

You write poems;

You can not see them?

You portrayed them

Of course, the streams,

Of course, Vasilek,

Locusk, breeze,

Barshkov and flowers ... "

Characteristic, disgraining suffixes attached to each word of the perfect landscape - "Idilele". Pushkin lists all the basic elements of the landscape in the extremely concise manner: flowers, streams, breeze, fishing rods, herd, - lack only birds, but instead of them - lamb.

The most important and sustainable element of the perfect landscape is its reflection in the water. If all other features of the landscape are consistent with the needs of human feelings, then through the reflection in water, nature itself is consistent with them, gains full value, self-sufficiency.

In the ideal landscapes of Zhukovsky, Pushkin, Baratyan we find this self-esteem as a sign of mature beauty:

And in the waters, like through the glass,

(Vzhukovsky. "There Heavens

and the water is clear! .. ")

My Zakharovo; it

With fences in the river wavy,

With a bridge and a shady grove

The grain of water is reflected.

(A. Pushkin. "Message to Yudina")

What a fresh Dubrova

Looks from the shore of another

In her cheerful glass!

(E.Bratynsky. "Excerpt")

In the XVIII century, the perfect landscape was significant in itself, as a poetic representation of nature, previously not included in the aesthetic values \u200b\u200bof Russian literature at all. Therefore, Lomonosov, Derzhavina, Karamzine, this landscape had artistic intrinsicness, as the poetry of the part of reality, which earlier, in medieval literature was not considered poetic: as a sign of mastering antique, pan-European art of the landscape. By the beginning of the XIX century, this commonatious task was already implemented, so Zhukovsky, Pushkin, Baratynsky, Tyutchev, Nekrasova, the ideal landscape conflict with the real state of the world as something imaginary, disembodied, distant or even offensive in relation to gravity, ugly, sufferer human Life.

Sad landscape came to poetry with the era of sentimentalism. Otherwise, this landscape can be called Elegy - it is closely connected with the complex of those sad-dreaming motifs that make up the genre feature of Elegy. Sad landscape occupies an intermediate place between the ideal (light, peaceful) and stormy landscape. There is no clear daylight light, green carpets, colorful flowers, on the contrary, everything is immersed in silence, resting in a dream. It's not by chance that many sad landscapes are held by the cemetery topic: "Rural cemetery" Zhukovsky, "on the ruins of the castle in Sweden" Batyushkova, "Ugly" Milonova, "Singar" Pushkin. The sadness in the soul of the lyrical hero is transformed into the system of landscape details:

Special hour of the day: Evening, night or special time of year - autumn, which is determined by the removal from the sun, the source of life.

Miscellability for the gaze and hearing, a certain paddle, covered by perception: fog and silence.

Moonlight, fancy, mysterious, crazy, pale luminous kingdoms of the dead: "Thoughtful moon through a thin couple looks", "Only a month through the fog of the crimson face will stare," "," through the clouds pale softly ran the sad moon, "", "the moon sneaks through the wavy fogs - Reflected light, in addition, scattered fog, pours sadness to the soul.

The painting of the templement, wilts, raids, Razvaline - whether the ruins of the castle of Batyushkova, a rural cemetery at Zhukovsky, "overgrown with a number of graves" of Milonov, a decaring coil of a bridge or an expulsive gazebo at Baratynsky ("launch").

Images of the Northern Nature, where the Russian poets were led by the Osianan tradition. North - part of the light corresponding to nights as part of the day or autumn, winter as time of year, which is why the gloomy sad landscape includes the details of the Northern nature, first of all, such characteristic, easily recognizable, like moss and rocks ("Mossy solid with granite teeth", " On a rock with a wet moss "," where Moss was only, went on the stones of the coffin, "" above the solid, mossy rock ").

Unlike the perfect landscape, the composite parts of the formidable, or violent, poetic landscape shifted from their usual place. Rivers, clouds, trees - everything is stripped at their limit obsessed with ray, destructive power.

We find the brightest samples of a stormy landscape from Zhukovsky ("Twelve Sleeping Votes", "Swimmer"), Batyushkova ("Sleep Warriors", "Dream"), Pushkin ("collapse", "demons").

Signs of a stormy landscape:

Sound sign: noise, roar, rumble, whistle, thunder, howly, so different from the silence and soft rustle of the perfect landscape ("goddes moaning", "drove with a whistle, howling, roaring", "the louds of waves rushed with the roar", "wind Shecks noise and in the grove "," roared the storm, rain was noisy, "the eagles are shouting with me and pursue Bor," Bor roars "," and the noise of water, and the vortex of howl "," where the wind is noise, roars the thunderstorm ").

Black blades, dusk - "Everything got dressed in a black mixture", "the abyss in the darkness before me."

The wind is a raging, gusty, all sweeping on its way: "And the winds in the wilds were raging."

Waves, puchins - boiling, roaring - "soclery, paradens and spend the middle of the Debreys of the Snow and Hills."

Dumping forest or piles rocks. At the same time, the waves be fighting about the rocks ("Shafts are missing about the gloomy rocks, and the trees are fused"), the wind breaks the trees ("the cedars fell up roots", "like a vikhori, which breaks the forest").

Trepps, trembling the universe, praying, the collapse of all supports: "Earth, like Pont (Sea), shakes", "Dubravy and Fields tremble", "Silican's Lebanese". Resistant to the motive "the abyss", fail: "There is a chance of violently,", "and in the abyss of the piles of rocks."

It is in a stormy landscape that the sound palette of poetry reaches the greatest diversity:

Buru Millet Heaven Croot

Whirlwind snow twist;

How the beast she will win

Then pay, like a child ...

(A. Pushkin. "Winter Evening")

Moreover, if the image of God opens through the perfect landscape, the image of God (N.Karamzin, M.Lermonts) is opened, then the rustling personifies the demonic forces that are cluttered with air, exploding with a swirl snow. The stormy landscape in conjunction with the demonic theme we find both the "demons" of Pushkin.

Semiotics landscape. Different types of landscape in the literary process are semiotized. The accumulation of landscape codes is occurring, integer significant "funds" of nature descriptions is created - the subject of studying historical poetics. By constiting the wealth of literature, they at the same time are dangerous for the writer seeking their way, their images and words.

When analyzing the landscape in the literary work, it is very important to be able to see the traces of one or another tradition, which the author should consciously or involuntarily, in the urgeless imitation of styles that used.

Detail of art - microelement image (landscape, interior, portrait, portraits, actions, behavior, act, etc.), which is greater to express content than other trace elements. The artwork of the work (see: content and form) is in varying degrees detailed. So, Pushkin's prose is detailed by extremely scoop, the focus is on action. "At that moment, the rebels came to us and broke into the fortress. Drum slave; The garrison threw guns; I was stuck with my feet, but I got up and with the rebels went into the fortress "- here is almost the entire description of the assault in the" Captain daughter ". Lermontov's prose is much more generalized. In it, even the material details reveal predominantly the characters and psychology of the characters (for example, the thick soldiers of the Grushnitsky, the Persian carpet, overbought the peopling, called the Princess Mary). Gogol details are more oriented to life. Much means Food: The menu "Dead Souls" is much more abundant to the "Hero of Our Time" menu - in proportion to attention, which he is on there and the characters are given here. Gogol is more attentive and to the interiors, portraits, clothes of their heroes. Very thorough in detail I.A. Goncharov, I.S. Turgenev.

FM Dostoevsky, even more than Lermontov, focused on psychological experiences of characters, prefers relatively few, but catchy, expressive details. Such, for example, too prominent old round hat or bloody socks of Raskolnikov. L.N. Tolstoy in such a bulk work, as "war and world", uses leitmotifs - duplicate and varies in different places of text details that "fasten" images interrupted by other figures. So, in the appearance of Natasha and the princes of Marya many times their eyes are distinguished, and in the guise of Helen - bare shoulders and a constant smile. Shard often holds brazen. In Kutuzov, a weakness is accentued, even in the first volume, i.e. In 1805, when he was not too old (rare at thick hyperbole, however, implicitly implicit), in Alexandra I - the love of all kinds of effects, in Napoleon - self-confidence and posterity.

Detail to oppose the details (in the plural) - tightened static descriptions. A.P. Chekhov - Master of the Details (bited by the dog Hryukina's finger, Schinelov's Schinel in "Chameleon", "Cases" Belikova, changing the complex and manner to express Dmitry Ionchcha Startsev, the natural adaptability of "dusting" to the interests of those who give all their attention), but he The enemy details, he seems to write, like artists-Impressionists, short strokes, which, however, add up to a single expressive picture. At the same time, the Chekhov does not load every detail with a direct content function, which creates the impression of full freedom of his manners: the name of Chervyakov in the "death of an official" is a significant, "talking", but his name and patronymic has ordinary, random - Ivan Dmitrich; In the final of the student, Ivan Greyopolsky thought about the episode with the apostle Peter by the fire, about the truth and beauty, which directed human life then and in general at all times, "thought," when he was driving on the ferry across the river and then rising to the mountain, I looked at my native village ... "- a place where important thoughts and feelings come to him does not decide on them.

Ho mainly the art detail is directly significant, for her something "worth". Hero "Clek Monday" I.A. Bunin, not knowing that his beloved in a day will disappear, will leave the world, immediately notices that she is dressed in all black. They roam the Novodevichy Cemetery, the hero is looking at the traces, "who left new black boots in the snow, - she suddenly turned around, feeling it:

True, how do you love me! She said with a quiet bewilder, shaking his head. " Everything is important here: and repeated indication of the black color, and the definition becomes the epithet, "new" (to bury the dead was taken in everything new, and the heroine is preparing to bury himself and finally go through the cemetery); the feelings and premonitions of both are exacerbated, but he just loves, and it is covered by the complex of the most complex emotions, among which love is not important, hence the bewilderment before his feeling and shaking his head, meaning, in particular, disagreement with him, the inability to be like him .

