The main idea and essence of the poem “Ruslan and Lyudmila” is that with the help of love any evil can be defeated, so Ruslan overcame all obstacles, saving both Lyudmila and his native land.

The poem "Ruslan and Lyudmila" begins with a dedication to the ladies, in which Alexander Sergeevich Pushkin expresses the hope that the poem will be read by them. This is followed by the fairytale opening “Near Lukomorye there is a green oak...”

wedding feast

Song 1 tells about this event. Let's begin the description of the brief content with it. The plot of the poem "Ruslan and Lyudmila" begins with a feast in Kyiv. The main characters appear here for the first time. Prince Vladimir the Sun, whose name is reminiscent of the famous Vladimir the Red Sun, married his youngest daughter Lyudmila to the brave Prince Ruslan. At the feast there were also three rivals of the young husband who had previously claimed Lyudmila’s hand - Rogdai, Farlaf and Ratmir.

Kidnapping of Lyudmila

Night fell and the newlyweds gathered to retire. But as soon as they lay down on the wedding bed, a mysterious voice was heard, and Lyudmila was kidnapped by an unknown sorcerer.

Having learned about what had happened, the prince-father invited the recent guests of the wedding feast. Vladimir was angry with Ruslan because he did not protect his daughter, and therefore vowed to give Lyudmila as a wife to someone who could save her. The young husband and three of his rivals went to look for the princess. At first they moved in one direction along the banks of the Dnieper, but by the end of the day they went in different directions.

Meeting with a hermit

Ruslan, left alone, soon came across a cave. An old hermit lived in it. He revealed to the hero that Lyudmila had been kidnapped by the formidable sorcerer - Chernomor, the ruler of the Full Mountains. Due to his old age, he could not take possession of Lyudmila by force, but still kept her captive. The elder also said that Ruslan would defeat the evil wizard, although it would not be easy.

The Hermit's Story

Even giving a very brief summary of the poem "Ruslan and Lyudmila", it is worth mentioning some of the supporting characters. The hermit told Ruslan about his life. In his youth, he was a Finnish shepherd and passionately fell in love with his beautiful neighbor Naina. But she was too proud and rejected the simple shepherd. The ardent young man gathered a squad of brave fellows and for ten years gained the glory of a warrior in raids on neighboring countries. But when he returned to Naina with rich gifts, crowned with military glory, she again rejected him. Then he retired to the wilds of the forest, where he studied magic, dreaming of using it to win the heart of an unapproachable beauty.

So four decades passed. When he finally cast the spell and Naina appeared to him, he was horrified - she became old and ugly. Now Naina could answer him with love, but he no longer wanted that. Then she, offended, vowed to take revenge on her former admirer. It turned out that all these years Naina had also been studying the science of witchcraft, because, as the elder said, she already knows about his meeting with Ruslan, and he is in danger from an angry sorceress.

Opponent's plans

Rogdai, not forgiving Ruslan for his luck in love affairs, planned to kill him, but, turning back, he met only Farlaf, who was having lunch in the field. He was not distinguished by courage and, seeing that Rogdai mistook him for Ruslan, wanted to run away as quickly as possible. However, while jumping over a ravine, he fell from his horse. Rogdai took out his sword to deal with his hated rival, but saw that it was not Ruslan, turned around and left.

Naina's appearance

Not far away, Rogday met a hunchbacked old woman (in fact it was the sorceress Naina), who showed him the direction in which to look for Ruslan. Then Naina appeared to Farlaf, advising him to give up the search for Lyudmila and retire to his Kiev estate.

Lyudmila at Chernomor

And the following happened to Lyudmila. After Chernomor took her from her wedding bed to his castle, the girl came to her senses only in the morning, in a richly decorated room. The maids respectfully dressed her in a beautiful sundress, belted with pearls.

But Lyudmila was not pleased with the surrounding luxury. She missed Ruslan and her home. Chernomor had a beautiful large garden, fragrant with overseas flowers, where she could walk, and there she even had the idea of committing suicide by throwing herself from the bridge between the rocks.

Everything about this place was magical - as soon as the girl sat down on the grass, lunch miraculously appeared in front of her. And with the onset of darkness, an unknown force transported Lyudmila back to the palace, where the maids prepared her bedchamber. When the princess was about to sleep, the door suddenly opened and Chernomor’s beard entered the room - a long row of slaves carried it in front of the sorcerer.

