Pushkin. Poet and crowd. Analysis of the poem. Analysis of the poem Pushkin "Poet and Crowd Poet and Crowd Major Thought

To the question of the analysis of poem poet and the crowd as the author Oleg Borisov The best answer is In poems "poet", "poet and crowd" Pushkin proclaims the idea
freedom and independence of the poet from the "Crowd", "Cherni", understanding under these
with the words "secular black", people deeply indifferent to true poetry.
The crowd does not see the benefit in the work of the poet, because it does not bring any
materials:
Like the wind, the song is free,
But as the wind she is barren:
What is the benefit of us from her?
Such an attitude of the "uninitiated" crowd causes the poet's irritation, and he
with contempt throws the crowd:
Silence, meaningless people,
Rubber, slave needs, worries!
I am unmanned to me your roping,
You are the worm of the earth, not the son of heaven ...
……………………………………
Will off - what business
Poet peace to you!
In debauchet Kamenit boldly,
Lyras will not revive you!
Poetry - the wing of the elect:
We are born for inspiration,
For sounds of sweet and prayers.
So formulate Pushkin target, in the name of which the poet comes into the world. "Sounds
sweet "and" prayers ", beauty and god - these are the guidelines that lead him
in life.
Pushkin poem is one of the most significant traces of literary controversy of the end of the 20th - early 30 Gg. XIX century, controversy about the paths of development of Russian literature. Many sought to put her to the service - who is a state who other interests; The idea was quite common that poetry should raise feelings, educate people.
Pushkin responds to this quite definitely: the poet who has given himself at the disposal of society and not defending his own freedom, is similar to the priest, engaged in dirty work instead of serving the highest start. In this irritated, the "black" - those who want to force the poet to serve themselves - presented rather repulsive, and not only in the eyes of the poet - "slaves of insane", "stupidity and evil", but also in their own:
"We are unimpressible, we are insidious,
Shameless, evil, ungrateful;
We are the heart of the cool Skattsy,
Slevishers, slaves, fools. "
Pushkin exaggerates the point of view expressed by lovers of "raising poetry": if adult people need a moral leader in the face of the poet, then they probably consider themselves to be named "slanders, slaves, fools." But Pushkin exposes the hypocrisy of this position to the end: instead of accepting poetry as a breakthrough to the highest and to try to do it better, people from the crowd agree only ... "Listen", amazed at the expense of another. The string "And we will listen to you" reflects cynicism and rooted crowds much more fully than the accusatory tirada of the poet.
With the perception of this poem it is worth remembering that this is a replica in the dispute, not a complete expression of Pushkin's poetic credo, but only a certain reflection in the situation of controversy. And yet, without strengthening to freedom, there can be no genuine creativity and genuine poetry - and it is because the questions set in this stamp of Pushkin remained relevant for Russian literature during the last two hundred years.

A.S. Pushkin. "Poet and crowd"

ProCul Este, Profani
Poet for the lyre inspirational
Hand scattered bryatsal.
He sang - and the cold and out
Around the people of the uninitiated
It clearly did not listen.

And interpreted in black stupid:
"Why is it so sick?
In vain, the ear is amazing
What kind of goal does it lead to us?
What is the branded? What do we teach us?
Why do the hearts worries, tormenting,
How is the way ongoing magicians?
Like the wind, the song is free,
But as wind, and barren -
What is the use of us from her? "

Silence, meaningless people,
River, slave needs, worries!
Distened to me your roping!
You are the worm of the earth, not the son of heaven;
You would use everything - by weight
Culmy You appreciate Belvedere.
You use, you do not know the benefit.
But the marble of this is God! - So what?
Chimney pot is more expensive:
You cook yourself in it.

No if you are heaven chosen,
Your gift, the divine messenger,
For the benefit of us,
Hearts of female corrected.
We are worry, we are cunning,
Shameless, evil, ungrateful;
We are the heart of the cool Skattsy,
Slanders, slaves, fools -
Net club in us vices!
You can, loving,
Give us bold lessons
And we will listen to you.