The role of the details in the "Vasily terkin" AT is very high. Tvardovsky, stories A.I. Solzhenitsyn "One day Ivan Denisovich" and "Matrenin Dvor", "military" and "rustic" prose: on the front, in the camp, in the poor village of things, each is appreciated. In "Farewell to Mother" V.G. Rasputin, everything, for which the inhabitants of the island to be flooded are accustomed to for their long, almost a slow life on it, seen as if for the last time.

In the story of V.M. Shukshina "cut" to the old woman Agafier Zhuravlev came to visit the son of his son with his wife, both candidates of science. "Agafier brought an electric samovar, a colorful bathrobe and wooden spoons." The character of gifts, completely unnecessary village old women, indicates that the candidate of philological sciences is now very far from the world of his childhood and adolescence, ceased to understand it and feel. He and his wife are not bad people, but the Echidial Gleb Kapustin "cut off" a candidate, though demagogically, but, according to men, thoroughly. Men by ignorance admire the "reached" Gleb and still do not like him, as he is cruel. Gleb is rather a negative hero, Konstantin Zhuravlev - rather positive, innocently affected by the general opinion, but already the details in the exposition of the story say that it is partly not by chance.

MOU SOSH №168.

with Whip Hets

The role of the artistic part in the works of Russian literature of the 19th century

Performed: student of grade 11, Tomashevskaya V. D

Checked: Teacher of Literature, Teacher of Higher Category

Gryaznova M. A.

Novosibirsk, 2008.

Introduction

1. Art detail in Russian literature 19th century

2. Nekrasov

2.1 Receptions of the image of Matrena Timofeevna

2.2 "Motor" Nekrasova

2.3 Lyrics Nekrasov. Poetry and Prose

4. The role of the artistic part in the work of I.S. Turgenev "Fathers and Children"

5. Subject world in the novel F.M. Dostoevsky "Crime and Punishment"

6. L.N. Tolstoy

6.1. Irony and Satire in the Roman-Epopea "War and Peace"

6.2 About art skill L. N. Tolstoy

7. A.P. Chekhov

7.1 Dialogues A. P. Chekhov

7.2 Color Detail in Chekhov

Bibliography

Introduction

The relevance of the study is determined by the fact that the works of Russian writers are interesting not only the lexical features and style of text, but also certain details that give the work a special character and bear a certain meaning. Details in the work indicate any feature of the hero or his behavior, as writers teach us not to simply analyze life, but also to know a person's psyche through a detail. Therefore, I decided to consider the details in the works of Russian writers of the 19th century and determine which feature they express, and what role they play in the work.

Also, in one of the chapters of my work, I plan to consider lexical tools in one of my work, with which the individual characteristics of the acting persons are created and the copyright attitude towards heroes is distributed.

The object of research is the texts of Russian writers of the 19th century.

In my work, I do not pretend to the global discovery and in-depth study, but for me it is important to understand and reveal the role of details in the works.

It is also interesting for me to determine the relationship between the description of the situation and the interior of the room or the housing of the hero and his personal qualities and destiny.

1. Artistic detail

Artistic detail - visual and expressive detail, carrying a certain emotional and meaningful load, one of the means to create the author of the painting of nature, subject, character, interior, portrait, etc.

There is nothing casual in the work of a large artist. Each word, every detail, the item is necessary for the most complete and accurate expression of thought and feelings.

Everyone knows how one small artistic part can transform the literary (and not only a literary) work, give him a special charm.

Particularly included in the reality of our time such details as "sturgeon of the second freshness" of Bulgakov, a sofa and a robe of Oblomov from Goncharov, a bottle of neck under the moon in Chekhov.

2. N. A. Nekrasov

Nikolay Alekseevich Nekrasov in the poem "Who in Russia live well" in the head of the "peasant" from the image of the mass scenes and episodic figures of individual peasants makes the next step: talks about the fate and development as the personality of the fabric workers throughout its life. Moreover: the life of a Russian peasant for a hundred years is revealed in chapter. This is evidenced by the details. Summer ends (obviously summer of 1863, if you focus on the chapter "landowner"). The lawsteps meet Matreus Timofeevna - the peasant "years of thirty-axis." So she was born, about the middle of the twenties. How old she was when she got married, we do not know, but again, without a big mistake we can say: 17-18 years old. Her firstborn - Demechka - died due to the unaware of the old Savelia somewhere in the mid-40s of the XIX century. "And the old man Savely a hundred years" was when the misfortune happened to death. It means that Savely was born somewhere in the mid-40s of the 18th century, and everything that happened to him, with the Korean peasants and the landlord Shalashnikov, with the German-manager, refers to the 60-70s of the XVIII century, that is By the time of Pugachevshchina, the echoes of which, undoubtedly, affected the actions of Savelia and his comrades.

As you can see, attention to detail allows you to make serious conclusions that the head of the lifestyle "Peasantka" is not equal in the Russian literature of the XIX century.

2.1 Receptions of the image of Matrena Timofeevna

The fate of a simple Russian woman is well shown in the poem "Who lives well in Russia" on the example of the peasant of Matrena Timofeevna. It:

Osanoy woman

Wide and dense

About thirty Oh oh.

Beautiful: hair with smarter,

Eyes big, strict,

Eyelashes richest

Surov and smoothed.

Thanks to the songs, the image turned out to be truly Russian. We notice a song language at Matrena Timofeevna, when she recalls the deceased parents:

I clicked loudly Mother,

The winds are responded,

Mountains are responded,

And the native did not come!

Inherent to the Russian peasant, because otherwise it can not pour out his grief:

I rushed and screamed:

Village! Bars!

Fall, my decking,

Not to earth, not on the water,

Fall right on the heart

I am a villain!

(Negative parallelism, typical of folk songs and giving).

So she says, seeing abuse over the body of a dead son. The lyricism is intensified with parallelism, epithets expressing the power of maternal love.

Mature Timofeevna speech is rich in tidy permanent and non-permanent epitats. It figuratively describes the appearance of his first son Dememy:

The beauty is taken from the sun,

In the snow white,

In Maku's lip scarlet,

Black eyebrow at a sable

At falcon's eyes! ..

She is rich in her speech and then when she is calling her parent. But the father will not come to her, her "Great Defense", early he died of unbearable works and Men's grief. In its expressions, folk, folklore motifs are clearly fill in their expressions:

Kaba knew you, yes, I did

Who you left my daughter

What without you I will come out?

Then there is such an equalization:

Night with tears poured

Day - as the grass inserted.

This extraordinary woman and flaruse is especially not on display, and secretly:

I went to the river quickly,

I chose a quiet place

Rakitova bush.

I sat on a gray pebble,

Supplied with hand head,

Buried, orphans!

In the lows of Matreshushki there are also surroundings:

I fell happiness in girls,

So I arrived at the case, -

she says. Often there are synonyms ("love-pigeon no one"; "Road-Road", etc.).

Nobody and truthfully did not contact the Nobody to Nobrazov so deeply and truthfully.

2.2 "Machor" Nekrasova

Orienting poetry for prose, introducing Russian household material in verse, Nekrasov faces the question of fabul ; He needs a new Fabul - and he is looking for her not for the former poets, but Prosaikov.

From this point of view, it is curiously poem his "cab" (1848). The first chapter shows how necrossov leaves from the old ballad verse, "here we have a parody (rather explicit) on the" Knight of Togenburg "Zhukovsky (parody of Nekrasov was the means of entering into the poetry of Russian household material). It serves as striking in Fabul. The second chapter is a story about the intake drive. In 1864, B. Edelson called it a poem "awkward arrangement to the poems of an ancient joke about the driver", but did not give real guidelines for this joke.

Meanwhile, Nekrasov used a completely defined material in this poem. In Almanacia, "Dennica" in 1830 was placed essay of the "psychological phenomenon", where the "anecdote about the remote excrement" was developed in the same features as Nekrasov. The merchant leaves thirty thousand rubles in the sleigh, linked to old boots, then finds the cab driver, asks him to show Sani and finds his money intact. He considers them before the cab and gives him a hundred rubles. "And the cab driver in the ladies: he received a hundred rubles.

Is it really a very unexpected find?

On the other day, in the morning he - help "

Essay is close to the stories of Daly and predicts the "physiological essays" of a genuine school. Many household details were scattered in it, part of the stored in Nekrasov. Its style is much easier than deliberately vulgarized the style of Nekrasovskaya play. Those curious one detail. Nekrasovsky merchant forgets silver in Sanya, and this item is emphasized by the author:

Silver is not a papers,

Not signs , brother.

Here, Nekrasov corrects one not entirely justified in everyday life from Pogodin. Poghodinsky merchant forgets in the sleigh of the assignment, "new, with needles", and the assignments could be found "by signs." This item is characteristic of the difference between the early, timid "naturalism" is pushing and the acute interest of Nekrasov to household details.

2.3 Lyrics Nekrasov . Poetry and Prose

In the autobiographical notes of Nekrasov, the fracture that happened in his poetic work as "turn to the truth" characterizes in its poetic work. However, it would be wrong to interpret it too narrowly - only as an appeal to a new unusual "material" of reality (new topics, new plots, new heroes). This is the approval of the new position, the development of a new method, the establishment of new relationships with the reader.

