Traditions of Russian poetry of the 19th century in the work of I. A. Bunin
Bunin's poetry traces the traditions of Russian poets, his predecessors, primarily Pushkin, Tyutchev and Fet. Bunin himself admitted that his poetry is the result of his passion for Russian poetry, and especially for Pushkin's poetry: “Did I imitate him?
But who among us has not imitated? Of course, I also imitated - in my earliest youth I imitated even in handwriting.
Pushkin proceeded from an accurate account of the real, objective properties of the object itself and its individual relationship to it. Emotionality arises in Pushkin on an objective basis associated with stable folk ideas. The word harmonically merged the objective signs of objects and phenomena and the author's lyrical assessment of them. At the same time, Bunin, like Pushkin, sees different tendencies in life that come into conflict with each other, and tries to reveal these contradictions. This is one of the most important legacies of Pushkin, which are revealed in Bunin's poetry. The content of poetry is always correlated with the attitude of the author himself, with his self-awareness and vocation. Pushkin and Bunin emotionally approach nature. The central theme is the desire to experience new experiences, the thirst for freedom, the spontaneous feeling of will, when the soul strives to comprehend inner and outer freedom. Fellowship with the element of life, which nourishes the soul with new impressions, directly prepares for its renewal. In the poetry of Pushkin and Bunin, the state of mind of the hero is illuminated in the description of nature itself. The hero remains, as it were, alone with nature. For Bunin, Pushkin's thoughts are related that true poetry is in simplicity, naturalness of real feelings, phenomena, moods. They reflect in their poems the existing harmony between man and nature. At the same time, the emotional experiences of poets are felt. Reading, you understand that, in turn, the perception of immediate nature had a strong impact on both Pushkin and Bunin.
Bunin, like Tyutchev, perceives nature as a whole, as a living organism in constant motion. At the same time, every moment of nature manifests itself concretely. Nature attracts both poets in its catastrophic states, in the struggle of elemental, light and dark forces. The philosophy of romanticism in their poems is based on the recognition of life as an unrelenting struggle of opposite principles, the mystery and mystery of this battle. The poem describes a momentary state, but it refers to all being. The essence of poetic philosophy in both Tyutchev and Bunin is not to separate or oppose, but to merge these two principles (“moonlight” and “darkness”). At the same time, eternity is transmitted through the instantaneous. Bunin inherits Tyutchev's ability to paint a vivid picture of the universe. The poetic consciousness of Tyutchev and Bunin is directed primarily to “dual being”, to disharmony, which is based on the rebelliousness of being. In an instant, the brightest touch to essence and truth is reflected, the boundless power of creative elements is resurrected. Poets are inexorably attracted by the sky. Therefore, they so appreciate the moment, which gives them a brief but unconditional involvement in the infinite. In the poetry of Tyutchev and Bunin, one feels the scale, volume, aspiration to infinity, to the “abyss” of the universe (Tyutchev’s poem “Like the ocean embraces the globe of the earth ...”).
From Fet, Bunin adopted the elusive, mysterious and not entirely clear sensations evoked by nature, the contemplation of beauty. Fet most of all valued in art the living naturalness of the inclinations of the heart. Therefore, Bunin, like Fet, goes into the sphere of fluid, unsteady, mobile experiences. The desire to express the "inexpressible" through an instant lyrical flash, to inspire the reader with the mood that has gripped him, is one of the fundamental properties of Fet's poetry, which was continued by Bunin's poetry. He strains hearing, sight, smell, sharpens the reader's sensations in order to turn to the sensual, emotional abilities of a person to perceive nature (“Waves breathe in the cold wind”). He, like Fet, in the literal sense of the word “stops the moment”, but contains the whole world in it in its objective and sensual richness.
In conclusion, it can be noted that even in one small poem by Bunin “Before the Storm”, written in 1903, one can trace best traditions classics of Russian poetry - Pushkin, Tyutchev and Fet.
Bibliography
For the preparation of this work, materials from the site http://www.coolsoch.ru/ were used.
Russian poets II half of XIX century in art
Speaking about Russian art of the 19th century, experts often call it literary-centric. Indeed, Russian literature largely determined the themes and problems, the general dynamics of development of both music and the fine arts of its time. Therefore, many paintings by Russian painters seem to be illustrations for novels and stories, and musical works are built on detailed literary programs.
This also affected the fact that all outstanding literary critics undertook to evaluate both musical and pictorial works, to formulate their requirements for them.
This, of course, primarily applies to prose, but also poetry XIX century had a strong influence on the development of national art. Whether this is good or bad is another question, but for a full study of Russian poetry and its embedding in general context Russian art is undoubtedly very convenient.
Thus, the main genres of Russian musical art of the 19th century were romance and opera - vocal works based on a poetic text.
Painting, in turn, most often depicted pictures of Russian nature in different times year, which directly corresponds with the natural lyrics of Russian poets different directions. No less popular were household plots “from folk life”, equally clearly echoing the poetry of the democratic direction. However, this is so obvious that it does not need proof.