Will off - what business
Poet peace to you!
In debauchet Kamenit boldly,
Lyras will not revive you!
The soul is disgusting you like coffins,
For your stupidity and malice
Have you had to this time
Beach, Tomnov, Axes -
Pretty with you, slaves crazy!
In the hails of your noisy streets
Sweese Sor - useful work! -
But, forgetting my ministry,
Altar and sacrifice,
Does the priests do you take a broom?
Not for everyday wave
Not for pegs, not for battles -
We are born for inspiration,
For the sounds of sweet and prayers!

This poem interested me and genre. I wanted to understand that Pushkin wanted to tell them, and most importantly - on whose he side: a poet or crowd. Of course, at first I tried to turn to the statements of scientists, literary critics and philosophers. To his surprise, I did not find any opinion with which I would agree.

It seems to me that first of all it is worth analyzing the creative and biographical circumstances of writing a poem if we want to clarify its meaning. The poem "Poet and the crowd" dates back to 1828. It was a year of intense wanderings between the two capitals and the village, the search for the bride; It was a year of legal proceedings in the case of the poem "Andre Shhenie" and on the authorship of "Gabrialima". It was a year of the deepest crisis in the inner life of Pushkin, when the lines were written: "The gift in vain, the gift is random, life, why are you given to me ...", called poetic controversy of Metropolitan Philaret. In the same year, Pushkin appears the repeated "Memory": "And I complain bitterly, and bitter tears Lew, but the rows are sad, I do not wash off ...

V.S. The uncomplicable binds the Pushkin crisis of the end of the 1820s with the feeling of his guilt for the external well-being compared to the Decembrist friends: "And I could, like a jester ..." (signature under the drawing of the gallows in Pushkin drafts). After all, not a cluster of bad will accept him in St. Petersburg on the eve of December 14. He knew when the uprising would be. But I did not go - not because it was frightened. Rather, he pointed out his path at the crossroads of life roads "Six-colored Seraphim". That is, there was a grand event in the inner life: Pushkin was revealed by his purpose - the purpose of the poet, the divine "appeal", for which he should have to sacrifice everything else, and even more so long ago experienced revolutionary ideas.

The theme of the poet and his differences from non-poets sounds in a number of poems of the period after reference and after the "Prophet". They are taken conditionally to unite in the so-called poetic trilogy about the poet. In 1827, the poem was created. In it, Pushkin contrasts two situations: what happens to the poet, "the Apollo does not require the poet yet," and that - "Only the divine verb to hearing is kidding." By 1828, the poet and the crowd under consideration belongs to us. In the same years, the story "Egyptian nights" arises, and in 1830 a sonnet of "poet" is created, where the independence of creativity from the opinion of the crowd is proclaimed: "You're king. Live one; Externally free go, where the free mind goes away ... You yourself are your highest court, you know how to appreciate your work so much ... "In Boldin, the polemical, looting poem" Domik in Kolomna "is written with the same idea of \u200b\u200bcreativity freedom.

Without a doubt, this creative goal was connected with the then situation in journalism, which more resembled the police, demanding that the writers praise the exploits of the Nikolaev army in the Caucasus and in Poland.

Late Pushkinsky attracted the poem "Poet and the crowd". He wrote about him. Belinsky, D.I. Pisarev, M.N. Katkov, V.S. Solovyov, V.V. Veresaev, Yu.N. Tynyanov, said I.S. Aksakov, A.A. Block. But what is noteworthy - every author of Nimalo was not interested in the meaning of the poem, but only found it confirming his thoughts or contradictions to them. After all, the theme of creativity and art worries every artist.

So, Belinsky and Pisarev, oppositely, appreciate the text, agree in one: that the opinion of the poet from the poem is the opinion of Pushkin. I.S. Aksakov also considers the last quadruple of the author's poetic credo. And for Katkova, "In the confession of the poet, the person of Pushkin himself was involuntarily expressed." V.S. Solovyov, unlike them, saw a certain conflict in the work, the struggle "For the unconditional rights of inspiration." V.V. Veresaev, as you know, considered Pushkin's personality "in two plans", so that this poem perfectly illustrated his concept. He refuses the Creator, the genius is in the right to be interested in "everyday unrest", "take care of the needs of low life." A.A. The block under the poet and crowd implies something of his own, modern, burning, deeply personal, stunned.

