POETIC INNOVATION N. A. NEKRASOVA

When Nekrasov begins his creative activity, interest in poetry with its sentimentality and separation from social reality weakens in Russian society, and, on the contrary, interest in realistic prose and topical journalism awakens. Poetry at that time seems to many to be something inappropriate, because it ceases to satisfy the needs of the advanced part of society, thirsting for change. The best minds realize that there is an objective need to renew poetry, to bring it into line with new trends, new ideas.

Nekrasov's first collection of poems, Dreams and Sounds, published in 1840, was clearly imitative and left the readership indifferent. However, over the next five years, the poet grew and matured so much as freelance artist that his work was recognized not only by readers, but also by professional writers and critics.

Nekrasov, avoiding common cliches, deliberately created difficulties for the reader to perceive his poems. He expanded the poetic language, introduced prosaisms and low vocabulary into it:

Oh, restless woman! Full of start-ups to roar!

In the poem "Muse", the poet says about her that she "in diapers" with him "did not forget the flute"; and in the description of autumn he introduces colloquial prose language:

Glorious autumn. Healthy, vigorous, Air invigorates tired forces.

Nekrasov's publishing activity could not help but influence his work: intonations and turns characteristic of journalism appear in his poetry; connected with this is the poet's interest in every fact, detail, detail:

Yesterday, at six o'clock, I went to the Sennaya.

love lyrics Nekrasov is distinguished by a plot, concreteness that did not exist before in love poetry, with its indispensable abstraction from “base” everyday topics and deliberate enthusiasm in describing the world. human feelings. The poet attaches to poetry a daily "prose", far from any kind of idyll:

If prose in love is inevitable, So let's take a share of happiness from it: After a quarrel, so full, so tender, The return of love and participation.

However, Nekrasov is also characterized by the fact that he never remains only within the limits of the fact, as was the case with the followers of the "natural school". The appeal to details, particulars in his poems is invariably followed by a poetic generalization:

So the autumn sun without clouds Stands, not warming, on the azure, And in the summer and through the dusk of the storm Throws a life-giving ray.

In addition to the richness and novelty of the poetic language, Nekrasov's poetry is distinguished by the richness of intonations. Introducing purely colloquial intonations into poetry, he often breaks the traditional metric, since the syntactic unit does not coincide with the metric one:

Day and night, the Almighty Pleads: “Let go of sins!”

Many of Nekrasov's poems are perceived as songs, since the poet deliberately used iambic tetrameter, which was often found in folk songwriting:

Ouch! Shadows, black shadows... Only you, black shadows, Can't be caught, hugged.

Nekrasov skillfully weaves other people's voices into the poetic fabric of his works, thereby giving us the opportunity to get an idea of ​​​​the hero through the features of his speech, manner of speaking, and giving an assessment:

Fat-bellied merchant! - Said the Gubin brothers, Ivan and Mitodor.

Nekrasov's creativity is characterized by an appeal to new genres that were almost never used in poetry before him: these are lyrical and folk songs, fairy tales, riddles, ditties. Interest in folk life and life, to peasant culture, traditions and language, none of the Russian poets manifested itself as strongly as Nekrasov. The poet often turned to folklore, for he strove to express the features of the people's soul as fully as possible. Expanding the poetic range means of expression, Nekrasov introduces new themes into poetry, for example, he often refers to the figure of a fallen woman and her bitter fate:

When from the darkness of delusion With a burning word of conviction I extracted the fallen soul...

The merit of Nekrasov is that he, a nobleman and aristocrat, managed not only to sing the beauty of the soul of the Russian people, but was not afraid to speak about the troubles, superstitions and hopes of the common people in the same language as the peasants, soldiers, urban poor spoke. His poems are imbued with a truly democratic pathos, and future generations of Russians were brought up on them, thirsting for freedom not only for the privileged classes, but for all Russian people.