The sorcerer himself, a disgusting dwarf, appeared behind the beard. Lyudmila screamed in horror, threw the cap off his head and wanted to strike. From her scream, the blackamoor slaves were confused, and Chernomor wanted to run away, but got entangled in his own beard and fell to the ground.

And Ruslan continued on his way at this time. Suddenly a cry was heard from behind: “Stop!” Ruslan saw that Rogdai was approaching. They fought for a long time, but in the end Ruslan managed to throw his opponent off his horse and threw him into the Dnieper. According to rumors, Rogdai ended up with a mermaid, and his ghost wandered along the shore at night for a long time.

The Sorcerer's Secret

In the morning after the inglorious flight from Lyudmila, Chernomor met with Naina, who had arrived in the form of a flying kite. Turning into a woman, she proposed an alliance against Ruslan and the hermit. Chernomor willingly agreed, telling Naina the secret of his invincibility. It was possible to kill him only by cutting off his beard.

Song 3 of the poem “Ruslan and Lyudmila” tells about these events. In a brief summary of this part of the work, we will talk about the subsequent adventures of the heroes.

The disappearance of Lyudmila

After Naina flew away, Chernomor again visited the captive princess, but it turned out that she had disappeared. The sorcerer sent slaves to search for her. But where could Lyudmila really have gone? And she, starting to get dressed in the morning, saw Chernomor’s cap lying on the floor. Trying it on backwards, the girl discovered that she had become invisible. It turned out that the cap is actually an invisibility cap.

And Ruslan, after the victory over Rogdai, rode forward and soon saw a field covered with the remains of the dead and weapons. There he picked up a replacement for his armor and shield, which had become unusable after the battle with his opponent. Only the hero did not find a new sword.

Monstrous Head

Having driven further, from a distance he noticed a mountain that seemed alive. Nearby, the hero was surprised to see a huge sleeping Head. Ruslan tickled her nose with a spear, and the Head sneezed so hard that she almost blew the hero off his horse. Angry at the man who woke her up, the Head began to blow on him with all her might, and Ruslan was carried away by the wind into the field. The hero gathered all his strength and rushed towards the Head, pierced its tongue with a spear and hit it on the cheek so that it rolled to the side. It turns out that there was a sword underneath it. Ruslan took it and wanted to cut off the head’s nose and ears, but she begged for mercy and told about herself.

Once upon a time it was the head of a valiant warrior. For his glory and courage, he was hated by his evil younger brother, Chernomor, who mastered witchcraft and had a magic beard that gave him invulnerability. One day, an insidious sorcerer told his older brother about a sword, which, as it is written in the books, is safely kept in a distant place. Chernomor convinced his brother that this sword would bring death to both of them, so they needed to get it by any means.

The glorious warrior believed his younger brother and set off on the road. Chernomor sat on his shoulder, showing the way. The sword was eventually found, and there was a dispute over who should own it. Chernomor played a trick, suggesting that the two of them lie down on the ground and listen - a ringing sound will be heard from it, and the first one to hear it will become the owner of the sword. The naive older brother agreed, but as soon as he lay down on the ground, Chernomor deprived him of his head. A lot of time passed, and the warrior’s body decayed, but with the help of magic, Chernomor made his head immortal and placed it to guard the wonderful sword.

After what was said, the Head asked Ruslan to take revenge on Chernomor. The sword was supposed to help with this.

Adventures of Ratmir

Ruslan's third opponent, Ratmir, rode south. Suddenly he came across a palace, along the wall of which a girl was walking, inviting travelers. When Ratmir arrived at the gate, he was met by a crowd of girls. They undressed him, took him to the bathhouse and fed him. Ratmir stayed with one of the girls for the night.

And Ruslan tirelessly moved north, looking for his beloved. On the way he came across warriors and monsters with whom he had to fight.

Lyudmila's deception

Lyudmila, meanwhile, walked unseen through the gardens and palaces of Chernomor. Sometimes she took off her magic hat, teasing the sorcerer's servants who were looking for her. But when they tried to catch her, she instantly disappeared. Chernomor, in anger and frustration, finally came up with a way to catch the girl. He turned into Ruslan, who had received a wound, and began plaintively calling the princess. Lyudmila, of course, rushed into his arms, but suddenly saw that in front of her was not a husband at all, but a hated kidnapper. The girl tried to escape, but Chernomor put her in a deep sleep. And at that moment the sound of a horn was heard nearby - it was Ruslan who had reached the lands of the villain.