Appealing to the world of workers, to the world of poor and oppressed, with their urgent needs and interests, picked the author with the reality of unordered, disharmonic, solicing. It was the boundless element of life, everyday prose. Naturally, the development of it began in the genre, adjacent to artistic prose, - in the sketch. But the experience of the "physiological essay" learned and reworked a natural school, which gave high artistic samples. The infinite variety of individual cases, facts and observations, the wealth of ordinary, mass, daily manifestations of real life received artistic importance due to the steady social and psychological analysis, "classifications" and "systematization" of types, opening the causes of the causes between human behavior and affecting it .

The early poems of Nekrasov arise in the atmosphere of "Genuine School" and next to his prosaic experiments. Nekrasovskaya prose of the 40s, which later only a very little author recognized as worthy of attention and reprints, just demonstrates the multiplicity and "fragmentation" of impressions, episodes, scenes.

Overcoming the lessons of realistic accuracy of observation and social insights of estimates, Nekrasov makes first attempts to transfer the principle of "physiology" into verses, with their circumstance, analyticality, often as satirical. This is a study of certain socio-psychological types, picturesque and exposing simultaneously.

As a man of a reasonable middle,

He did not want a lot in this life:

He drew a tincture of rowan before dinner

And chichera dinner was driving her.

Kincherfa ordered clothes

And for a long time (prosperous passion)

Puting in the soul distant hope

In college assessors to get ...

("Official")

The driving pathos of such a narrative - in the most relaxing consideration of an unknown leisure of the subject. This is a pathos study.

I "Before dinner drew a tincture of Ryabina" - neither in vocabulary, nor in the rhythmic organization of this line there is nothing actually poetic. The surprise of the appearance in the poetic text of the "Chicher" or, say, "Kincherfa" is stopping here - such a documented detail of burghers.

Nakrasov and in the future there were poems that are fully fitted in the framework of the "natural school" - for example, "wedding" (1855), "wretched and elegant" (1857), "Padasha" (1859) and some others. Their distinctive features are a study of social fate, immersion in the circumstances, causes and consequences, a consistently detailed chain of motivation and, finally, a unambiguous conclusion - "sentence". But in works of this type, actually the lyrical beginning is clearly weakened. Undoubtedly, for example, that Gogol's tempering about Akakia Akakiyevich is more saturated with lyricism than Nekrasovsky "official".

To meet the whole "prose" it was necessary to put forward the new principles of poetic generalization. Fastened diverse multi-faceted and disgraced life material Nekrasov was to master in accordance with a certain estimator system, so important in lyrics. But be that as it may, - poetry should have defeated prose from the inside.

Recall one of the relatively early (1850) poems of Nekrasov:

Yesterday, hour in the sixth,

I went on a hay;

There beat a woman whip

The peasant woman.

Neither the sound of her chest

Only beech whistle, playing ...

And I said muse:

"Look! Your native sister! "

("Yesterday, hour in the sixth ...")

V. Turbin wrote about this poem: "This is newspaper poetry; These are poems, so to speak, in the room: Always a hurry, the concerned reporter has been on the hay and after an hour, having listed on the edge of the table in the punched room of the secretariat, the poems sketched on the grims. "

Judgment This could be recognized quite fair if Nekrasov had no last two lines. Indeed, time and place are indicated by reporters exactly and indefinitely at the same time ("yesterday" definitely only in relation to "today"; only one knows the Petersburg well-known period with its function and meaning). This is a report from the place of events, accurate reproduced "low" scene, household and cruel at once. But Negrasov is not limited to the report on the "physiological essay". The reader amazes the unusual comparison: the outer peasant - muse. This transition is performed under the laws of poetry. Only here the essay and the symbol could face, and the other was also transformed in this collision.

The symbolic image of the elapsed muse, the museum of sufferers will pass through all the work of Nekrasov.

But early I need to ungivate the bonds

Another, nonlaskaya and unloved muse

Sad satellites sad poor

Born for labor, suffering and shackles ...

("Muse", 1851)

Not! The crown of the thorns accepted

Do not flourish, desony of muse

And under the whip without sound died.

("Stickless I am." I did not blame you ... ", 1855)

And finally, in the "latest songs":

Not Russian - take a look without love

On this pale, blood,

Which is an excised muse ...

("O MUSA! I'm a coffin door!")

The origins of this image - in the very "newspaper" poem of 1850, where he arises for the first time, as if in the presence of the reader. Without this support on the "prose" of a documented episode on a hay image of the muse, perhaps could be perceived as too rhetorical, conditional. Nakrasov - not just "the" exterminated "," exhausted "," grieving "muse, not even a muse under torture, but a" sculpture "muse (extremely concrete and Russian version of torture).

Such animate could be created very stupid means in an extremely tense "field" of the author's subjectivity.

Poems could be written, perhaps, indeed, "in the room" and on trimming of coffee grows, but they were still obeyed by their special, poetic logic. Similarly, on the basis of the life of the vitality of Nekrasov, new principles of poetic "voice science" developed, and in the unprecedented substitution of his world, new features of the art organization were opened.

If the definition given by Nekrasova B. Eychenbaum, - "Poet-journalist" -pomogo at one time find the key to understanding his creative originality, today the idea of \u200b\u200bNekrasov, writing poems in the intervals between reading corrections, needs significant clarification. For Nekrasov, poetry itself is the most organic and fruitful way of creative action. This is the most intimate area of \u200b\u200bhis literary work. I Poetry Nekrasov, having experienced a significant impact of prose, journalism, acting in a certain sense as "antipoysza", opened new poetic resources. She never ceased to be the exposition of ideals and human values. Speaking of some verses of Nekrasov - "Report", "Faketon" or, as it was taken by more contemporaries of the poet, "Article", it is necessary to take into account the well-known metaphoricity of these definitions. Between the reports in the exact sense of the word and the poetic report of Nekrasov lies that high-quality line, it is so difficult to determine which it turns out so hard. And yet he deliberately notice.

Indeed, the poetic word acquires special authenticity; Before us is the evidence of the eyewitness, and sometimes the participant of the event. Many Nekrasovsky poems are built as a story about seen or heard, rather, even as a "reportage" from the scene, as the transfer of live dialogue. At the same time, the author does not claim to exclude its position, its point of view. Not a poet - chosen one who stands over the reality, but an ordinary observer, as well as the rest experiencing pressure on itself.

A conquering illusion of genuine is created, an inorganized flow of events, the atmosphere of trust in the ordinary and random, to an independent, disordered movement of life, "as it is" is born. However, in order for life outily and naturally revealed in its inner meaning, a considerable energy of the author is required. Reporter, constantly in motion, he is not only ready to observe and listen to impressions, but also to participate.

On the other hand, the possibility of such an approach to reality was due to some of its characteristic properties that have acquired particular expressiveness and sharpness. The extreme interest of the observed and heard was caused by the fact that various manifestations of life were increasingly becoming public outlined. Mass, saturated with drama, the action was transferred to the streets and squares, in the "Posters" and hospitals, theatrical and club halls. Therefore, the role of "street impressions" is so large in Nekrasov's poetry; Sometimes the author is enough just to look out the window so that the surrounding life began to reveal to meet him with greedy and acute attention in the most characteristic scenes and episodes (for example, "reflections from a parade entrance", "morning", etc.).

And it's not just in changing the place of action. The main thing is that the human life reveals itself in communication and interaction, often itself everyday, domestic. And Nekrasovsky reporter participates in this communication as an equal "acting person."

For creativity, Nekrasov is characterized by complex poetic structures that arise as it were on the border of the epic I am lyrics. The interaction of these two elements, their ineffectivity, I define the artistic peculiarity. These are the most "Nekrasovsky" poems: "On the weather" (part of the first - 1859, part of the second - 4865), "newspaper" (1865), "ballet" (1867). Released from the "report" and "Faketon" and speaking about what the non-Soshrasov in lyrical poetry has not yet been said, they achieve a high degree of poetic tension.

Externally moving in the direction of the Petersburg "Faketon" - a relaxed chatter about "weather" and urban "news", Nekrasov creates a holistic picture of the world.

Begins the day ugly -

Muddy, windy, dark and dirty.

Ah, I would look at the world with a smile!

We look at him through the dim network,

That as tears flows through the windows of houses

From the fogs of raw, from rain and snow!

Quite real rain, snow, fog is stubbornly associated with "Handrea", despondency and straight with "tears":

Anger takes, crushes the Handra,

So ascend tears from the eyes.

And now, not just tears ask for eyes, -

drain sobs. Watch recruit.

And the tears will share women!

On the bucket of tears on the sister will leave

From halfrace, it will get ...

"Vederechko", "Polvedra" tears ... And finally, from restrained irony - to intonation of inecilious despair:

And the old woman is a mother and without measure will take -

And without measure will take - what will remain!

Caughtless sobber - in the rhythm itself, in the sound of rows.

At the beginning of the cycle "On the weather" there are words that resemble Pushkin's "Petersburg poem" with her formidable flood pattern:

And the big trouble passed - the water takes place gram.

There is a copper rider here - Nekrasova is just a "copper statue of Peter", not far from which he saw a dramatic scene of the wires in soldiers. But Peter is not a formidable lord here, but rather only the indifferent, inanimate sign of St. Petersburg, the city, so unlike the Pushkinsky, who is completely different, are much more common concerns and troubles. But the motive "Water" is "trouble", as we see, it turns out to be significant, sustainable and here. It seems to unite different episodes in one mood, whose witness becomes a reporter.