Therefore, the simplest move is to illustrate the studied poems by listening to romances on their words and demonstrating reproductions. At the same time, it is best if the poems of one poet accompany the romances of one composer and the paintings of one painter. This will allow, along with the study of the work of each poet, to get an additional idea of two more masters of Russian culture, which is impossible to do when using the illustrations of many authors. So, for the poetry of F. Glinka, you can pick up the graphics and paintings of F. Tolstoy and the romances of Verstovsky or Napravnik, in the poetry of Polonsky - choirs to his poems by S. Taneyev and landscape painting by Savrasov, etc.
Those who would like to understand the relationship between poetry and fine arts in more detail should refer to the books of V. Alfonsov “Words and Colors” (M.; L., 1966) and K. Pigarev “Russian Literature and art"(M., 1972), articles in the collections "Interaction and synthesis of arts" (L., 1978), "Literature and painting" (L., 1982).
It will be very good if the students themselves can be involved in the selection of music and reproductions: this will teach them to navigate the world of art on their own, to be creative in its interpretation. Even in cases where the choice of students does not seem quite successful to the teacher, it is worth bringing it to court. cool team and jointly decide what is not quite accurate in this choice and why. Thus, lessons and extracurricular activities in literature can become a genuine introduction to the national Russian culture as a whole.
One cannot ignore such an area of direct contact between the arts as the portrayal of poets by contemporary artists. It is the artistic images-versions that make it possible to capture the personality of the writers in their aesthetic, artistic incarnation, which is valuable in itself for real portrait painters. D. Merezhkovsky brilliantly demonstrates how a masterful portrait can become a starting point for understanding creativity in his article about Fofanov. Therefore, we can recommend the teacher to use in his work portraits of Russian poets reproduced in the volumes of the Poet's Library series: A. Koltsov by K. Gorbunov (1838), K. Pavlova and A. Khomyakov by E. Dmitriev-Mamonov, portraits by little-known graphic artists and painters, friendly caricatures of contemporaries.
Photo portraits of poets, illustrations for their works, autographs can become no less interesting and practically useful. These materials are usually reproduced to the extent necessary for the work in publications of the Poet's Library, collected works and editions of selected works of poets, a description of which is given at the end of this publication.
Below is an abbreviated article by V. Gusev on the Russian romance; we also recommend that you refer to the book by V. Vasina-Grossman “Music and poetic word"(M., 1972), a collection of articles "Poetry and Music" (M., 1993) and to a recent article by M. Petrovsky "Riding to the island of love", or What is Russian romance "(Questions of literature. 1984. No. 5) , as well as invaluable in a practical sense, the reference book "Russian poetry in Russian music" (M., 1966), which lists almost all vocal works on the verses of Russian poets of the 19th century, grouped by the authors of the texts, indicating the corresponding musical editions.
This text is an introductory piece. From the book New Works 2003-2006 author Chudakova MariettaX. The Intelligentsia in the "Language Policy" of the Second Half of the 20th Century
From the book Russian poets of the second half of the XIX century author Orlitsky Yuri BorisovichRussian poets of the second half of the 19th century
From the book World Artistic Culture. XX century. Literature the author Olesina ERussian poets of the second half of the 19th century in biographies and
From the book Essay the author Shalamov VarlamPushkin's tradition in Russian poetry of the second half of the 19th century 1. Pushkin as a hero of Russian literature. Poems about Pushkin by his contemporaries: Delvig, Kuchelbecker, Yazykov, Glinka. Pushkin is the “ideal” Russian poet in the view of poets-followers: Maykov, Pleshcheev,
From the book Thought armed with rhymes [Poetic anthology on the history of Russian verse] author Kholshevnikov Vladislav EvgenievichPatriotic poetry the second half of the XX in Difficulties of comprehension History of Russian poetry of the XX century. has not yet been written, although a lot has been done on the approaches to solving this important problem. Especially "unlucky" in the middle and second half of the century, which, if inferior to the beginning of the century,
From the book Famous Writers of the West. 55 portraits author Bezelyansky Yuri NikolaevichRussian poets of the 20th century and de-Stalinization Mayakovsky Sergey Vasiliev did a lot to resurrect Yesenin. While still in Kolyma, I heard on the radio several times reports about Yesenin by Sergei Vasiliev. This was the only poetic name returned to the reader.