Battle

Ruslan challenged Chernomor to a fight. Suddenly the sorcerer attacked the warrior from the air and began to beat him. Ruslan deftly knocked the wizard down and grabbed him by the beard. Trying to free himself, Chernomor rushed into the air. Ruslan hung on the magic beard and did not unhook.

Their flight continued for three days, and the sorcerer began to get tired. No matter how he tried to fool Ruslan with false speeches, he did not give in and forced himself to be taken to his wife. When Chernomor descended into his garden, Ruslan immediately cut off his witch's beard. But where is Lyudmila? The knight began to look for his beloved, crushing everything around him. By chance, he touched the magic hat on Lyudmila’s head and saw his wife sound asleep.

Taking his beloved in his arms and putting the sorcerer in his knapsack, Ruslan went back. Passing through familiar places, he met the Head again. She, having learned about the revenge, finally tried to express to her brother the anger that tormented her and died.

Soon Ruslan came across a secluded poor house near an unknown river. There the beauty was waiting for her husband. He turned out to be a fisherman, and when he landed on the shore, Ruslan recognized him as Ratmir. Although he was a Khazar khan, for the sake of love he refused great fame, wealth, and even twelve beautiful girls he met along the way. The men hugged and talked in a friendly manner; Ratmir no longer thought about Lyudmila.

Death of Ruslan

And the evil sorceress Naina found Farlaf, who lived in the wilderness, and took him with her to the valley, where the tired Ruslan slept next to Lyudmila. Tom had a bad dream in which Farlaf and Lyudmila appeared at Vladimir’s feast.

The real Farlaf rode up to Ruslan on a horse and pierced him with a sword three times, grabbed the sleeping Lyudmila and rode away. Ruslan spent the night unconscious, and in the morning, trying to get up, he fell dead.

Return to Kyiv

Farlaf brought Lyudmila to Kyiv. Her father met them and saw that his daughter was sleeping soundly. Farlaf swore that he himself had won it from the goblin from the Murom forests.

The people of Kiev constantly went to look at the sleeping princess. No matter how hard they tried to wake her up with loud sounds and music, nothing helped. Vladimir was sad. And the next morning a new misfortune happened - the city was besieged by the Pechenegs.

Ruslan's friend, the hermit-sorcerer, already knew about what had happened. With the help of witchcraft, he found himself near magical streams, one of which was with dead water, and the other with living water. The elder filled the jugs, read a witchcraft spell, was transported to Ruslan and revived him with miraculous waters. Saying goodbye forever, the wizard gave Ruslan a ring that would help wake up Lyudmila.

Happy ending of the poem "Ruslan and Lyudmila"

Residents of Kyiv watched in horror as enemies besieged the city. The princely warriors were unable to drive away the Pechenegs. But the next day the people of Kiev were awakened by an incomprehensible noise - it was an unknown warrior hacking at foreigners. The defeated Pechenegs fled. Jubilant Kyiv met the hero who was Ruslan. He hurried to the prince's tower. Touching Lyudmila’s face with a magic ring, Ruslan woke her up. The happy Prince Vladimir ordered to re-celebrate the marriage of the heroes of the poem Ruslan and Lyudmila. Farlaf, who obeyed, was forgiven, and Chernomor, who had lost his witchcraft powers, was taken into the service of the prince.

Course work

“Study of the poem by A.S. Pushkin “Ruslan and Lyudmila” in high school

1. Introduction

The history of the creation of the poem by A.S. Pushkin "Ruslan and Lyudmila"

The idea of the work and genre originality

Fairy-tale characters in the poem

1 Image of Ruslan

2 Finn's image

3 Image of Chernomor

4 Naina's image

5 Images of Farlaf, Rogday and Ratmir

Language features of the narrative

The place of the work in the history of Russian and world culture

Conclusions on course work

Bibliography

1. Introduction

A.S. Pushkin (1799-1837) the greatest Russian poet and writer, the founder of new Russian literature, the creator of the Russian literary language. Pushkin is the author of numerous works that have become classics of Russian and world literature. One of the most famous Russian writers and poets in Russia and abroad. The variety of developed genres and styles, the lightness, grace and accuracy of verse, the relief and strength of characters (in large forms), “enlightened humanism”, the universality of poetic thinking and the very personality of Pushkin predetermined his paramount importance in Russian literature; Pushkin raised it to the world level.