The path of N. both in life and in poetry was not easy. His "universities" were far from what life could promise young man from a noble family. Nikolai Alekseevich was born on December 10. 1821 (according to the new style) in the Ukrainian town of Nemirov. A fierce struggle for the right to independence began very early. The conflict with his father (the cat was a military man), who wanted to make a military man out of his son, left young N. without a livelihood. Such was the retribution for refusing to follow the usual path, for wanting to become a writer. The beginning of his work is the end of 30-40s. Lyrics N. grows out of Russian poetry: Pushkin. This is humanism and a realistic method. Lermontov's motives are also strong ("Reflections at the front door", "Shut up the muse ...", "Knight for an hour ..."). The first poems appeared scattered in different magazines. When they went out separately, Belinsky praised them. In 1840 he managed to publish 1 book of poems "Dreams and Sounds". Already the name of the collection expresses the essence of these romantic poems, far from life and secondary, written under the influence of various poets. Belinsky criticized him. The formation of N.'s poetic talent ended by the mid-40s, then we can already talk about the development of an already quite mature poet. The book caused several semi-approving reviews in the journals and a sharply negative review from Belinsky. Nekrasov, like Gogol, he tried to buy up and destroy his first poetic. brainchild. It cannot be said that Nekrasov knew how and what to write poetry about, but experience has shown what it is NOT necessary to write about. Beginning The 1940s for N is a time of heavy literary day labor. Dozens and dozens of sheets - reviews, feuilletons, comedies and notes, fairy tales and vaudeville ... And all this for a penny. In those same years, there is a realization that it is necessary to write about life as it is, that reality is rushing into literature, demanding its place in it. AT literary activity An extraordinary variety of genres. The novelty of N. in the choice of the subject of the image - "feelings of sociality." The lyrical world of his hero is an attempt to tell about the commoners and the peasantry. The theme of the people is cross-cutting..

Vsemidine 40-50gg - images of the urban poor. Cycles "On the street", "About the weather", the poem "Unfortunate". The comparison with Pushkin immediately begins. Everyone was amazed by his sonic description of Peter – Sound symphony. "On the street" - chronicle notes, "Grobok".

At this time, a raznochinets enters N.'s lyrics with his biography, that is, with his own way of thinking, mental structure, emotion - role-playing lyrics. Such a hero was very new. The motives of terrible mental loneliness became the motives that ran through. The theme of disease and hunger, poverty. These are the causes of the disease, and as a manifestation - loneliness. (“I am driving at night along a dark street ...”). N. portrays his hero not quite in poetic situations, in everyday life! In the main - the tragic story of a woman forced to go out into the street. 52 stanzas, biography condensed. All verse is a confession lyrical hero. N. expressed a whole drama (he anticipated the image of Sonya Marmeladova).

In the 50-60s, N. included in the lyrics theme of the people, as a peasant-rural Russia, the theme of the exhausted, but great people becomes the main one in his work. The figure of a raznochinets arises as an epoch-making figure. The theme of mental illness “Knight for an Hour” (62g) is an elegiac mood, ambivalence is already in the title. The hero is depicted at the moment when he realized with the utmost clarity that he was falling into the abyss. Loneliness is like a disease. The whole poem is based on the musical principle: major / minor. Inside - the theme of beauty, rural nature. The description has romantic touches. Pictures full of color dots - village, autumn in the village, harvest time, Description of the village cathedral and bell, Remembrance of the mother. Love Theme: The same principles of selection and illumination of people are characteristic. ideal. Different plots, but one collision - fatal circumstances; almost all modern critics speak of the closeness of the Panaevsky cycle to Tyutchevsky. At the heart of all poems is the tragedy of parting with a beloved woman. Denisov cycle: “About the letters of a woman”, “I am so sad today ...”, “I don’t like my irony ...” ... all about dramatic love. Nekrasov and the image of love as a duel. The theme of poetic work: The image of a poet is the image of a worker. Poetic. creativity is revealed as daily work, human occupation. Lyric. The hero is a poet. (For example: "Muse" 1856). In general, this topic has been actively developed by him since 1848. Comprehending his work, N. displays program poems about poetry: 1848 - "Yesterday at six o'clock ...", 1851 - "Muse", 1852 - dedicating to Gogol "Blessed ..." (the image of himself is created Gogol). 1856 - collection "Poems". The poem “The Poet and the Citizen” opens (contamination of Ryleevsky).