On the soldiers hardly that dry

Rain jets run with persons

Artillery hard and deaf

Loads his own.

Everything is silent. In this frame foggy

Faces of warriors of miserably in appearance, "

And submool sound drum

Like the liquid rattling ...

Water aggravates the limit of a hopeless impression from the funeral of a poor official, who "accidentally" came the narrator:

Finally, here is the fresh pit,

And in her knee water!

In this water, we lowered the coffin,

It was filled with liquid mud,

And the end! ..

With this, both "funny pun", heard in the cemetery:

"Yes, the Lord wants to offend

So offended: yesterday I was lying,

And today, learn to see

From the fire right in the water got! "

This is reflected by the usual "from the fire and in the hollow". But the fire and water in Nekrasov is not symbolic, but natural, authentic.

At the same time, the "weather" from Nekrasova is - this is the state of the world; It is about all that it affects the primary health of a person, - dampness, fog, frost, a disease - which draws it "to the bones", and sometimes it threatens him.

Petersburg is a city where "all sick".

The wind is notching something not in moderation

In it, the ominous note sounds,

All cholera - cholera - cholera -

Tift and all helps!

Death here is a massive phenomenon, the funeral of the-business picture, the first thing, with which it comes to the street, reporter.

All sorts of typhus, hot,

Inflaced - go a man

MRUT, like flies, cab drivers, strata,

Children flashed on her bed.

The weather personifies here almost the fate itself. Petersburg climate ruined the bosomo - the famous Italian singer.

It is natural for her naturally, it is organically incorporated into the Nekrasovsky cycle "On the weather":

Daughter Italy! With Russian Moroza

It is difficult to truck midday roses.

Before the strength of his fatal

You droopped my friend perfect

And you lie in a fray of someone else's

The cemetery is empty and sad.

Forgot to you alien people

On the same day, as the earth passed you,

And for a long time there is another sings,

Where the flowers shoved you.

There is light, the double bass goes there,

There is still loud louds.

Yes! in the north of us

Difficult money and roads of the Lavra!

The forgotten grave on the deserted cemetery ... This is the grave of a brilliant singer with a melodic foreign name, lost on the cold expanses of someone else's country. And the tomb of the poor, lonely official is a pit, full of water and liquid mud. Recall:

Before the coffin, neither native nor pop,

Golden brocade did not lie on it ...

And finally, the grave, "where the great forces fell asleep", the grave, which the narrator never managed to find, is emphasized, although she is not in someone else's cemetery, not in someone else's country:

And where there is no slab, nor the cross,

There must be a writer.

All of these three points, as it were, "rhyme" with each other, forming the end-to-end theme of the "Petersburg poem" of Nekrasov. The complex image of Petersburg, which, in turn, becomes a symbol of the Russian North, grows in Nurasovsky.

Petersburg is given here not as a slender completed whole, the main capital, as it was at Pushkin, but in the key of other poetics. "Physiological" descriptions allow you to see Petersburg ugly, in fact:

Mudny streets, shops, bridges,

Each house is gold, suffers;

Plaster rolls - and beats

The sidewalk coming people ...

In addition, since May,

Not quite clean and always

From nature, not wanting to fall behind

Water blooms in the canals ...

But we have not yet forgotten

That in July you are satisfied all

Mixture of vodka, stables and dust -

Characteristic Russian mixture.

Even the traditional epithet "Slender" falls in Nekrasov to the most unexpected context: "Forest, slim, sullen, rotten."

Interestingly, in the "crime and punishment" - perhaps the very "Petersburg" novel of Dostoevsky, and related to the same period, - there are the following lines on the "street impressions" of Raskolnikova: "On the street, the heat stood terrible, besides, Duchot, Clear, Everywhere Lime, Forests, Brick, Dust and That Special Summer Stena, such a well-known to every St. Petersburg, who has no opportunity to hire a cottage ... "It is in this Petersburg slicken stuff that shelters the splitters their monstrous idea. "Physiological" details have too close attitude towards things rather distracted, to the general atmosphere of the city, his spiritual life.

The same can be said about St. Petersburg Nekrasov.

With each new episode, the words of the poet are more sarcastically sound:

We are not tusk.

In the Russian capital,

Besides gloomy

Neva and Tomnov,

There are pretty light paintings.

Nekrasovsky "Street scenes" almost invariably - "brutal scenes".

Everywhere will meet a cruel scene -

Policeman, not in moderation angry,

Tesacian, as in the granite wall,

In the back of the poor Vanka knocks

Chu! Doggy's sighty moans!

Here is stronger, - you can have been cracked again ...

Began to warm up - walked to fight

Two shatter ... laughter - and blood!

These verses continue the motives of previous creativity (remember at least the cycle "on the street" with its final words: "I will see the drama everywhere") and anticipate the topics and moods of the subsequent. It should be called in this connection at least one of the late poems of Nekrasov- "Morning" (1874) with its concentration of "cruel scenes" and with its "alienated" intonation:

The janitor of the thief of Kototit - caught!

Chase a flock of geese on slaughter;

Somewhere in the upper floor he was heard

Shot-someone committed suicide ...

Symbolic becomes in the cycle "On the weather" scene of the horse beating, as if "quoted" then Dostoevsky in the famous Skolnikov's dream.

Accidentally seen patterns are not so randomy, the opi act in one direction, create a single image. Also, the everyday facts in Nekrasov are not everyday life - for this they are too dramatic. Dramatism of the surrounding events focuses on them in the highest degree. "Horrible", "cruel", "painful" is charged to the limit when it is already superior to the human perception. Pictures of St. Petersburg are not capable of caressing, the smells of it annoying, the sounds of his full dissonances ...

In our street, life is labor:

Start nor light neither

Your terrible concert, solder,

Tokari, cutters, locksmith,

And in response, the bridge rattles them!

Wild Seller Creek,

And a cramfish with a piercing war

And conductor with a pipe, and troops,

With drum running fighting

Pulling the exhausted Klyach

Slightly alive, bloody, dirty,

And children tearing crying

On the arms of the old man-shaped ...

But all these "tearing", prosaic "noises" of the St. Petersburg street, who stun a man, shake him, - from them really, "terribly nerves," - they are towering from Nekrasov to an ominous, almost apocalyptic symphony.

Everything merges, moaning, goes,

Somehow deaf and terrible thoughts,

Like a chain kuyu on the unfortunate people,

As if the city wanted to collapse.

And at the same time, something painfully attractive is in "music" of this "fatal" city:

There is light, the double bass goes there, there are still loudshot of the Litavra ...

Such is the complex Nekrasovsky perception of the city, harsh and cold, where success is difficult, the struggle of cruel ("difficult money and roads of the Lavra"), where disharmony and darkness reigns, only sharply shaded sometimes external shine. According to N. Ya. Bekovsky, "Petersburg" - both theme, and style, and flavoring special fantasy, led by Russian writers, and brilliant and dim, prose of modern life, its mechanism and everyday work, grinding human fate. "

The capital appears in Nekrasov as a holistic organism, alien harmonious harmony, but living with its own, rich energy and internal contradictions, life. It consists of some of the many different contrasting worlds (for example, the world of Nekrasovsky "Contemporary" and the world of Frances with Nevsky or the world of lonely old-headed coffin of the official), which are in active interaction. They can suit suddenly here, in St. Petersburg streets, where everything is mixed and everything. Indeed, in the capital's life, everyone is somehow involved, "everyone is mixed with Gurt." No wonder the word is that it is repeated:

All sick, triumph is a pharmacist

And cooks its potions with Gurth ...

And the dead in church made.

Many of them there, Hurt, twisted ..;

The news of what happened somewhere and with someone becomes immediately the property of everyone:

All read, if you spend the paper,

Tomorrow morning in newspaper sheets ...

This gives Nekrasovsky poems about St. Petersburg a special color. In the poet itself, that high degree of vitality and life susceptibility, which is characteristic of the capital, is its poetry. The busy rhythm of this life is exciting, he disperses Handra, despite the abundance of cruel, ugly, gloomy. This is the rhythm of labor and the rhythm of the increasing forces, awakening opportunities. Here, in St. Petersburg, not only "Kuit's chains on the unfortunate people," but somewhere in invisible depths there is a difficult, non-stained spiritual work. And the victims brought here are not in vain.

Indeed: Petersburg "raised the forces superior to him, raised Russian democracy and the Russian revolution."

It is difficult and indirectly, in the "clutch" of artistic motives and images is being implemented by Nekrasov, a generalization, which with a journalistic directness, he expressed about the role of St. Petersburg earlier, in the poem "Unfortunate" (1856):

In the walls of yours

And there are years in the old years

Friends of the people and freedoms,

And in the middle of the graves of silent

There are loud graves.

You are dear to us - you always

Adek Active Force

Inquisitive thought and labor!

However, the task of this magnitude would, of course, are not under the power of the Retailing Petersburg "Reporter". The author comes closer to this hero himself, it penshes this figure aside and goes to the exist veneer himself. It was his, "Nikolai Alenesey", we see first of all when the reporter asks the random-smile about magazines and writers. The voice of Nekrasov I heard in the "Faken" "newspaper" (1865), when among the relaxed, ironic story suddenly a genuine patient is broken:

Reconfirm the same with my muse!

I do not know another pit.

Who lives without so far

He does not like schisming his ...