The freedom-loving moods of the young poet do not go unnoticed by the authorities, and under the guise of official necessity, Pushkin is sent to the south. During his stay in the Caucasus and Crimea, Pushkin wrote “The Bakhchisarai Fountain” and “The Robber Brothers”. In 1820, his poem “Ruslan and Lyudmila” was published.

The poem “Ruslan and Lyudmila” was and still is a huge success among readers. How did the poem come about? Why was she so loved? I would like to reveal this in my work, as well as how the poem is studied at school.

2. The history of the creation of A.S. Pushkin’s poem “Ruslan and Lyudmila”

A poem is a large poetic work with a narrative or lyrical plot. There are many genre varieties of poems: heroic, didactic, satirical, historical, lyrical-dramatic, etc. One type of such poems includes the famous poem by A.S. Pushkin “Ruslan and Lyudmila”.

Thanks to his nanny, Arina Rodionovna, the great Russian poet Alexander Sergeevich Pushkin forever fell in love with folk tales. They became material for his own fairy tales and poems.

One of the most famous is “Ruslan and Lyudmila,” in which Prince Ruslan sets off on a long journey to find his wife Lyudmila, who was kidnapped by the evil sorcerer Chernomor. Having overcome many obstacles, Ruslan frees his beloved. The poem ends with the triumph of Good over Evil.

And it begins with the famous introduction “By the Lukomorye there is a green oak tree...” This is a picture of various fairy-tale motifs and images, giving the key to understanding the genre of the work.

When you read these poetic lines, you remember Russian folk tales - “The Frog Princess”, “Marya the Princess”, “Baba Yaga”, “The Tale of Ivan Tsarevich, the Firebird and the Gray Wolf”, “Koshchei the Immortal”...

“Ruslan and Lyudmila” is an original work in which the features of a fairy tale are combined with the features of a romantic poem. 2

The plot of the poem is fabulous, everything in it breathes youth and health, the sad is not sad, and the scary is not scary, because sadness easily turns into joy, and the scary becomes funny. The triumph of truth over deceit, malice and violence - this is the essence of the poem. A.S. Pushkin worked on his poem for 3 years. He began writing it before graduating from the Tsarskoye Selo Lyceum in 1817 and finished it in March 1820.

The poem “Ruslan and Lyudmila” was written in 1818-1820, after the poet left the Lyceum; Pushkin sometimes indicated that he began writing the poem while still at the Lyceum, but, apparently, only the most general ideas date back to this time. After all, after leaving the Lyceum, leading a “most distracted” life in St. Petersburg, Pushkin worked on the poem mainly during his illnesses. The poem began to be published in “Son of the Fatherland” in the spring of 1820 in fragments; the first separate edition was published in May of the same year (just during the days of Pushkin’s exile to the south) and provoked indignant responses from many critics, who saw in it “immorality” and “indecency "(A.F. Voeikov, who began the journal publication of a neutral-friendly analysis of the poem, in the last part of the review, under the influence of I.I. Dmitriev, criticized it). A special position was taken by P. A. Katenin, who reproached Pushkin, on the contrary, for being insufficiently national and for excessively “smoothing out” Russian fairy tales in the spirit of French salon stories. A significant part of the reading public received the poem enthusiastically, and with its appearance Pushkin’s all-Russian fame began.

The epilogue (“So, an indifferent inhabitant of the world...”) was written by Pushkin later, during his exile in the Caucasus. In 1828, Pushkin prepared the second edition of the poem, added an epilogue and a newly written famous so-called “prologue” - formally part of the first Song (“By the Lukomorye there is a green oak tree...”), which strengthened the conventional folklore coloring of the text, and also shortened many erotic episodes and lyrical digressions . As a preface, Pushkin reprinted some critical reviews of the 1820 edition, which in the new literary climate had already become downright ridiculous. In 1830, again refuting old accusations of immorality in his “Rebuttal to Critics,” the poet emphasized that what now displeased him in the poem, on the contrary, was the lack of genuine feeling: “No one even noticed that she was cold.”