In 1856 - 2nd collection: Nekrasov professes the moral values ​​inherent in Christianity - the theme of God. The elegy genre is used by Nekrasov. But slightly changes the specifics. For example: "Uncompressed strip" - here there are elegiac intonation and organization.

Innovation N: He boldly introduced the prose of life into poetry. He easily made revolutions within the genres, for example, filled the elegy with completely new poetic images ("The heart of the torment breaks"). monophony. Proximity and assimilation of forms of folk art. Elements of nar-poetic stylistics (repetitions, inversions, diminutive suffixes). N. goes to other genres - for example. Poems.

Nekrasov was the editor of Sovremennik, Otechestvennye Zapiski.

Many artists of the word have addressed the theme of the poet and poetry more than once, but they have revealed it in their works in different ways.

The image of the Nekrasov Muse is not at all like the traditional image of the goddess of poetry. In the poem "Yesterday, at six o'clock ...", written in 1848, Nekrasov writes that his Muse is the sister of a peasant woman tortured in the square with a whip. This image of the "whip of the muse cut with a whip" is preserved throughout the poet's work and determines the novelty of his tasks.

The pose of a contemplative Olympian poet, indifferently listening to good and evil, is unacceptable for Nekrasov. He affirms the need to be not just a creator, but above all a citizen:

Be a citizen! serving the art

Live for the good of your neighbor

Subordinating your genius to feeling

All-embracing Love...

Takova main topic poetic declaration of Nekrasov - the poem "The Poet and the Citizen".

In many other poems, Nekrasov is also persistently looking for an answer to the question of what a true poet-citizen should be like. These reflections are reflected, for example, in the poem "Blessed is the gentle poet ...". Nekrasov contrasts the "non-malicious poet" with the poet-denunciator, who "nourishes his chest with hatred", and his "punishing lyre" "preaches love with a hostile word of denial." At the same time, he was aware that the fulfillment of such a task requires great courage and perseverance from the poet.

Nekrasov himself sometimes doubted his abilities, which was reflected in such poems as "Shut up, Muse of revenge and sorrow! .." and "Elegy", related to his late lyrics. But, in spite of everything, Nekrasov does not refuse to serve the interests of the people. Minutes of doubt passed, and the poet could proudly assert: "I dedicated the lyre to my people."

Nekrasov was an example of a poet-citizen for Russian society, who “carries all the ulcers of his homeland like his own on his body” and, despite any difficulties, fulfills his duty to the end. And this expressed his contribution to the creation of a new Russian poetry that meets the challenges of the time. It was picked up by the followers of Nekrasov, who saw it as their duty to make art truly popular and civic.

Nekrasov's work occupies a special place in Russian poetry. Nikolai Alekseevich largely rethought the role of the poet in society and the place of poetry in people's lives. Unlike Pushkin, Lermontov and many other classics, he did not see himself as a servant of the muses and inspiration. Nekrasov became famous as a defender and voice of the common people. His poems have a high civic pathos and a clear social orientation. He believed that a poet cannot create in a break with the events that take place in the life of the country, considered it unacceptable to write about beauty

Nature and love for a woman at a time when severe trials fell to the lot of his people.

First of all, Nekrasov's departure from the classical poetry of that time was expressed in the appearance in his work of numerous parodies of the poems of his predecessors. But he did not just ridicule anything, but sought through parodies to show the need to restructure poetry from the old high forms to new, more mundane ones. Actually, these parodies seem funny only when the reader feels a connection with the parodied object. In the absence of this connection, one can just notice the introduction by Nekrasov of new stylistic

Receptions.

Nekrasov was one of the first to create works on acute social topics, or, in other words, to write "on the topic of the day." In his poems, a person is inseparable from the environment in which he exists. Nekrasov shifts the focus from the analysis of the inner world of people to the analysis of the state of society as a whole. It is with the latter that the poet connects the state of the human soul.