The evolution of the "narrative image" occurs in the "ballet" (1866). The reporter decided to visit the ballet on the beneficial performance - it would seem that the "picture of metropolitan morals", only and everything. But here is the corps, and the Petipa in the Russian man's dress, as K. I. Chukovsky writes, "As if through the land, it falls along with the orchestra and the scene, - and before the" flower bed of a BELETAZHA ", before the same golden epolutions and parquet stars arise sullen, like funeral, rustic recruit set:

Snezno - cold - blades and fog ... "

The same recruit set is invariably painted by Nekrasov and in the cycle "On the street", and in the cycle "On the weather". In Ballet, this is a whole picture, deploying in the endless Russian expanses and inexorably displacing all the previous impressions, as a reality displaces a dream - although the picture is created here by the author's imagination:

But in vain, the man snars.

Klyach barely goes - removes;

Syrridge, a scripture is full.

As if before the heart, the train is sad

Through white cover funeral

Cuts the earth - and she moans,

Stew white snowy sea ...

It's hard you are the peasant grief!

Resolutely changing the entire system of speech. B. Eikenbaum at one time drew attention to how Nekrasov turns here "Three-resistant anapest from a feuilone form in the form of a tight, superior song:

Know, people of good tone,

That I adore ballet myself.

Oh, you lay, imperceptible sting!

Where do you have to unload you? .. "

The disappearance of the feuilutent intonation marks the disappearance of the "Faketonist" itself, instead of which the poet was openly performed.

Now we fully realize that the appearance of the final picture is prepared by punching: from the very beginning, details and associations that permeate all the work, the unity of the world, despite sharp style transitions: it is a stingy-sad note about the General and Senatorial stars - "noticeably immediately // that they are not counted from the sky - // the stars of the sky are not bright with us "; This is a significant recognition in connection with the enthusiastic admission to the public of the peasant, Petipa dance - "No! Where it goes about the people, // there I am first to captivate ready. It is a sorry: in our scant nature // There are not enough colors on wreaths! " This motive again responds to the image of the "Scarce North", the Earth, dressed by the "White Savan Death":

See how under a bush sometimes

Sorry this small bird,

What is not flying away from us -

Loves scanty north, poor thing!

Petersburg "Misteria" is thus acquired by its true place - this is not the whole world at all, but only some part of it is not the most significant, although recreated Nekrasov in genuine multiformity and multi-stage. Whatever Nekrasov wrote, the paintings of the people's life, the thought of people's fate turns out to be initially for him, - it is clearly or hidden, but always guessed.

Similarly, it is always a vividly felt in itself, stored and strengthened blood bond with the people's worldview did not allow any contradictions and doubts to destroy the inner unity and the fortress of his nature and the national life as a whole, with its dramatic content, its spiritual sources and aspirations , determined the basis of the unity of his poetic world.

This is a center from which all the impulses proceed and all the threads come.

Russian lyrics, as N. I, Berkovsky, was distinguished by N. I, Berkovsky, was distinguished by the special nature of the development of the surrounding world, and first of all the national nature and national life. It is not even looking for compliance, rather, there the poets first found and recognized their emotion. From here - the widespread inclusion in the lyrical poetry of the images of the outside world as images experienced.

"Rook on arable land," crowd club ", Petersburg rotten December with his blurred street, acknowledged, raw huge door in a wooden church - all these images of lyrical states in Nekrasov."

The lyrical feeling of Nekrasov learns himself primarily where the folk pain sounds, longing of depression and suffering. Nekrasovsky Fabuli - as a rule, the stories are unfavorable, the heroes of them are "yambs, rustic old women ... People with St. Petersburg pavement, writers in hospitals, abandoned women ...". Of course, Dostoevsky was largely unilateral when she argued that "the love of the people in Nekrasov was only the outcome of his own grief in itself ...". However, he rightly spoke not just about sympathy, but about "passionate to the torment of love" Nekrasova "To all that he suffers from violence, from the cruelty of the unbridled will, which will oppress our Russian woman, our child in a Russian family, our commoner in bitter .. . share of it. " Actually, this is transmitted in the famous characteristic of Nekrasov - "People's Brown Brown". Even sides are equally important here: the world of people's passions, interests, the aspirations are reflected in Nekrasov as a world living in their own difficult laws, the world is an independent and sovereign, forming and transforming personality of the poet, but this world is not granted by the poet itself - in the world weight Poet with him closely merge.

Already in the first lyrical poem with the "peasant" fabula at the base - "on the road" - Nekrasov reaches a very difficult unity. He looks at the part of the bodice not only through the "analytical prism", as Apollo Grigoriev believed, but also through the prism of his own sincere state: "Boring! Boring! .. "The suffering here is not only" from the grief of a man who crushed the "villain-wife", and from the grief of the unfortunate pear, and from the general burning of people's life, "as it is true in the book N. N. Skhatova. It exists, lives in the poet, as it were, it would be initially - the tale of the yammer is only confirmed, justified and enhanced. Outlined a certain vicious circle: "dispel the longing" it is possible, it seems, only again to the same melancholy turning - for example, in the song "About the recruit set and separation." The "provoked" interlocutor, the barker, however, strikes him: "comforts" the story about his own mountain, which himself and realizing something fully, as it turns out, is unable:

And, hear, beat - almost never beat,

Unless under drunken hand ...

It is here that the excitement of the listener reaches an extreme point - he interrupts the story. For Nekrasov, it is very characteristic: we are waiting for longing, the pain is about it will somehow be quenched, something will be resolved, but it turns out the other way, there is no outcome and can be. The cruelty in the famous scene of the drivers with a horse in the famous scene of the drivers with a horse:

And I beat her, beat her, beat!

He again: on the back, on the sides,

And forward running, on shovels

And on crying, meek eyes!

But the last scene was

Mature first for gaze:

The horse suddenly strained - and went

Somehow sideways, nervously soon,

And the driveshchik with every jump,

In gratitude for these efforts

Sucked her wings

And he himself ran to aege.

("About the weather")

In the poem "Morning" (1874) a gloomy picture of the village is drawn, seeing which "not suffer from the wonder." Details are woven in one chain, reinforcing each other:

Infinitely sad and pitiful

These pastures, novi, meadow,

These wet, sleepy daws ...

This klyach with a peasant drunk ....

This is a muddy sky -

It would be natural to expect some kind of opposition here, the software, as well as in the case of a sparklers, it is capable of staring even more and leaving perceived:

But not the painful and the city is rich ...

And then they deploy a kind of "dance of death", as N. N. Skatov writes. With this, apparently, the apparent indifference of the author's tone, which researcher drew attention. But this manifests itself not indifference, of course, but, on the contrary, the extreme degree of shocks. Nowhere, in the whole world, it seems, it seems to not find anything that could resist what he saw, to translate him and disprove. And such an intonation acts much stronger than the immediate exclamations of sympathy and compassion.

The lyric activity of the author is looking for new, more and more complex ways of expression. The event turns out to be the center of intersection of emotional and ethical estimates. So, if you return to the poem "on the road", it is not difficult to see that the underlined features of the speech of the spokesman - "on the Vargan", "Tuchi", "embarrassed", "Shot", etc. - not only create a social characterity, According to and are designed to draw off (against the background of proper overhangivers), the dramatic meaning of the story, thereby enhancing his perception. The point of view of the narrator hero and the point of view of the auditor of the author, not coinciding, intersect, interact.

The energy of the observer stakeholder, the listener, the interlocutor opens the intimate depths of the national life and character. He peers, listens, asks, analyzes - without his efforts, our meeting with this world would not take place in his entire authenticity. At the same time, he seems to be afraid to obscure him, trying to remove, disappear, leaving us alone with a phenomenon. He even seeks to sometimes emphasize his special position of a third-party observer, with his interests, classes, sentiments, lifestyle:

From the morning of dull, rainy

I was issued now the day is unhappy:

Gift in the swamp of wet to the bones,

Attached to work, but work is not given,

Look, even the evening - the crows fly ...

Two old women agreed at the well,

Dai-ka listen to what they say ...

Hello, native. -

"How can a mushroom?

Are you still crying?

Walks, know the heart of bitter breath,

Like the owner-Bolshak? " -

How not to cry? I disappeared, sinful!

Downturn whores, hurts ...

Died, Kasyanovna, died, heart,

Died, and buried to the ground!

The wind is tenting the element of the wretched,

All collapsed Ovin ...

As if the crazy I went expensive:

Will the son get?

I would take the Toporik - trouble corrected, -

Mother would comfort him ...

Died, Kasyanovna, died, the birth

Need to Ax sell.

Who comes in with the old woman rootless?

All reincarnated completely!

In autumn rainy, in winter cold

Who puts me a woodwood?

Who, as the warm cooker comes.

Bunkers new misfortune?

Died, Kasyanovna, died, Golubushka -

Gift the gun will disappear!

But the storyteller again hurries to alienate from what is happening:

Crying an old woman. What is the case?

What to regret, if there is nothing to help? ..

This motive is always clearly distinguished by Nekrasov. In verses "On the weather", he with annoyance interrupts itself in the description of the terrible scene of the drivers with a horse:

I was angry - and thought sadly:

"Doesn't I come for her?

Nowadays, sympathize with fashion,

We would help you and do not mind

Unrequited victim of the people -

Yes, you do not know how to help! "

Here and bitterness of powerlessness, hopelessness, and the challenge to those who are inclined to say to themselves, to make responsibility with themselves, only "ambassading" unhappy. For the poet, the Duma about their suffering is the thought of the suffering of their own ("I do not know how to help").

The "support is" a look from the author is thus forced, and she is not given to him. As Pi seeks a narrator, the observer will defend his position, the opa is irrevocably destroyed by those impressions that are born to the surrounding reality and which his soul is opened.

Weakly my exhaled body

Time to sleep.