Pushkin set the task of creating a “heroic” fairy-tale poem in the spirit of Ariosto’s “Furious Roland,” known to him from French translations (critics called this genre “romantic,” which should not be confused with romanticism in the modern sense). He was also inspired by Voltaire (“The Virgin of Orleans”, “What Ladies Like”) and Russian literary fairy tales (such as the popular popular story about Eruslan Lazarevich, “Bakhariyana” by Kheraskov, “Ilya Muromets” by Karamzin or especially “Alyosha Popovich” by Nikolai Radishchev). The immediate impetus for starting work on the poem was the publication in February 1818 of the first volumes of Karamzin’s “History of the Russian State,” from which many details and names of all three of Ruslan’s rivals (Rogdai, Ratmir and Farlaf) were borrowed.

The poem is written in astronomical iambic tetrameter, which has become, starting with “Ruslan and Lyudmila,” the decisively dominant form of romantic poem.

The poem contains elements of parody in relation to Zhukovsky’s ballad “The Twelve Sleeping Virgins”. Pushkin consistently ironically reduces the sublime images of Zhukovsky, saturates the plot with comic erotic elements, grotesque fantasy (the episode with the Head), and uses “common” vocabulary (“I’ll strangle”, “sneezed”). Pushkin’s “parody” of Zhukovsky initially does not have a negative connotation and is rather of a friendly nature; It is known that Zhukovsky “heartily rejoiced” at Pushkin’s joke, and after the poem was published, he presented Pushkin with his portrait with the inscription “To the winning student from the defeated teacher.” Subsequently, in the early 1830s, the mature Pushkin, inclined to critically overestimate his youthful experiences, lamented that he parodied “The Twelve Sleeping Virgins” “to please the mob.”

3. General idea of the work and genre originality

There are many genre varieties of poems: heroic, didactic, satirical, historical, lyrical-dramatic, etc.

There are many different opinions of critics about the genre of “Ruslan and Lyudmila”. Critic E. A. Maimin wrote that “in terms of its genre, “Ruslan and Lyudmila” is a comic and ironic fairy tale poem.” “In the literature about Pushkin,” says B. Bursov, “the question is sufficiently clarified that in “Ruslan and Lyudmila,” which in its genre is close to both a fairy tale and a historical poem, historical interest clearly prevails over the fairy tale...”

In my opinion, “Ruslan and Lyudmila” is a multi-genre work.

The plot of the poem is fabulous, everything in it breathes youth and health, the sad is not sad, and the scary is not scary, because sadness easily turns into joy, and the scary becomes funny.

The triumph of truth over deceit, malice and violence - this is the content of the poem. “Ruslan and Lyudmila” is only a fairy tale, with the usual sharp contrast between good and evil characters in fairy tales and with a happy ending.

Pictures of fighting alternate with peaceful ones, cheerful and funny with gloomy and scary ones. Their combination sometimes takes on a sharply contrasting character. In Pushkin's poems the same law of contrasts applies as in his lyrics. Here is a tender, reverent wedding night scene. The verse flows smoothly and melodiously:

Do you hear the loving whisper,

And the sweet sound of kisses,

And an intermittent murmur

The last timidity?..

(Song one)

And suddenly there is a sharp transition to the terrible and mysterious. The suddenness of the event is emphasized by the hyphenation and tempo of the verse; there are quick, abrupt phrases:

Spouse

Feels delight in advance;

here they come...

Thunder struck, light flashed in the fog,

The lamp goes out, the smoke runs out,

Everything around is dark, everything is trembling,

And the soul froze in Ruslan...

Everything fell silent. In the menacing silence

And someone in the smoky depths

Soared blacker than the foggy darkness...

The features of the historical poem include names that go back to Karamzin’s “History of the Russian State” (Rogdai, Farlaf), and a description of real historical events.

In the sixth song, the poem comes closest to the historical narrative: the siege of Kyiv by the Pechenegs is already an artistic transformation of a scientific source.