The central theme in Nekrasov's work was the misfortunes and aspirations of the common people. He knew how to write in such a way that, reading his lines, the reader feels his involvement in what is happening. At the same time, the relevance of Nekrasov's poems does not become less over time. In a certain sense, Nekrasov tried to secularize poetry - to make it accessible to the understanding of people from the bottom. To do this, he sought to write as simple as possible, folk, sometimes even rude language. Not surprisingly, many consider his work far from any poetic aesthetics.

When Nekrasov begins his creative activity, in Russian society interest in poetry with its sentimentality and detachment from social reality is waning, and, on the contrary, interest in realistic prose and topical journalism is awakening. Poetry at that time seems to many to be something inappropriate, because it ceases to satisfy the needs of the advanced part of society, thirsting for change. The best minds realize that there is an objective need to renew poetry, to bring it into line with new trends, new ideas.
Nekrasov's first collection of poems, Dreams and Sounds, published in 1840, was clearly imitative and left the readership indifferent. However, over the next five years, the poet grew and matured as an independent artist so much that his work was recognized not only by readers, but also by professional writers and critics.
Nekrasov, avoiding common cliches, deliberately created difficulties for the reader to perceive his poems. He expanded the poetic language, introduced prosaisms and low vocabulary into it:
Oh, restless woman!
Full of start-ups to roar!
In the poem "Muse", the poet says about her that she "in diapers" with him "did not forget the flute"; and in the description of autumn he introduces colloquial prose language:
Glorious autumn. Healthy, vigorous,
The air invigorates tired forces.
Nekrasov's publishing activity could not help but influence his work: intonations and turns characteristic of journalism appear in his poetry; connected with this is the poet's interest in every fact, detail, detail:
Yesterday at six o'clock
I went to the Seine.
Nekrasov's love lyrics are distinguished by a plot, specificity that did not exist before in love poetry, with its indispensable abstraction from "base" everyday topics and deliberate enthusiasm in describing the world of human feelings. The poet attaches to poetry a daily "prose", far from any kind of idyll:
If prose in love is inevitable,
So let's take a share of happiness from her:
After a quarrel so full, so tender
Return of love and participation.
However, for Nekrasov it is also characteristic that he never remains only within the limits of the fact, as was the case with the followers of the "natural school". The appeal to details, particulars in his poems is invariably followed by a poetic generalization:
So the autumn sun without clouds
It stands, not warming, on the azure,
And in the summer and through the dusk of the storm
Throws a life-giving beam.
In addition to the richness and novelty of the poetic language, Nekrasov's poetry is distinguished by the richness of intonations. Introducing purely colloquial intonations into poetry, he often breaks the traditional metric, since the syntactic unit does not coincide with the metric one:
Day and night of the Most High
Prays: "Sins let go!"
Many of Nekrasov's poems are perceived as songs, since the poet deliberately used iambic tetrameter, which was often found in folk songwriting:
Ouch! Shadows, black shadows...
Only you, black shadows,
You can not catch, hug.
Nekrasov skillfully weaves other people's voices into the poetic fabric of his works, thereby giving us the opportunity to get an idea of ​​​​the hero through the features of his speech, manner of speaking, and giving an assessment:
Fat-bellied merchant! -
Gubin brothers said
Ivan and Mitodor.
Nekrasov's creativity is characterized by an appeal to new genres that were almost never used in poetry before him: these are lyrical and folk songs, fairy tales, riddles, ditties. Interest in folk life and way of life, in peasant culture, traditions and language, was not shown by any of the Russian poets as strongly as by Nekrasov. The poet often turned to folklore, for he strove to express the features of the people's soul as fully as possible. Expanding the poetic range of expressive means, Nekrasov introduces new themes into poetry, for example, he often refers to the figure of a fallen woman and her bitter fate:
When from the darkness of delusion
Hot word of conviction
I took out the fallen soul...
The merit of Nekrasov is that he, a nobleman and aristocrat, managed not only to sing the beauty of the soul of the Russian people, but was not afraid to speak about the troubles, superstitions and hopes of the common people in the same language as the peasants, soldiers, urban poor spoke. His poems are imbued with a truly democratic pathos, and future generations of Russians were brought up on them, thirsting for freedom not only for the privileged classes, but for all Russian people.