From the book History of the Russian Novel. Volume 2 author Philology Team of authors --Verse of the second half of the 19th century Metrics. The main achievements of this period in the field of metrics are the widespread use of 3-complex meters (III, 19, 24, 26, 36, 38, 51, 52, 55, 56, 60, etc.) and dactylic rhymes. If earlier 3-syllables were used only in small genres, then Nekrasov and others
From book Foreign literature XX century. Teaching aid author Gil Olga Lvovna From the book German Literature: tutorial author Glazkova Tatyana YurievnaPOST-REFORM RUSSIA AND THE RUSSIAN NOVEL IN THE SECOND HALF OF THE XIX CENTURY (N. I. Prutskov) 1The conquests of the Russian novel in the first half of the XIX century largely predetermined historical destinies and ideological and artistic principles of the novel of the post-reform decades. deepest
From the book Russian Literature in Evaluations, Judgments, Disputes: Reader of Literary Critical Texts author Esin Andrey BorisovichForeign Literature of the Second Half of the 20th Century Purpose and Objectives of the Course The purpose of the course is to form students' understanding of the literature of the 20th century. as a cultural and historical phenomenon, about the deep connection of postmodernism with modernism, about the specifics of neorealism, about the features of mass
From the book of Litra author Kiselev AlexanderLiterature of the Second Half of the 20th Century Literature of Germany The division of Germany and the formation of the FRG and the GDR in 1949 led to the existence of two different literatures. Differences in the field of cultural policy showed up immediately, including in relation to returning emigrants.
From the book History of St. Petersburg in Traditions and Legends author Sindalovsky Naum AlexandrovichAustrian literature in the middle and second half of the 20th century As before, during this period, Austrian literature absorbs and reflects the main trends in the literature of other Western European countries. So, the work of Hermann Broch (Hermann Broch, 1886-1951) is on a par with the works of D.
From the author's bookSwiss literature of the second half of the 20th century One of the most famous Swiss writers of this period is Friedrich Dürrenmatt (Friedrich D?rrenmatt, 1921–1990), a prose writer, playwright, and author of a psychological detective story. Write dramas, including for radio shows, he
From the author's bookON THE. Nekrasov Russian Minor Poets<…>Meanwhile, the poems of Mr. F.T.1 belong to a few brilliant phenomena in the field of Russian poetry. G.F.T. wrote very little; but everything written by him bears the stamp of a true and beautiful talent, often
From the author's bookRussian literature of the second half of the 19th century, or Roman in Russian In the second half of the 19th century, the main “specializations” were fixed in literature: prose, poetry, dramaturgy, and criticism. After many years of dominance of poetry, prose comes to the fore. And the biggest
From the author's bookPetersburg in the second half of the XIX century ONE OF THE MOST SIGNIFICANT events in the economic, economic, and political life of Russia in the middle of the XIX century was the construction railway between Petersburg and Moscow. The road was in the full sense of the word straight, or
The beginning of the second half of the 19th century was marked in Russia by a powerful social upsurge, which demanded from literature, and above all from poetry, new content and new artistic forms capable of reflecting the complex social contradictions of reality. The end of the nineteenth century was marked by a deep crisis that engulfed the entire European culture, which was the result of disappointment in the old ideals and a sense of the approaching death of the existing socio-political order.
In the 19th century, the classical period of Russian poetry ended. Mentally embracing its boundless sea, one cannot help but admire the amazing variety of questions and problems that Russian poets touched upon in their works, striving in penetrating, deep and emotionally excited poems to preserve and affirm faith in eternal spiritual values, in the incorruptibility of the universal ideals of Christianity, to recall the highest meaning of life and the high destiny of man, to penetrate the secrets of the human spirit, to reveal the unknown and unknown movements of the heart life. And although each of the poets did it in his own way, he tried in a special way to reflect and comprehend the world, thoughts and feelings of his contemporaries, but there was one thing in common that made all poets, even very unlike each other, related - this is love for the motherland and its long-suffering people. And in my project I want to convey all the feelings of the poets, their poems about the motherland, nature, and tell a little about them.
F.I. Tyutchev was born on November 23, 1803 in the Ovstug estate of the Oryol province, in a noble family. In 1821 Graduated from the Language Faculty of Moscow University with a Ph.D. Having lived abroad with short breaks for almost 22 years, Tyutchev never lost touch with his homeland.
Is in lordship autumn evenings Touching mysterious charm: The ominous brilliance and variegation of trees, The languid, light rustle of crimson leaves, Foggy and quiet azure Above the sadly orphaned land, And, like a premonition of descending storms, A gusty, cold wind at times, Damage, exhaustion and everything That meek smile of withering, What in a rational being we call the Divine bashfulness of suffering.
Not the flesh, but the spirit has become corrupted in our days, And a man is desperately yearning... He rushes to the light from the shadow of the night And, having found the light, grumbles and rebels We burn and dry up with unbelief, He endures the unbearable today... And he recognizes his death, And he longs for faith ... but does not ask for it ... He will not say forever, with prayer and a tear, As he does not mourn in front of a closed door: “Let me in! -I believe, my God! Come to the aid of my unbelief!” Poem F.I. Tyutchev "Our Century" was written on July 11, 1831. In this poem, the personality of the poet appears camouflaged, is an expression of a generalized personal meaning, in addition, a heap of negatives leads to
I.S. Turgenev was born on October 28, 1818 in Orlov, into a noble family. He was brought up first at home, and then studied in Moscow private boarding schools. In 1833, Turgenev entered Moscow University, but a year later he transferred to St. Petersburg University, from which he graduated with a Ph.D. Turgenev began his career as a poet, during the years. His poems and poems were published in various magazines and were warmly received by critics and readers.