Yu.N. Tynyanov, touching the poem, focuses on the historical and literary aspect: "The specific focus of the play is against the modern Pushkin of the official magazine criticism: these are the attacks on the requirements of direct didactics that have come mainly from Bulgarin". That is, it is undoubted that this essay has an absolutely concrete, topical, momentary goal.

As it seems to us, this is not the case, not for this Pushkin wrote his dramatized poem. Many things remained out of sight of interpreters.

For example, what is the meaning of a dramatized form of poem? Who considers the Lirah "inspired", and the hand of the poet is "scattered"? What follows from such an assessment? For whom the people "Cold", "Nadmnoye", "the Uninstitution", - in a word, "black stupid"? For characters or for the author himself? All these words at the beginning of the work are given from the person of the author. This, so to speak, "Proposed circumstances". The narrative is then replaced by the direct dialogue of the actors.

It seems to us to be improperly attributing the Pushkin's opinion of some one side, even even a poet. The dramatized form is selected in order to show the objective truth to put the questions in front of the reader to which he must find answers itself.

According to the stupid Mobile, the poet sings sounded, while in vain ear struck. Mobile is asked about the "Superbate", the topics of the braren and the didactic goal of the poet. She recognizes the impact of the poet on her heart and compares it with a sorcerer, and in an intense, and not someone there is submissive, or purchased. The crowd is not alien to comparison: "Like the wind, the song is free" - it seems good. "But like the wind, and fruitless" - and this is no longer like the crowd. She has a question about the benefits of the aforementioned song. Since from the very beginning, Mobile believed that the poet was in vainly strikes her ear, the last question, in my opinion, rhetorical.

The poet in his response does not look like a destination of the "Divine Glab", nor a man of high culture, nor just a gentleman. This is an area store: that neither the word, then curses. The poet accuses the crowd that she appreciates everything on the weight, even the marble statue of the Greek God - the patron of art of Apollo. The furnace pot in his replica becomes the symbol of "the needs of a low life", which outraged the Revolutionarm-Democrat Pisarev: they say, and the poet itself from what chits the porridge?!

There is a meaningless people to whom the poet refuses to be the son of Heaven, is responsible for the sound of heaven: they say, since we are so bad, and you are so smart, then the hearts of the fellow, let us give bold lessons - and we will listen to you! Mockery intonation is heard here!

The poet in the last monologue visually rises to the kittens. He majestically sends the crowd at a well-known address, which, however, echoes the Latin epigraph, translated: "Away, uninitiated!" - Let's go, profan! He calls himself "peaceful", just like the king Dadon, when he wanted to take a break from the root cases!

There is no point to the poet to pragmatic crowd. He sends it to "Male" in her debauchery (is it not connected by this verb ideologous with a whole gallery of the images of a living non-living in Pushkin - a stone guest, a golden cockerel, a peak lady, etc.?).
"Lyras will not revive you!" - A parallel to this line will then sound from the face of Pushkin himself, without any theatrical effect: "Goodness of good I am awakened," by the way! The poet from the poem was untenable in his moral activity, what and recognize. "You are disappearing, as coffins" - an instinctive fear of death is transferred to the dead (spiritual, then you mean, on ... "Dead souls"!) And on their "clothes" - Coffins. And with mental disadvantages, the poet suggests to fight old, tested funds that are not related to poetry, but useful: "Beach, dungeons, axes." Last lines show the self-identification of a glowing poet, who does not want to fit the Sory from the streets, with priests. The curtain.

Who is right? It seems to me that no one. Moreover, remembering another Pushkin Hero, I found it in general with both arcing parties. The character of the Salier's little tragedy, as the poet of poem, considers the art of the sphere for chosen and, as a crowd, requires a practical specific, tangible benefit. "What is the benefit if the Mozart is alive and the new height will reaches?" Salieri seems to be included in the crowd from poem, demanding benefit from art and from the Creator. It is clear that Pushkin does not agree with such an opinion. "The purpose of art is the ideal," he wrote.

Salieri ranks itself to the "hell of ducts", in which "songs of the paradise" outraged "Cool-free welria". "Why brans? What do we teach us? Why does the heart worries, tormenting, as an opposed magician? " - asks the crowd and at the same time, for some reason, it is indignant that it is called "slave of needs", "the worm of the earth".