The tone of the poem changes noticeably in the sixth canto. Fiction is replaced by history. The gardens of Chernomor are obscured by an authentic picture of the capital city before an enemy attack:

...Kyivians

Crowd on the city wall

And they see: in the morning fog

The tents are white across the river,

Shields shine like a glow;

Riders flash in the fields,

Black dust rises in the distance;

The marching carts are coming,

Bonfires burn on the hills.

Trouble: the Pechenegs have risen!

This is a reliable and accurate description of the war of the 10th century with its weapons, tactics and even means of communication. This is already the beginning of historical realism.

Irony is closely related to fairy tales and history. The author does not hesitate to make fun of his heroine even in her most tragic moments. She cries, but “does not take her eyes off” the mirror; decided to drown herself - and did not drown herself; says that she won’t eat, and then “I thought and began to eat.” Jokes do not in any way violate the lyrical image of the heroine - on the contrary, they give it a “sweet” character.

“The poem is not only ironic at its core,” wrote Slonimsky, “but there is a strong element of parody in it. One thing, however, is connected with the other. Lyudmila, for example, is both a fairy-tale heroine and a modern, living, flesh-and-blood girl-woman. She is both a heroine and a charming, witty parody of a heroine. The same thing, to a greater or lesser extent, applies to other heroes. Pushkin laughs merrily at his heroes, at the reader, at himself...” The author’s irony even extends to the concept of the poem; he ironically and playfully plays on the plot of the poem itself:

Every day, when I rise from sleep,

I thank God from the bottom of my heart

Because in our times

There aren't that many wizards.

Besides - honor and glory to them!

Our marriages are safe...

Their plans are not so terrible

For husbands, young girls.

(Song Four)

In the poem by A. S. Pushkin, the possibility of extra-plot authorial digressions is widely used. With such a digression, for example, the third song of the poem “Ruslan and Lyudmila” opens:

It was in vain that you lurked in the shadows

For peaceful, happy friends,

My poems! You didn't hide

From angry, envying eyes.

Already a pale critic, to her service,

The question was fatal to me:

Why does Ruslanov need a girlfriend?

As if to laugh at her husband,

I call both maiden and princess?

You see, my good reader,

There is a black seal of anger here!

Tell me, Zoilus, tell me, traitor,

All this is explained by the fact that the heroes have not yet acquired a completely independent existence, have not isolated themselves from the author’s lyrics. They form the subject of lyrical play, and the springs of their actions are still in the hands of the author. From this point of view, it is quite understandable that ardent romantic feelings are attributed to the ancient knight:

But, tired of ardent passion,

Ruslan in love does not eat or drink,

He looks at his dear friend,

Sighs, gets angry, burns

And, pinching my mustache with impatience,

Counts every moment...

(Song one)

The author's digressions - sometimes lyrical, sometimes ironic, contrasting with her - give the story a personal tone. The author constantly emphasizes his role as a narrator. He plays with the reader and teases his curiosity, interrupting the narrative at the most interesting point - as, for example, in the second song, at the moment when Rogdai overtakes Ruslan:

Ruslan flared up and trembled with anger;

He recognizes this violent voice...

My friends! and our maiden?

Let's leave the knights for an hour...

And at the end of the song, after the story about Lyudmila:

But something about our good knight?

Do you remember the unexpected meeting?..

The poem took three years to write, and naturally, each song was a step forward and had its own character. The poet grew along with his work. He began the poem in the spirit of “cheerful dreams” and “heartfelt inspirations” of his youthful lyrics, but towards the end other, more serious notes sounded in it. During the era of the creation of the poem, the circle of Pushkin’s historical ideas expanded enormously.

“The epic finally triumphs over irony and subjective lyricism,” believed A. Slonimsky, “history over the fairy tale.”

In this regard, the style and manner of narration changes. The verse grows stronger, becomes more strict and courageous. Persons and events are depicted more specifically. The first songs contained a lot of conventional and traditional things.

“In the creative evolution of Pushkin, the significance of the last song “Ruslan and Lyudmila” is enormous. Here, for the first time, the people appear in his work as an active force in history. He is shown in his worries, hopes, struggles and victories. The great theme of national struggle and glory enters the poem, wrote Grossman. - At the last stage of his fabulous wanderings, the hero becomes the liberator of the Motherland. All wounded in battle, he holds in his right hand the victorious sword that liberated the Grand Duchy from enslavement. The fairy tale takes on a historical perspective. “The legends of deep antiquity” resonate with modern times: through the vivid picture of the expulsion of the Pechenegs, the theme of Russia’s deliverance from foreign invasion in 1812 sounds.” (link) The final fragment, to a certain extent, diverges in style from the spirit of the poem it is intended to complete.