Foggy morning, gray morning, Sad fields covered with snow, Reluctantly you will remember the time of the past, You will also remember the faces long forgotten. You will remember abundant passionate speeches, Looks, so greedily, so timidly caught, First meetings, last meetings, Favorite sounds of a quiet voice. You will remember parting with a strange smile, You will remember a lot of your distant native, Listening to the unceasing murmur of the wheels, Looking thoughtfully into the wide sky. The poem "On the Road" (1843) by the outstanding Russian writer and poet I. S. Turgenev, which was later set to music and became a well-known romance.
The work "The Nest of Nobles" was written by Turgenev in 1859. "The Nest of Nobles" remains one of the bright works of the writer. Despite the collapse of hopes for the personal happiness of the hero, Lavretsky, there remains hope for a brighter future for others. The image of Lisa Kalitina - "Turgenev's girl" - overshadows her entire environment and becomes a symbol of Russia.
Alexei Konstantinovich Tolstoy was born on August 24, 1817. Petersburg in a noble family. In 1834 he was enrolled as a student in the Moscow archive of the Ministry of Foreign Affairs. He spent several years abroad, and upon his return to Russia he served at the royal court. During Crimean War joined the army, but did not participate in the battles, he fell ill with typhus. Tolstoy began writing poetry as a child, and his first literary experiments approved by V.A. Zhukovsky.
In the midst of a noisy ball, by chance, In the anxiety of worldly fuss, I saw You, but Your secrets covered my features. Only the eyes looked sadly, And the voice sounded so wondrous, Like the ringing of a distant flute, Like the wave of the sea playing. I liked your thin camp And all your thoughtful look, And your laughter, both sad and sonorous, has been ringing in my heart ever since. In the hours of lonely nights I love, tired, to lie down - I see sad eyes, I hear cheerful speech; And I fall asleep so sadly, And in unknown dreams I sleep ... Whether I love you - I don’t know, But it seems to me that I love!
Not the wind blowing from above, Lisztov touched the moonlit night; You touched my soul - She is anxious, like sheets, She is like a multi-stringed harp. The whirlwind of life tormented her And with a crushing raid, Whistling and howling, tore the strings And covered it with cold snow. Your speech caresses the ear, Your touch is light, Like fluff flying from flowers, Like a breath of May night ...
A.A. Fet was born in October-November 1820 in the village of Novoselki, Mtsessky district, Oryol province. Poems began to write very early. While still at university, in 1840. He published the first collection of poems "Lyrical Pantheon", which included mainly imitative works. In the 50s. Fet was actively published in "contemporary", "Notes of the Fatherland" and other magazines. He died in Moscow in 1892.
Some sounds are rushing And cling to my headboard. They are full of languid separation, Trembling with unprecedented love. It would seem, so what? The last gentle caress resounded, The dust ran along the street, The postal carriage disappeared... And only... But the song of parting Unrealizable teases with love, And bright sounds rush And cling to my headboard.
Spruce covered the path with my sleeve. Wind. In the forest alone Noisy, and creepy, and sad, and fun, I don't understand anything. Wind. All around is buzzing and swaying, The leaves are spinning at their feet. Chu, there, in the distance, a subtly calling horn is suddenly heard. Sweet call to me herald copper! Dead sheets to me! It seems that from a distance the poor wanderer Tenderly greets you.
A.A. Grigoriev was born on July 20, 1822 in Moscow, in the family of an official. In 1842 he graduated from the law faculty of Moscow University, then went to St. Petersburg and entered the service, but soon left it and devoted himself literary activity. poems and critical articles began to appear on the pages of St. Petersburg magazines in the second half of the 1940s. main theme Grigoriev's work is the conflict of a romantically inclined personality with the world of mercantilism and life prose.
No, I was not born to beat my forehead, Nor wait patiently in the anteroom, Nor eat at the prince's table, Nor listen with tenderness to nonsense. No, I was not born to be a slave, Even in church at mass It happens badly for me, I confess that, To listen to the august house. And what Marat felt, Sometimes I am able to understand, And if God himself was an aristocrat, I would proudly sing curses to Him ... But on the cross the crucified god Was the son of the crowd and the demagogue.