The objection of the poet: "But, forgetting your ministry, the altar and sacrifice, the priests do you have broom?" - oddly enough, also resembles the reflections of Salieri, who considers himself belonging to the "priests, servants of music," does not allow mixing of the "sacred gift", "immortal genius" with manifestations of everyday living life.

Yes, art does not have practical, momentary, material benefit. But a man of art is not entitled to be separated from life. Otherwise, I will bring my life for your brackets, he will sacrifice it with art, and "then it could not and the world exist," because the sort of "priest" would destroy it for the sake of an excellent idea.

I made this conclusion from this poem. Unfortunately, real life only confirms these, at first glance, "fabrication."

In the next, 1828 Pushkin said another of the same cycle - "Poet and the crowd." It caused the most detailed sense, which continued many years and decades after the death of Pushkin. Separate lines of this work were repeated as a symbol of faith, they wrote on the banners of the apologists of "pure art". Meanwhile, there is nothing in the poem that in the deep sense of the word would contradict the ideas of the "Prophet". It addresses only new problems associated with the high vocation of the poet; Can there be a poetry to bring direct benefit to man and humanity? And what exactly is its meaning and its benefits?

All this old and eternal questions are philosophical questions. Later, one of the largest representatives of Russian philosophical romanticism, V. F. Odoyevsky, will once again put these difficult issues and will answer them: "useless" is the randering of all the external actions of mankind and "decoration of life." Moreover, it serves as the basis of life, the most undoubted proof of what poetry is. The person "cannot get rid of poetry", "in the world of psychological poetry there is one of those elements, without which the tree of life would have to disappear ...".

The philosophical ideas of V. F. Odoyevsky to some extent are related to the thoughts and ideas on which the Pushkin poem is founded. When Pushkin has a crowd on the poet for the uselessness of his songs

• "How the wind is free to the song,
• But like wind and barren:
• What is the use of us from her? "

Pushkin, the mouth of the poet answering these accusations, not at all approves the aimlessness of poetry in the deep meaning of this concept. He claims other than that of the crowd, a high understanding of benefit. For him, poetry in his apparent uselessness is the highest, free and ministry to people, serving the human spirit. The ministry prosecuting is not short, not temporary, and high and eternal goals. It is in this that the true meaning of the final four poems:

• Not for everyday wave
• Not for a peel, not for battles,
• We are born for inspiration,
• For sounds of sweet and prayers.

The cycle of poems Pushkin about the poet had not only a general philosophical, but also modern, social importance. This was well and convincingly said in its time G. V. Plekhanov. The concept of the poet in Pushkin was basically a politically opposition. Objectively, it was contrasted with another concept imposed from the outside, official, requiring the "ministry" a society "not for free internal motivations, but according to the strict prescriptions of despotic power. In the conditions of the staffing era, with her confusion of the minds, with its outdoor-tragic sensation of life and history, especially acutely and strongly had to sound the topic of an independent and proud poet, which recognizes only the court of his own mind and conscience for the highest court. She sounded and perceived as a rebellious appeal, like a victorious voice of freedom.

Pushkin has repeatedly asked about how the role of the poet in society. He understood that the rhymed lines could completely change the world and make people think in a different way. An example of this was the uprising of the Decembrists, whose literary inspiration was Pushkin. However, the failure of a secret conspiracy not only became for the poet the greatest life disappointment, but also forced his destination to rethink.

In 1828, Pushkin wrote a poem "poet and the crowd", in which he spent a very clear line between creative people

And "Mobile", which for the most part refers to verses dismissively and is not trying to delve into their meaning. The poet in the work of the author is represented as a higher creature, which is not the case to the "core and arrogant" people, who does not understand why poems are needed.

Indeed, in the first half of the 19th century, literary creativity did not carry any social significance in herself, his tasks were reduced to entertain people. And it was exactly that all the layers of Russian society were versed. For them, the "song of the poet" was free and, at the same time, fruitless, "like the wind", i.e. it did not imagine

Any value.