No afraid my night:

Tomorrow I will go on the hunt,

Before the light must be glad to sleep ...

Here and the crows are ready for departure,

Currently Raut ...

Well, go on the road!

Here we rose and refurbished at once. -

Listen, equal! -

The whole flock flies:

It seems as if between the sky and the eye

Drawing grid hangs.

Instead of immediate events, with whom the narrator is clearly fighting, trying to suppress them and avoid, it appears randomly grated from the surrounding "empiric" image - crows. As if they were all the case, as if they were "Ekrambali Bed". Emotional voltage concentrates here. This poem begins:

Right, not club of the crowd

About our now arrival?

So today ... well, just trouble!

Stupid carcass, wild moans ... -

and she as we saw, ends. From this, the author is no longer separated from this: something black, gloomy blocks eyes, prevents to watch, something ugly, disharmonious rings in the ears ...

But also the conversation of the old woman at the well is not a genre picture at all, not sketching from the nature -Lealic sense of the author connected here very significantly. It lives primarily in the aggravated perception of death, loss, in awareness and poetic expression, which marks the high level of personality development. Son here - and the breadwinner and the defender, but not only that. It is the only justification of the life, the only source of light and heat. Material, household details, in the excitement of the poor old worker, are important for her by themselves, but as things involved in the son's life, and now idle, unnecessary, ruthlessly testifying to his irrevocable care - therefore, the mention of their weddano is a special tenderness.

With the death of one person, a whole world collapses, and the words here are particularly significantly significantly: "Died and burned to the ground!" It is not at all similar to the image of the death of a man, which is given, for example, Tolstoy in the story "Three deaths". The death of the peasant in Nekrasov will be in the future theme of the whole poem, and the poem "in the village" can be viewed as one of the preceding sketches.

It comes here to literal and very significant in meaning and style of coincidences:

Died, you did not live

Died and burned to the ground! -

we read in the poem "Frost, a red nose" (1863).

The hero of her defense was also "Kormilets, Delica of the Family." But they mourn here not just the loss of the breadwinner, but a terrible, irreparable loss, - grief, to survive which is impossible:

The old woman is lunged from Cherry, not to live and your father, birch in the forest without a top - the hostess without a husband in the house.

It is significant that the tragedy of the peasant family is free and naturally correlated with the fate of the poet itself. Defeat the "sister" to the poem "Frost, Red Pos", written later, perceived as internally necessary; It says as if it was completely about the friend, according to the poem of the unity of feeling and tone. At the same time, it retains the independence of lyrical circulation, becomes powerful lyrical sewing:

For everyday settlements and charms

I did not break up, I am mine with the muse,

But the god of the news, did the gift dismay,

What happened, was friends with her?

But not a brother more people poet

And the ternist is his way, and definitely ...

. . . . . . . . . . .

Yes, and time passed, - I'm tired ...

Let I not be a fighter without reproach,

But I was aware of my strength

I believed in a lot deeply,

And now - I have to die ...

I sing the last song

For you - and you devote you.

But she will not be fun

Will be much sadder than the former

Because on the heart of the dark

And in the coming even hopeless ...

The feeling of despair and hopelessness - in connection with the constant Nekrasov's motives of the thorny path of the poet, his own not esteppity, threatening death - as it were, it leads to this plot, determines its choice. The pain of their own loss is woven here, and even the overall anxious state of nature covered by storms.

And trembles and motley the window ...

Chu! Like large grades jump!

Cute friend, you understood for a long time -

Here are alone stones do not cry ...

Surovo Metelitsa Vila

And the snow threw the window ...

The sad hut of the orphaned family, and the whole earth, "as Savan, the snow is dressed" (later the same sounds in the poem "ballet": after the wires recruits are returned, as with a funeral - "In the White Savan of Death").

With the motive of death, funeral, Savan again arises and the motive of sobs.

In dedication:

I know, whose prayers and tears

Stitching with a prompt needle

On a savance piece of the canvas,

How the rain charged for a long time

She grieves softly.

For her tears of Nekrasov will find another, maybe an unexpected image:

Tears for a tear falls

For quick hands your hands.

So the cooles silently drops

Ripe grains their ...

The image of this appears not suddenly, it organically grows from all the peasant world and peacefulness, in which the poet plunged here. Back in the poem "Unlucky Strip" (1854) Mature spikes pray for a pahar:

"... boring to lean to the earth itself,

Fat grains bathe in dust!

Not! We are no worse than others - and long ago

It was bore and ripened grain.

Not for the same smell, he sowed,

So that us is the wind autumn dispelled? .. "

But Paharia is no longer destined to return to its Niva:

The hands that these grooves were brought out

Dried in a sins, hung like a whip,

That the guy song sang ...

The grinding of the grain land - as tears of the orphaned strip over the dying paham, in this sense and the "uncompressed band" also sounds the foresight, anticipating the later poem. In "Frost ..." in circulation to the deceased cursor heard again:

From the stripes of his protected

By fly, save the crop!

Darius sleep a terrible dream:

I see - it crepts me

Strength - an indispensable rhe, -

Grozny by hands waving, Grozno, the eyes sparkle: ..

But "Buceurmanskaya Raint" turns out to be swinging, noisy grinding field:

These are rusty ears,

Ripe grain poured,

Leave me to fight!

I began to make a promptly,

JN, and on my neck

Large grains roll -

As if under the city standing!

Entry, leaving for the night

Our whole mother-rye ...

Where are you, Savastianch?

What to do not go? ..

Ripe grains fall, roll, flow, flow, do not give rest, require extreme tension and remind of non-refundable loss:

I will become without cute,

Snaps tightly knit

In the dogs of tears drop!

What determines the basis of the foundations of peasant life is its meaning and joy:

Became a cattle in the forest to get out,

Became a rye-mother in the cooles rushing,

God sent a crop! -

now, with the death of the puncture, irreparable, finally destroyed. In a happy death-seeing vision, Darier still appears to be a wedding of a son, which, "as a holiday," they were waiting for the sample and in which the role of breadfall is bright, life-affirming:

Rash on them bread grains,

Hop scree of young! ..

But she, like a proof, is also not destined to participate more in this measured, wise, close to the natural course of the updating life. Everything that was full of living value for her, firing.

The researchers have already noted that the lyrical pressure in the poem "Frost, Red Nose" is happily combined with her epic start. This manifests itself more common lawmakers for Nekrasov. The lyrical feeling of the poet truly finds himself, only in contact with the epic foundations of the people's world. His inner "I" only here gets the most complete and free of its embodiment. The deployment of the poem in fact overcomes the despair and loneliness of the poet, although its plot does not conclude anything in the literal sense of the consolation. Preciously here is the possibility of internal confluence with high lifestyle. "Until the very end of the life of Daria, until the last of her minutes," J. Bililicks writes, "the poet will not disappear anywhere and nothing with his heroine, it will be able to transfer her death visions and feelings."

Neither sound! Soul is dying

For sorrow, for passion.

And feel how conquering

Her dead quietly.

Nekrasov in their poems beaten by a big lyrics than in actually lyrical poems, especially if it concerns people's life. Strict genre distinction here is not at all good - the overall picture is evaporated only from the comparison and tracking of through themes, motifs, shaped connections.

Nekrasov needs the integrity of the world, internally very controversial, - and the epic and lyrics here interpenetrate and strengthen each other.

No wonder some excerpts from Nekrasov's poems are often discussed in lyrics research. So, for example, Andrei White (many literary studies followed him) stayed on the following stanas of the poem "Frost, Red Nose", feeling in them the wholeness of a lyrical feeling:

Speaking, worked in the sweat!

Speak, worked out the earth!

Lies, not involved,

On a white pine table

Lying fixed, harsh,

With a burning candle in the heads,

In a wide shrush

And in lime new laps.

Big, with hands, hands,

Lifting a lot of labor

Beautiful, alien flour

Face - and before the hand of the beard ...

Indeed, this passage can be read as the completed poem, approving the world of peasant life as a higher reality. This is a direct expression of human values. There are no prosaic details here. "Pot" and "Corn", "work" and "earth" in this context of the word high, poetic.

The image of "asleep" is inherent in genuine greatness. It is not by chance that his name was not uttered here. Before taxes, it is also not the same specific, so alone and individually perceived by the close "curses of Savastiyanch", "Collush", which it is in domestic scenes. But do not forget that these scenes themselves come up only in the imagination of Daria, we do not see the crossing alive. From the world of living, it is separated by a significant distance.

Pakhar's appearance in the "Uncompressed Lane", as we remember, is distorted by the disease, unbearable labor; He is more like an object of the author's compassion ("bad poor fellow"), and the "non-elective" descriptions only increase the impression ("Hands ... dried into a sinner, hung like a whip", "Opsyry", etc.). Hero "Frost ..." is free from this, it is not a sympathy to him, but admiration. Silence, insaneness ("Lies, not involved"), an approach to the "other" world ("with a burning candle in the heads", "alien flour face") create a special solemnity, the ideality of the appearance.

Blocked, "alive", "household", which, if necessary, he himself should be accustomed to WHA, leisurely drinking from the Zhbana Kvass or a passionless "tweak" his gruhu and the one that silently lies "on a white pine table", merge In a single image only in the huge space of the whole poem. But it is interesting that Nekrasov has most poems with "poetics", if you can express it.

The internal correlation of all elements has a crucial value in Nekrasov.