The poet is a person with a creative soul, He is sick from his experiences, feelings, He is sick from his work, its beauty, Which from the change of generations does not come out of his mouth. He gives us all his dreams, The whole picture of the past, He gives us heroes of excessive beauty. Heroes from changed names. And who would know how much the reader wants to know the whole truth about the heroes of famous works. But we will not be able to turn to the writer, And with sorrow we ask his apologies. A poet is a person with a creative soul. Why did you leave this life so early? I want you to talk to me. Alas, you perished, leaving behind you many of your works. You are a god, you are a king, you are a genius. You are a man with an amazing mind Do not know the conquests before the enemy. Some friends, fans, readers all around. Sleep well my poet. I will idolize you all my life. Everyone remembers you, there is no doubt, And I will never forget about you.
The first dramatic experiences: vaudeville, the drama "Ivanov".
"The Seagull" (1896). History of the first production. Chekhov's artistic innovation: a new type of dramatic hero, novelty of plot and compositional solutions, richness of intonational and semantic nuances, subtextual meanings, polyphonic nature of the dialogue, ambiguity of characters and conflicts, richness of symbolism. The drama of mutual misunderstanding, personal failure and creative dissatisfaction in the play "The Seagull".
The triumphal production of "The Seagull" - 1898 at the Moscow Art Theater. Method K.S. Stanislavsky as a generalization of the director's experience of working on Chekhov's The Seagull. Chekhov's collaboration with the Moscow Art Theater.
"Uncle Vanya" (1897), "Three Sisters" (1901). Plays about lost opportunities and inexhaustible hopes of the provincial intelligentsia. Problems, figurative structure, psychological drawing. Genre originality of works.
"The Cherry Orchard" (1904). Three generations, three social groups represented in the play. External (decision of the fate of the estate) and internal (determining the historical and personal fate of the heroes) conflicts. Dramatic and comic in the play. Images-symbols, through motifs. The role of minor characters. Genre.
Modern stage interpretations of Chekhov's works.
The influence of Chekhov's dramaturgy on world dramaturgy.
4. Russian poetry of the second half of the 19th century
Traditions and innovations in poetry of the second halfXIXcentury. Lyrical, lyrical-epic and epic genres. Language and rhythms.
ON THE. Nekrasov(1821 - 1877). The personality of the poet. The content and pathos of his work.
Artistic innovation of Nekrasov. Expansion of the thematic volume, figurative world of poetry, democratization of content and language, organic inclusion of elements of folklore poetics into one's own poetic world, polyphony, rhythmic richness, genre diversity. Socio-biographical and moral-psychological features lyrical hero poetry of Nekrasov. Emotional richness and civil pathos of Nekrasov's poetry. The main themes of Nekrasov's lyrics.
Poems by Nekrasov.
Lyric-epic poem "Frost, Red Nose" (1863).
Historical poems "Grandfather" (1870) and "Russian Women" (1871 - 1872). The poetic embodiment of the theme of the moral feat of the Decembrists and their wives.
Folk epic "To whom it is good to live in Russia" (from 1863 to the end of his life). The idea of the poem and the history of its implementation. Plot-compositional originality. Rhythmic-stylistic richness. Saturation with folklore motifs, images and rhythms. The content-functional mission of the seven wanderers-truth-seekers. Poetics and problems of the "Prologue" as a starting point and ideological and artistic grain of the narrative. The many-sidedness and polyphony of the poem. Picturesque mass scenes. The depth of Nekrasov's comprehension of the content and nature of folk life, the foundations of national life and the utopianism of his socio-historical hopes (the mission entrusted to Grisha Dobrosklonov; the legend "About two great sinners").
Editorial activity of Nekrasov at the head of Sovremennik and Otechestvennye Zapiski.
Contradictory assessments of the personality and creativity of Nekrasov by contemporaries. The enduring significance of his work.
F.I. Tyutchev(1803 - 1873). The originality of the poetic world of Tyutchev's poetry: philosophical character; the key role of global oppositions (Space - Chaos, Day - Night, Life - Death, Love - Struggle,
Death is the Court of Man), symbolic saturation, romanticism with a fundamental revision of the role and meaning of the individual, the logical alignment of a poetic statement and its sensual trembling, lexical and rhythmic-syntactic richness and diversity of verse, addiction to archaic forms of poetic expressiveness, parallelism as one of the fundamental compositional principles. Tyutchev and Pushkin.
Conditionally allocated thematic blocks: landscape, natural-philosophical, love, actually philosophical lyrics, philosophical miniatures, poems of political and "Slavophile" content. (See accordingly structured list of works.)
Denisiev cycle: vital basis, ideological and artistic community, plot and compositional unity of works, the image of a lyrical hero, the image of a beloved. Tragic theme of love.
Interaction of Tyutchev's poetry with Western European philosophy and poetry. The influence of Tyutchev's work on the poetry of the Silver Age (Merezhkovsky about Tyutchev: "our decadent grandfather").
A.A. Fet(1820 - 1892). A striking difference between the personality and fate of the poet from the content and emotional tone of his work. The fundamental detachment from social problems and the "lyrical audacity" (L. Tolstoy) of Fet's poetry. Main themes: nature, love, beauty, life and death, the purpose of art. Philosophical depth, romanticism and impressionism of Fet's poetry. Rhythmic and melodic richness, musicality, plastic expressiveness, emotional and psychological saturation of the lyrics. Dynamism, energy and speechlessness of Fet's verse.