Meanwhile, the poet himself believed that it was far from that. Just people are not yet ready to recognize the right to be the prophets and form a public world view. Therefore, responding in its poem to compatriots to the question, which carries modern poetry, Pushkin notes: "We are born for inspiration, for the sounds of sweet and prayers." Deciphering this phrase is quite simple - the poet is convinced that the main problem of society is its landiness and silent. People were mired in worldly affairs and worries so much that even in verses are trying to find some rational grain. Similarly, they can not enjoy other works of art, because "a furnace pot is more expensive to you, you cook in it for yourself."

Pushkin is openly recognized that "we are worrying, we are cunning, shameless, evil, ungrateful," noting that the vast majority of people possesses these qualities. They are so far from spiritual life that the poet just refuses to reach their hearts, stating: "Pretty with you, slaves crazy!". At the same time, the author considers not physical, namely the spiritual dependence on the material benefits, against the background of which people simply lose their ability to see excellent and degrade from generation to generation, depriving themselves to the future. This trend is characteristic not only for the lower layers of society who are forced to worry about bread every day to survive, but also for nobility that mired in vices and entertainment, having ceased to distinguish that it is truly valuable, and what is temporary and coming . Turning to your people, the poet notes: "You are the worm of the earth, not the son of Heaven; You would benefit all - by weight. "

At the same time, the author does not see the possibility of reversing the public consciousness, therefore it claims: "Lyra will not revive you!". He is disappointed that the poet in society is still the role of a jester, and no one is interested in which feelings and thoughts he invests in his works. Thus, Pushkin consciously rejects from the world in which he lives, as it realizes that he is destined to be heard only by units. However, he does not refuse creativity and continues to write poems "not for everyday empty, not for a pearable, not for the battles," and in order to make the world a little more beautiful and wake in the souls at least some noble, clean and bright feelings.

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Alexander Sergeevich Pushkin "Poet and the crowd" wrote in 1828. This poem caused very controversial opinions in society, the comments did not cease even after the author's death. In his work, Pushkin is quite sharp about the surrounding, calling it to his mobile. Most literary critics converge in the opinion that Alexander Sergeevich meant not a simple people, but the nobles hit spiritual poverty and the lack of any understanding of the real creativity.

The poem "Poet and the crowd" Pushkin wrote shortly after the attempts of power to send his pen into the right direction. Many contemporaries who knew the writer well, argued that this work was the answer to the requirements of Didactic moralism, that is, Alexander Sergeevich composed what was required of him, but it was not his thoughts and feelings. The wishes of the authorities were significantly different from the ideals of the poet himself. Until now, no one has understood whom Pushkin called a mobile.

Knowing the mood of the poet and his attitude to the nobility, many assumed that the phrase "secular mobile" indicates a higher official. On the other hand, addiction to the "chimney pot" can hardly be attributed to rich people. There is an assumption that in his poem depicted the Decembrists Pushkin. The "poet and the crowd" is the expression of the utmost disappointment of the events that occurred on December 14, 1825. In the poem, it is mentioned that the Mobile is grapented by the scams, namely, the dangles and gallows were prepared for the Decembrists.

If you look at the verse, the poet and the crowd is more widely, it becomes clear that Alexander Sergeevich implied people who did not think in great art. At the beginning of the XIX century, they were treated with some disregard, they did not assign a significant role in society. The styers were entertained by the people, but their poems did not carry social significance. "The song of the poet" is beautiful, free, but at the same time barren as if the wind. People did not understand the values \u200b\u200bof poems, they are trying to find benefits in everything, rational grain, and not enjoy the works of art.

In turn, Pushkin feels the wise prophet. "Poet and the crowd" is an attempt to sneak out of the public, show neglect of their principles and values. Alexander Sergeevich was directly involved in but after the failure of a secret conspiracy disappointed in everything and rethought his destination. He has no matter to the arrogant people who does not understand him, but only mocking and sweats.

Reaching out the hearts of people, turn off the power of Pushkin. "The poet and the crowd" is the expression of disgust to since spirituality is dying because of them. The author sees how degrades generation, everything is dying all. The poor worry only about food, rich mired in debauchery, none, nor others do business before creativity. The poet is given the role of a court jet, and this Pushkin does not suit. Therefore, it consciously rejects from the world in which he lives, but does not refuse his gift, because it hopes to wake bright and noble feelings in people.