In his "peasant" lyrics, as in the poems, with this lyricist are closely related, the image of suffering and mobility is dominated. Whatever different works we appeal to neither here, "on the road", "Troika", "in the village", "uncompressed strip", "Orina, Mother Soldiers'", "Reflections from a parade entrance", "Railway", "Corobeinists "," Frost, a red nose, "- everywhere with an amazing constancy speaks of the strength of undermined, destroyed, about the broken hopes, about the orphans and carelessness, finally, about death that has come or inevitably approaching. However, the entire extreme degree of human disasters offers a bright, perfect, heroic beginning.

As in the "repentant" verses of Nekrasov, a true feat of the poet could appear - and express only through his internal contradictions, spiritual struggle, confusion and despair, and here the high and immortal foundations of folk life are opening in the abnumbs of misfortune and disgrace, darkness and poverty. It is on this arena that the hard struggle is unbearable and the heroes are manifested.

If in "Korobechnikh" (1861), this non-patientary, cruel world, where "bypass" three versts, "and six," where it was so strange to intertwine bargaining and love, a song-groan "Ugly Wanderer" and gravestone shots of the forester, - If this world does not finally collapse, then only because there is still somewhere peasant, the hindy, strong, perhaps, is a frequency, like the Duma Katerinushki, like her dreams about family idyll with loved one:

Neither to you nor mother-in-law

Nicoli do not burn,

From the mother-in-law, your mother,

Word all sip.

...........................

You do not want to work yourself

I don't take strength

I'm for cute with hunting

I will plow Pashenka.

You live gulyuchi,

For a worker wife,

In the bazaraths driving,

Have fun, sing songs!

And come back with a branding drunk -

I will feed and lay!

"Sleep, priest, sleep, rumbling!"

I won't say any more words.

These words sound the stronger, the clearer it becomes that they are not destined to come true. Also in Troika, the dazzling of the first part contrasts with a gloomy flavor of the final:

And sorpete in the crude grave,

How will you pass a hard way,

It is useless to fasten strength

And no warmed chest.

If Nekrasov enters into the idyll region, then this is how N. Ya. Berkovsky, "Idyll, dressed in mourning clothes."

In the poem "Frost, a red nose", the beauty and happiness of peasant life exist really, but they see through tears, when there is no return to this joyful harmony. And the closer looks at the Nekrasov in these ordinary pictures, with all their everydays, nonsense details, the more meaning they purchase now for Daria - it's not enough strength to take away from them.

Run! .. y! .. runs, postmen,

Lights under the legs of the grass! -

Grishchuch black, like galcoon,

Bela is just one head.

Shouting, runs up in the jail

(On the neck of the pea clamp).

Potted a baby, the uterus,

Sestrenka - spinning top!

From Mother Mother Lask,

Father The boy has twisted;

Meanwhile, no dreamed and Savra:

He drove the neck but pulled

I got, - Okowchi teeth,

Peas appetizingly chews

And in soft good lips

Grishukhino ear takes ...

In happy darya dreams to the highest degree of artistically significant not only "Golden sheaves",

"Beautiful Masha, Forewoman", "Russed Faces of Children", etc., but also this very "peas of a clamp", so lovely necris described. N. Ya. Berkovsky calls the poem a wonderful monument "The struggle for the holy prose" of peasant life, for the lyrics of labor and housekeeping, family and home economics "...

Always they have a warm hut,

Bread is baked, thawed alum,

Healthy and fed guys,

On holiday there is an extra piece.

The same struggle for the "holy prose" of the peasant structure passes through the lyrics, - hidden opportunities and folk aspirations declare themselves contrary to scarce reality. The "Song" cycle (1866) opens the following wonderful poem:

People in the house - clean, lept,

And in our house - Tesne, Duchot.

In humans for the other - with Solonino Chan,

And we are in the saches - cockroach, cockroach!

People are kumany - the guys give,

And we have a Kumany - our bread will come!

People on the mind - to follow with Kuma,

And in our mind - would not go with Sum?

Kabava so we have to go around to surprise the light:

So that the bubbles in the bubbers, painted,

So that it is clogged on the shoulders, do not pose-cream;

So as not worse than others, we honor from people,

Pop visiting big, children - certificates;

The dream of people about the happy life is expressed in the "song" extremely close to those forms in which she really lives in the folk mind. The world of the desired, the market personifies the house here, which reigns content, warm, "purity, lept".

What is transmitted by the word "lepal" is difficult to determine, call somehow otherwise. "Lepot" is not just a "keyword", it is the main image of the poem, and maybe the entire cycle. In it - order and comfort, material wealth and moral dignity. Bread, which for all is plenty, and "soup with Solonin-Cooy" - not just the signs of well-being and contentment, but almost symbols of happiness.

It is here, in the field of popular thinking, "prosaic" details of everyday life are justified. Staying everyday life, they suddenly suddenly become significant and high. In the poem "Duma" (1860), for example, read:

At the merchant from Semipalova

People live no gie

Pitching on porridge lean

Like water, do not regrets.

In the holiday - fat lamb,

Couples over schi clutch is worn,

In the floor dinner we settle down -

Vaughn from the body of the soul asks!

Ordinary satiety (bread, soup, "Lachy oil" Yes, "fat lamb") gets a moral justification also because the ideal of the hero from the people is not a fear, and labor. It is a natural and reasonable, which make up a certain domestic order of life, he believes "work" and "rest", "weekdays" and "holidays". One is impossible without the other.

Night snoring, fought up to sweat,

The day will come - the work is kept ...

Hey! Take me to workers

Work your hands!

Signs of satisfaction in contrast with hunger, despair, poverty, with all the fact that the hero is actually destined to be desirable and welcome.

Our side is wretched

To expel somehow a singer ...

And in our mind - not to go with Sumy,.

("Songs")

People's Dream does not know "poetry" and "prose" in their metaphysical disconnection. Therefore, quite natural here is the following combination:

To make money in mosne to rye on the gum;

So that bubbles in the bubbers, painted arc,

So that the shoulders are on the shoulders, do not pose-cream ...

Any detail of the material life turns out to be aesthetically experienced, meaningful.

To children in the house, like bees in honey,

A hostess in the house - like Malinka in the garden!

The ideal of the people appears in Nekrasov and in the "close" concreteness, and in harmonic versatility. Folk Life is revealed in a wide variety of their features, at various levels. Nekrasov, as if he was entirely in the circle of the people's consciousness and a popular poetic expression, it was openly and decisively coming out of these limits.

Truly, from some hidden, "artesian" depths draws Nekrasov's conviction in the inexhaustible strength of the People's Spirit:

Yes, not Roby for the depletion of the kind ...

Ruled Russian people enough

Made this road iron -

Will lead everything that the Lord is not sent!

Will lead everything - and wide, clear

Breastway will pave myself.

It is a pity - to live a beautiful one

I don't have to - neither to me nor to you.

("Railway", 1864)

In the last rows - all the same Nekrasovskaya notes are sad, complicating the picture of happy possibilities. But the paths are not closed here, but open. Not idealization, and a fearlessly sober view of the real state of the world, deep creative penetration into it allow Nekrasovskaya poetry to strengthen in the life-affirming result, the achievement of Nekrasov as an artist consisted in the ability to cover a single look and the region of idyll, and the tragedy region, and the Commission region.

In Nekrasov, significantly transformed the sphere of poetic-sublime by introducing there the concept of "low" prose, rethinking with new social experience. First of all, it concerns the signs of peasant labor and the life of a special importance for democratic public consciousness. A number of interesting observations on this is contained in the book B. O. Korman. Such words, such as, for example, "black-workers" and "blacksmith", "rod", "excavation", acquired poetic meaning, expanded their contents, began to be used non-scam in a figurative meaning - in relation to the phenomena of spiritual life. The word of the household dictionary "Napti" in the new context received the role of a high symbol: "So that the wide People's Laptops spend the path to it" 1.

But they were in mastering various parties of reality and other possibilities. L. Ya. Ginzburg draws attention to a tragic-low beginning, inherent in the inherent poetry of Nekrasov. "The Word remains low, emphasized low," she writes, "but the tragic and terrible meaning becomes meaning, reflecting the social tragedy of oppressed."

From the bark of it

Disappeared

Tosca Bed.

Izmuchil.

Carpet Rem

Mountain Mountain,

Vatrushka removal

Sopular table!

All eat one

Manage himself.

Although mother, even son

Ask - not let!

True, these lines were taken L. Ya. Ginzburg not from lyrics, is "hungry" from the poem "Who lives well in Russia."

The deeper the Negresis in the peasant theme, the more multiplane and multifolithing it seems to him, the stronger it becomes at the same time in it the artistic need for synthesis, the further he leaves from the lyrics in the close sense of the word. N. N. Skatov believes: "The wide front of the study of folk peasant life in Nekrasov's poetry from the end of the 60s is clearly narrows, it almost stops in the lyrics, it closes, in fact, on one truth is a grand, creating - on the poem" Who in Russia Live well "and, in general, it carries a lot of fundamentally new, although it creates truly artistic masterpieces such as Buretski songs in" Contemporaries ".

This song is "uphill" - it can indeed be perceived as an independent work, as if all the most perfect from the great many Nekrasovsky "songs".

No bread,

There is a house

How many years old

Kame Noime

Mountain's grief

Bad live!

Brothers, rise!

Human, nap!

Ukhi, guys!

mountain is high ...

Kama sullen! Kama deep!

Bread Give!

Ecoo sand!

Eka Mount!

Ecoo day!

EKA heat!

Pebble! How much we tears in you were shed!

Whether we are native, you did not bring you?

Dai!

Throw the house

Small guys ...

Human, nap! ..

Bones treshhat!

On the furnace would lie

Winter sleep

Summer comfort

Walking with a woman!