Contemporaries about the work of Fet (L. Tolstoy, I. Turgenev, P.I. Tchaikovsky and N. Chernyshevsky, D. Pisarev). Fet's influence on Russian poetry of the 20th century.
An overview of the poetry of the 50s - 60s. Line Fet - representatives of "pure" art: Ap. Maikov, N. Shcherbina, Ya. Polonsky, A.K. Tolstoy. Folklore saturation, genre diversity of A. Tolstoy's lyrics. Poets of the Nekrasov school: N.P. Ogarev, D. Minaev, M. Mikhailov, S. Drozhzhin, I. Goltz-Miller, I. Nikitin. The satirical branch of the Nekrasov school: N. Dobrolyubov, V. Kurochkin, D. Minaev, L. Trefolev. Satirical writings by Kozma Prutkov (A.K. Tolstoy and the Zhemchuzhnikov brothers).
N.S. Leskov(1831 - 1895). The uniqueness of talent and creativity. a special place in the literature of his time.
Ideological novel-chronicle: "The Cathedral" (1872). Genre originality of the chronicle.
Anti-nihilistic (ideological) novels Nowhere (1865), On Knives (1871).
Essay on female characters and social mores in the works "The Life of a Woman" (1863), "Lady Macbeth of the Mtsensk District" (1865), "The Warrior" (1866).
The story "Lady Macbeth of the Mtsensk district": fairy tale manner of narration, language, functions of the narrator; principles of creating the image of the main character; the character and fate of Katerina Izmailova; Russian national character, the problem of naturalness, spontaneity of human nature in the coverage of Leskov. The meaning of the name. Polemic roll call between Leskov and Ostrovsky (Katerina Izmailova in comparison with Katerina Kabanova).
The story "The Enchanted Wanderer" (1873). The plot-compositional organization of the narration (“a story within a story”, fragmentation), a tale manner. Valiant mischief, epic strength, spontaneity of nature and unaccountability of the behavior of the protagonist - Ivan Severyanych Flyagin. His complicity in the fate of the people he met on the path of life. The moral evolution of the hero. The polysemy of the word "enchanted" in the story, the meaning of the title.
By the news "Lefty (The Tale of the Tula Oblique Left-hander and the Steel Flea)" (1882). The tale-epic nature of the story. Linguistic and plot incarnation of the opposition of the Russian and "foreign" national worlds. The tragic fate of the nugget master is the formula for the life of the Russian people. Problems of national and personal human dignity, education, statesmanship and foresight.
The theme of the tragic fate of a talented person from the people in the story "Dumb Artist" (1883).
The uniqueness of the artistic world of Leskov's works, the depth of comprehension of the Russian national character in them.
Democratic fiction of the 60s-80s.
Traditions of the "natural school". The development of a realistic method: attention to the socio-economic aspects of the life of the people, the psychological, everyday and ethnographic thoroughness of the image. N.G. Pomyalovsky(1835 - 1863): the story "Petty-bourgeois Happiness", the novel "Molotov", artistic understanding of the confrontation between diversity and nobility, psychologism, lyricism of the novel's narrative, a tough formulation of the problem of education in "Essays of the Bursa". V.A. Sleptsov(1836 - 1878): the novel "Hard Time" - the image of the socio-ideological conflict as the basis of the plot; poisonous irony and merciless satire in the depiction of the deformities of Russian reality in Sleptsov's stories and essays. F.M. Reshetnikov(1841 - 1871): the novel "Podlipovtsy" - realistic authenticity and ethnographic expressiveness of the narrative. N.V. Uspensky(1937 - 1889): "Essays on folk life" - rigidity in the depiction of folk life, "anecdotism" in the development of plots and characters. G.I. Uspensky(1843 - 1902). A spokesman for revolutionary socialist sentiments, "the great sorrower of the Russian land", a merciless exposer of the social and moral deformities of national life. "The Morals of Rasteryaeva Street" (1866) is a bleak picture of the life and customs of the Russian philistinism, the embodiment of the horrors of the zoological existence of the Rasteryaevites. Cross-cutting problems of the cycle, expressiveness of human types. "The Power of the Earth" (1882) is the last of three essay cycles by G. Uspensky about the Russian village. Artistic and journalistic study of the organic connection of the peasant with the land. Idealization of the communal peasant world.
M.E. Saltykov-Shchedrin(1826 – 1889).
Personality and outlook. The main stages of biography and creativity. Start creative way- "Provincial Essays" (1956 - 1857): a satirical denunciation of the provincial officials and, in his person, the entire bureaucratic Russia.
Features of the artistic method of Saltykov-Shchedrin: satire, fantasy.