Preserving the tradition of the magical knightly novel, A. S. Pushkin, towards the end of the poem, combines in a new way the fantastic elements of the Old Slavic fairy tale with the dramatic facts of Old Russian history, freely mixing genres. He created a work that still arouses genuine interest among many generations of readers.

4. Plot and compositional organization of the narrative

The great success of “Ruslan and Lyudmila” was partly scandalous - along with positive ones, there were opinions about unacceptable vernacular language, “inconsistencies” in the plot, unusual technique, unusual position of the author-storyteller, etc.

Later opinions of literary scholars were also contradictory. Yu. Tynyanov wrote that the language of the poem “emphatically common and rude . Pushkin uses Katenin’s practice for a large verse form.” Tomashevsky objected to him: at that time Pushkin did not “find any points of contact with Katenin. Voices of condemnation were heard not from the camp of young Karamzinists, but from Katenin’s camp.” Vinogradov also believed that in his poem Pushkin did not go “far from the boundaries of the Karamzin tradition. Rare words and expressions of common speech do not break the structure of Karamzin’s style.”4

It is impossible to unequivocally ungroup the criticism: the archaists accepted the poem, but the Karamzinists did not, or vice versa. Young Archaists, Karamzinists, and supporters of the emerging Russian romanticism agreed on the claims - even in the first poem, Pushkin, if he encroached on the rules and canons, was not of the movements of that time, but of the literary theory and practice of the entire modern era. That is why the controversy surrounding this piece turned out to be so fierce, incomparable in intensity with the sluggish polemics about his southern poems. Those were more perfect; this one showed an inimitable strangeness.

5. Fairy-tale characters in the poem

In the poem “Ruslan and Lyudmila” A.S. Pushkin collected almost all the heroes of Russian fairy tales and settled them in the fabulous Lukomorie:

There are miracles there: a goblin wanders there,

The mermaid sits on the branches;

There on unknown paths

Traces of unseen beasts;

There's a hut there on chicken legs

It stands without windows, without doors...

Here are Baba Yaga, and Kashchei the immortal, and “thirty beautiful knights emerge from the clear waters in succession.” Somewhere out there, beyond the forests, beyond the seas, a princess is languishing in captivity of an evil sorcerer. But the brave prince is already rushing to her aid. Their story was told to the author by a scientist cat, and Pushkin is now in a hurry to “tell the world” about Ruslan and Lyudmila, before “the affairs of bygone days, the legends of deep antiquity” are forgotten.

Pushkin talks about real people: Prince Vladimir, his daughter Lyudmila and the devoted knight Ruslana. At the wedding feast, the epic singer Bayan sings his songs. The author also mentions the mythical Lelya, the Slavic god of love and marriage. But the poem would not be so interesting if fairy-tale characters had not intervened in people's lives. “The terrible wizard Chernomor” kidnapped the bride. Ruslan goes in search of Lyudmila. And fairy-tale characters also help him. The most unusual of them is the enchanted knight, transformed by his younger brother Chernomor into a living huge head. The unfortunate knight had to guard the magic sword. He gives it to Ruslan so that he can take revenge on the offender. With this sword, Ruslan cut off Chernomor's beard, and the sorcerer lost his power. And Ruslan and the sleeping Lyudmila go home to Kyiv. And Pushkin ends the poem as is customary in fairy tales:

And, celebrating the end of disasters,

Vladimir in the high grid

Locked it in with his family.