Ecoo sand!

Eka Mount!

Ecoo day!

EKA heat!

Not without good souls in the world -

Someone brings to Moscow

You will be at the university -

Sleep will happen in reality!

There's a lot of field:

Know Work Yes Do not Drive ...

That's what you deeply

I love my dear Rus!

("Schoolboy", 1856)

At the fault of the patriarchal world, new values \u200b\u200barose, which naught Nekrasovskaya poetry, allowing to remain precisely poetry.

This is primarily - the ideal of freedom of gusting to her, the struggle for it. This is a national liberation, national happiness.

At the same time, new social, spiritual community - oppressed by their supporters, their "intercessors" arise. Nekrasov is played by Nekrasov ideological disposal and cooperation in the struggle. This is the strongest union. New spiritual unity, the need for it, his poetry in the ideological and artistic system of Nekrasov is extremely active.

"High" in Nekrasov poetry is connected, on the one hand, with a "book culture", with the ideas of educational, with the "Light of Consciousness", which the advanced intelligentsia is designed to quit the folk path.

Here there are symbolic images of "Books", "Portrait" - signs of ideological impact, continuity, spiritual elevation.

On the other hand, the sources of the poetic for Nekrasov - in the foundations of the national life, national nature themselves.

Russia, the Motherland - perceived and presented as the Motherland of the people - the peak of the Nekrasovskaya hierarchy of values.

Lyrics Nekrasova marks himself a very difficult stage in the development of poetry. It was expressed in it a new lifting sense of personality, connected just with the breakdown of old men, active social movement, in general - with the era of the preparation of the Russian revolution.

On this basis, a new rise of lyrical poetry was possible, however, Nekrasovsky poetry was different from the poetry of the preceding stage with a qualitatively other structure of his lyrical "I".

"I" is open here to the outside world, it takes his petrolon and a multi-chain.

It is not closed, not individualistic, able to feel and express "for another". It seems to multiply, staying at the same time uniformly, takes various "bleits", "voice" it connects, relates different "voices", different intonations.

"Lyrics Nekrasova opened enormous opportunities for approving the principles of artistic polyphonism, which also stood new ethical forms and democracy of the social position.

Actually, Nekrasov polyphonism, polyphony and became an artistic, structural expression of such democratism. "

The lyric "I" Nekrasova is not fundamentally individualistic.

Nekrasov's poetry grew as if from denial of poetry. She undoubtedly absorbed the experience of prose and dramas. It is inherent in large extent and "narration" and "analytical".

In turn, the poetry of Nekrasov and his contemporaries - Tyutchev, Feta - had a significant impact on the prose, on the novel.

"Nekrasov justified the necessity of poetry ..." However, writing poems after Nekrasov became immeasurably harder.

No wonder he did not have, in essence, immediate followers, although Nekrasovskaya school, the school of his like-minded people and followers, existed.

In order for the development of Nekrasov traditions to become possible in the same scale and with the same degree of talent, new social shifts were needed, a new level of social life and culture.

4. The role of the artistic part in the work of I.S. Turgenev "Fathers and Children"

In his work, the great Russian writer Ivan Sergeevich Turgenev used a wide range of literary techniques: landscapes, composite construction, system of minor images, speech characteristics and other ... But the most impressive multifaceted means of copyright of ideas and images on the pages of works is the artistic part. Consider how this literary remedy participates in the disclosure of the semantic filling of "fathers and children", obviously, the most controversial Roman I.S. Turgenev.

First of all, it should be noted that portraits and descriptions of costumes in this work, as in any other, actually completely consist of artistic parts. So, for example, Pavel Petrovich Kirsanova "... a face, as if derived by a thin and light cutter" and "The appearance .., elegant and breeding ...". And so, the reader immediately in appearance can determine that "Arkadiev Uncle" belongs to the noble class. Sophistication, sophisticated manners, habit of luxurious life, lightness, unshakable feelings of self-esteem inherent in "charming melancholic" and characterizing it as one of the typical representatives of the nobility, are constantly emphasized by artistic details, which are the objects of life of Pavel Petrovich: "Lonely large opal »On the" Schedule "," Tight collar shirts "," lacquer half-boots ", etc.

With the help of the description of beautiful and elegant things of the "Archaic phenomenon" I.S. Turgenev shows the atmosphere in which Senior Kirsanov lives, he betrays his worldview. Intentionally focusing on inanimate objects surrounding Uncle Arkady, the author leads the reader to the thought of a certain lifeless of the "county aristocrat", calling it the "dead".

The irrelevance of the life principles of Pavel Petrovich determines his "dead", the very fact of the presence, which discloses the idea of \u200b\u200bthe decomposition and failure of the noble class of that time. Thus, we see that the artistic part, participating in the portrait characteristics and description of the costume, performs an important function, reflecting the images and the idea of \u200b\u200bthe novel.

It is also necessary to say that the image of psychological portraits of heroes is played by a major role in identifying the main ideas of the work. For the transfer of feelings, experiences, thoughts of actors "fathers and children", the author often uses artistic details. A visual example of this can be the display of the internal state of the Bazarov on the eve of the duel. I.S. Turgenev with amazing skills shows anxiety, the excitement of Yevgeny Vasilyevich. The writer notes that Evgenia "... tormented by a disorderly dreams at night with Pavel Petrovich ...", and during the waiting in the grove, "the morning chill made him shudder twice ...". That is, the bazaars are obviously afraid of his life, although it hides it thoroughly even from himself. "Dreams" and "chill" are those artistic details that help the reader understand the thoughts and sensations of the Bazarov who swept it in this difficult situation, and to understand the fact that Evgeny Vasilyevich can not only deny and argue, but also worry, Love your life.

In the disclosure of the psychological state of the heroes of the novel, the background is actively involved in which the action unfolds. So, for example, in the eleventh chapter, the romantic, the elevated mood of Nikolai Petrovich is the answer to his soul on the fragrance, the beauty of nature. In this episode, the author depicted a landscape using artistic details, recreating an atmosphere of an excellent rural evening. The relationship between the nature and the inner world of "God's Cows" "Stars", which "swirling and worried" are especially unlikely. In addition, this artistic part is, almost the only one pointing to the change of evening landscape night. I.S. Turgenev marked the change in the state with just one stroke admiring his simplicity and expressiveness. Thus, art details play an important role not only in the image by the author of portraits, characters, mood of heroes, but also in creating a common background in various episodes of the novel.

For a clearer identification of the functions of a disassembled means of literary incarnation in "fathers and children", we analyze the methods of its application in this work. The most used method in the novel is an addition to each other's art details. This technique does not only give the reader a wider and vivid picture of any image, interior, psychological condition, but also draws our attention to those of his traits that the author found it necessary to emphasize. In particular, the situation in the house of Cushina is depicted on the pages of the work precisely with the list of artistic details: magazines, "mostly incomprehensible", "dusting tables", "scattered cigarettes". I.S. Turgenev already through the description of the interior decoration of the Evdokia room exposes the fate of nihilism "wonderful nature." Further features given to her by the author, finally disclose the failure of the Cushina and as a negative, and as a woman, and as a person, but the first thing that points to the fallacy of her views, on an incorrect understanding of Emancipation, there is an interior of the house of Avdoti Nikitishna. Another method of use in the "fathers and children" of the artistic part is antithesis. For example, Kukshin arrived at the ball to the governor "in dirty gloves, but with a regional poultry in his hair", which once again shall with its carelessness and promiscuity, which it issues for the life principles of the emancipated woman. In addition, the artistic part in the novel is often complemented by any other literary means. In particular, the writer mentions that the "Speech" of Bazarov "Little-signed and fragmentary". This visual detail is revealed and amplified by the replicas of Evgeny Vasilyevich, which is inherent in the speed, sharpness, rapidness and some aphoricist. And so, in the "fathers and children" I.S. Turgenev uses the considered literary tool in all possible versions, which makes it possible to significantly increase and expand its ideological purpose.

Thus, we see that artistic parts are used by the author throughout the whole work to express the idea of \u200b\u200bthe novel, when describing the appearance of the heroes, their thoughts and feelings, the background in the individual parts of the "fathers and children". I.S. Turgenev applies this means of visual incarnation in various variations, which makes it possible to emphasize its greater semantic load. Amazing variety, wonderful versatility and striking selection of artistic parts of the works are summarized by the reader to the thought, expressed Pisarev in the critical article "Bazarov": "... Through the tissue of the novel, it is a troop, deeply felt the author's attitude towards the exposed phenomena of life ...".

Turgenev characters in the novel "Fathers and Children" appeared before us already established personalities with unique, individual, alive characters. For Turgenev, of course, the laws of morality and conscience are very important - the foundations of the fundamentals of human behavior. The writer is trying to reveal the fate of his heroes, taking into account the fate of the historical development of society. Like any big artist, the artist's detail, the detail of Turgenev: a look, the gesture, the word, the subject - everything is extremely important.

It is interesting in its works and color items. Describing Pavel Petrovich, the writer shows that he constantly take care of the appearance, emphasizes the aristocraticity of his manner and behavior; Beautiful polished {!LANG-f337658e7a96be51bcbec3f2bf96b713!}{!LANG-7c7e2216aaf7612caab9597d4f7fcdb8!}

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Bibliography

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The value is an artistic part in the dictionary of literary terms. Artistic part in the literature: concept and examples

Value of the artistic part in the dictionary of literary terms

See also interpretations, synonyms, the meanings of the word and what is the part of artistic in Russian in the dictionaries, encyclopedias and reference books:

Literature

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