Ideological novel-parody: "The history of one city" (1869 - 1870) - political satire, fantasy-parody history of the Russian State. The content and principles of creating images of mayors. Their historical background and visionary, prognostic character. The image of the people in the "History ...". Social insights and social delusions of Saltykov-Shchedrin. Artistic features of the work (conventionality, symbolism, irony, grotesque, fantasy, folklore elements). The meaning of the figure of the chronicler-narrator. The composition of the book. The meaning of the final
Socio-psychological novel: "Gentlemen Golovlevs" (1875 - 1880) - , the history of the moral degradation of the landlord family, the destruction and disintegration of the noble nest. Socially accusatory pathos of the family chronicle of Saltykov-Shchedrin. The polemical orientation of the work. The image of Arina Petrovna Golovleva. The fault of Arina Petrovna in the collapse and death of the family and her misfortune in the end. Judas as a complete and final embodiment of moral self-destruction, spiritual necrosis of the noble "last son". Techniques for creating images of heroes (portrait, speech, facial expressions, gesture, author's commentary, generalizing assessments-characteristics). Incriminating sharpness of the story.
Ideological novel-pamphlet "Modern Idyll" (1877 - 1878, 1882 - 1883) - a satire on the reactionary era, on liberal opportunism (life "in relation to meanness", "foam skimming").
Ideological tale:"Tales" (1883 - 1886 ). History of creation. Genre originality of Shchedrin's fairy tales, a resemblance to folklore fairy tales and a fundamental difference from them. The satirical nature of Shchedrin's fairy tales, their problem-thematic content. Generalized conditional nature of images of people and animals. Fable-moralistic traditions in Shchedrin's fairy tales.
The influence of M.E. Saltykov-Shchedrin on the literature of the twentieth century. Contemporary assessments of his work. The relevance of the images created by Shchedrin.
Literature of the 80-90s of the XIX century.
Overview characteristic .
V.M. Garshin (1855 - 1888 ): Anti-war pathos of military stories (“Four Days”, “Coward”, “From the Memoirs of Private Ivanov”); understanding the social mission of art (“Artists”); the theme of loneliness, a desperate impulse for happiness, madness as a form of social protest ("Attalea princeps", "Red Flower"). The fairy tales “The Traveling Frog”, “What Wasn't There” are sad humor and skepticism of the author's position. D.N. Mamin-Sibiryak(1852 - 1912): Ural nature, Ural life, capitalization of social and economic relations in the image of Mamin-Sibiryak.
V.G. Korolenko(1853 - 1921). Realism of "Siberian stories" ("The Dream of Makar"). Humanistic pathos, realistic and romantic images in the stories "In bad society"(1885), "The Blind Musician" (1886). Folk types in the story "The Forest Noises" (1895), anti-capitalist pathos of the story "Without a Language" (1895).
"Philistine Fiction" P. Boborykina, I. Potapenko.
A.P. Chekhov(1860 – 1904) .
The pattern of Chekhov's phenomenon at the end of the 19th century. The personality and fate of the writer. Self-education. Moral influence on loved ones. Social and medical activities. Trip to Sakhalin (1890). Stages of creative activity. Chekhov's innovation as a prose writer.
Chekhov is a comedian. Stories of the first half of the 80s: "Letter to a learned neighbor", "Joy", "Death of an official", "Albion's daughter", "Thick and thin", "Complaint book", "Exam for rank", "Surgery", "Chameleon", "Horse Surname", "Intruder", "Unter Prishbeev". Features of plot and compositional solutions: anecdotal plots, laconicism, openness of finals, etc. The originality of Chekhov's heroes and ways of depicting them. Hidden drama of comic collisions.
Deepening the themes and images of Chekhov's creativity by the end of the 80s. "Longing", "Vanka", "Enemies", "Happiness", "Kashtanka", "I want to sleep", "Steppe", "Lights", "Beauties", "Name Day". Strengthening the parable sound of stories, an organic combination of humorous, lyrical and dramatic principles, frugality and capacity of artistic means, thematic richness, multi-heroism, democracy, psychological persuasiveness of Chekhov's prose.
Stories from the 90s - 900s. Complication of the personality of Chekhov's hero, dramatization of inner life, discrepancies with oneself ("Rothschild's Violin", "Fear", "Black Monk", "Bishop"). Pictures of folk life ("Women", "Men", "In the ravine"). The image of the spiritual world and the moral quest of the intelligentsia ("A Boring Story", "Ward No. 6", "Duel", "Teacher of Literature", "A House with a Mezzanine", My Life", "Case from Practice", "Man in a Case", "Gooseberry", "About Love", "Ionych"). Female images and the theme of love in the work of the "late" Chekhov ("Jumper", "Darling", "Anna on the Neck", "Lady with a Dog"). The parable-philosophical content of Chekhov's stories ("Student"), the encouraging sound of open endings ("The Bride"). (The thematic layout given here is very conditional, because any work is the focus of different themes and ideas.)
The poetics of the Chekhov story: the manner of narration, plot and compositional features, ways of depicting characters, the role of details, etc.
The influence of Chekhov's prose on the literature of the 20th century.
Russian poetry of the 19th century experienced at least three genuine upsurges in its development. The first, relatively speaking, falls at the beginning of the century and is overshadowed by the name of Pushkin. Another long-recognised poetic take-off falls at the turn of the two centuries - the nineteenth and twentieth - and is associated primarily with the work of Alexander Blok. Finally, the third, in the words of a modern researcher, “poetic era” is the middle of the past so far, the 60s, although it is in poetry that the so-called “sixties” chronologically shift more noticeably to the beginning of the 50s.
Significant and fundamentally important phenomena take place in Russian poetry in the 1940s. So, in the mid-40s, the original work of Nekrasov took shape, in the 40s Fet began to create. And yet, in this decade, in general, poetry fades into the background, which is also confirmed by the external picture. literary life: a limited number of published poetry collections, a modest place occupied by poetry in magazines. And the reasons must be sought not only in the arbitrariness of publishers or the lack of aesthetic flair among critics - you CAN point out, for example, even Belinsky's very reserved attitude towards poetry in the second half of the 40s. In literature, analytical tendencies, characteristic primarily for prose, prevailed. Meanwhile, at the very end of the 1940s, an attempt by such a sensitive editor and publisher as Nekrasov to revive interest in poetry seems symptomatic. A whole series of articles devoted to the poetic phenomena of the era is being conceived in Sovremennik. Within this framework, the well-known article by Nekrasov “Russian Minor Poets” was also written.
All this was a foretaste of a new upsurge in poetry, the signs of which are already evident from the beginning of the 50s and which, by the middle of the 50s, acquires unusual impetus. Poetry again receives the rights of citizenship on the pages of magazines, becomes full-blooded, and an independent participant in the literary process, the subject of critical analysis and theoretical disputes. The best critics again write a lot and with interest about her: Chernyshevsky and Dobrolyubov, Druzhinin and Botkin. Come out and often become truly outstanding events of literary and public life poetry collections. First of all, this refers to Nekrasov's collection of 1856. Books by Fet, Nikitin, Ogarev, Polonsky, Ap. Maikova and others. The epoch appealed specifically to poetry, and not to poetry, which has never been lacking. The very nature of poetry also changes qualitatively. Many new poets appear: Sluchevskin, for example, or Nikitin. What is happening, however, is not just a simple generational change. The process of becoming poetry looks much more complicated. Characteristic is the revival to a new life of poets who had long been established, but almost fell silent in the "non-poetic" 40s. Perhaps the most characteristic in this sense is the fate of such a poet as Tyutchev, his double revival, as it were: firstly, attention to his very work, which already existed, his revival in the reader's perception and, secondly, his very extraordinary creative activity. . One can speak of a peculiar revival even of Nekrasov, who in the shock of the 40s was experiencing an obvious creative crisis, who did not write poetry much or at all (throughout 1849) and directly stated that he no longer writes poetry. On the other hand, such a writer as Turgenev, who created many poetic works in the "prose" 40s, completely parted with poetry in the "poetic" 50s.
Russian poetry after Pushkin, it carried in itself opposing principles, expressed the increased complexity and inconsistency of life. Clearly designated and polarized, two directions are developing: democratic and “ pure art". When we talk about two poetic camps, one must keep in mind the great diversity and complexity of relations both within each of the camps and in relations between them, especially if one takes into account the evolution of social and literary life, "Pure" poets wrote civil poems: from liberal to accusatory (Ya. Polonsky) to protective (Ap. Maikov). The poets-democrats experienced a certain (and also positive) influence from the poets of "pure art": Nikitin, for example, in his lyrics of nature. The flourishing of khatir poetry is connected mainly with the democratic movement. Nevertheless, "pure art" put forward a number of major satirical talents: N. Shcherbina and especially A. K. Tolstoy, who wrote a lot satirical works- both independent and within the framework of the collective authorship that created the famous Kozma Prutkov. And yet, on the whole, there is a fairly clear divide between poetic movements. In the confrontation and confrontation between these two directions, the aggravated social struggle. The poles could perhaps be designated by two names: Nekrasov and Fet. “Both poets began to write almost simultaneously,” critics stated, “both experienced the same phases of social life, both made a name for themselves in Russian literature ... both, finally, differ by far from a dozen talents, and for all that, in poetic there is almost no common point in the activities of each of them.
More often, under the school of Nekrasov - and here we are talking about just such a school - they mean poets of the 50s - 70s, ideologically and artistically closest to him, who were directly influenced by the great poet, even organizationally, in essence, united already by virtue of that circumstance that most of them were grouped around a few democratic publications: Nekrasov's Sovremennik, Russkoe Slovo, Iskra.