1 The image of Ruslan in the poem

Ruslan is one of the main characters of the poem by A.S. Pushkin "Ruslan and Lyudmila". His name was borrowed from the popular folk tale “About Eruslan Lazarevich.” Pushkin’s Ruslan is “an unparalleled knight, a hero at heart,” in which Lyudmila is expressed, his life will be lived in vain, for only a feat grants immortality to a person. Ruslan's victories are also the peak in the development of the young poet. All themes of the poem are resolved with the help of contrasts between the ancient (“the legends of deep antiquity”) and the modern, the fabulous and the real, the intimate and the ironic. The poem, imbued with the “Russian spirit,” captured the spiritual world of the people with their understanding of beauty as good and moral. Critics of Pushkin’s time unanimously saw the nationality of the poem in “rough, square” democracy. It is no coincidence that a comparison arose of the poem with a bearded guest in an army jacket and bast shoes, who infiltrated the Moscow noble assembly. The image of Ruslan served as the prototype of Ruslan, the hero of M.I. Glinka’s opera “Ruslan and Lyudmila” (1843); ballet F.E. Scholz (1821); film by A. Ptushko (1972). The ideal qualities of a man are physical strength, nobility of soul, military valor (“I’m going, I’m going, I don’t whistle, // And when I run over, I won’t let go”). Ruslan boldly enters the fight against the forces of evil. Spiritually enriched by the meeting with Finn, Ruslan understands that if he does not defeat Chernomor and free

poem Pushkin Ruslan Lyudmila school

5.2 The image of Finn in the poem

Finn is an old man, a beneficent wizard. He has

"........................ clear view,

Calm gaze, gray hair;

The lamp in front of him is burning;

He sits behind an ancient book,

Reading it carefully."

He is Ruslan’s guardian angel everywhere, encourages him, consoles him, warns him, helps him, convinces him that good will triumph over evil.

3 The image of Chernomor in the poem

Evil in fairy tales is represented by fantastic, disgusting monster creatures. For example, Kashchei the Immortal, who kidnaps women - usually the mother, wife or bride of the hero of a fairy tale. In Pushkin's poem, such a creature is Chernomor - a disgusting dwarf, whose entire power lies in his magic beard. Without a beard, he loses his power. But when reading the poem, one gets the impression that Karla is not at all scary, and even funny. This is how he is described in the scene with Lyudmila:

I wanted to run, but I had a beard

Confused, fallen and struggling;

Gets up, fell; in such trouble

Arapov's black swarm rushes about.

It is no coincidence that Prince Vladimir even accepted him into the palace. In his depiction of Chernomor, Pushkin uses rather irony, thereby innovatively refracting the fairy-tale tradition.

4 The image of Naina in the poem

Naina is a completely different matter. This is the embodiment of deceit, cunning, dishonor. She can transform into animals, just like the heroes of fairy tales. The sorceress, with her disgustingness, is very reminiscent of Baba Yaga:

The old woman is decrepit, gray-haired,

Sparkling with sunken eyes,

With a hump, with a shaking head.

It is she who helps Farlaf kill Ruslan and take credit for the victory. This plot twist is unexpected in the poem; it reveals the “willfulness” of the innovator Pushkin’s plan, complicating the fairy-tale intrigue. With this episode, the poet seems to prove the idea that the most terrible evil comes from people - from their envy and malice.

5 Images of Farlaf, Rogday and Ratmir in the poem

The immediate incentive for Pushkin to begin work on the poem was the publication in February 1818 of the first volumes of Karamzin’s “History of the Russian State”, from which the names of all three of Ruslan’s rivals were borrowed - Rogdai, Ratmir and Farlaf.

Prince Vladimir the Sun feasts in the gridnitsa with his sons and a crowd of friends, celebrating the wedding of his youngest daughter Lyudmila with Prince Ruslan. The guslar Bayan sings in honor of the newlyweds. Only three guests do not rejoice at the happiness of Ruslan and Lyudmila, three knights do not listen to the prophetic singer. These are Ruslan's three rivals: the knight Rogdai, the braggart Farlaf and the Khazar khan Ratmir.

“...In the soul the unfortunate melt

Love and hate are poison.

One - Rogdai, brave warrior,

Pushing the limits with a sword

Rich Kyiv fields;

The other is Farlaf, an arrogant loudmouth,

In feasts, not defeated by anyone,

But the warrior is modest among swords;

The last one, full of passionate thought,

Young Khazar Khan Ratmir:

All three are pale and gloomy,

And a merry feast is not a feast for them...”

Ruslan goes for Lyudmila, because... he is pushed to this by love and honor “Be faithful to love and honor.” And Ruslan’s rivals Rogdai, Ratmir and Farlaf are blinded by the princess’s beauty, position, and wealth and are not at all worried about her.

6. Language features of the narrative

Pushkin's main historical merit lies in the fact that he completed the consolidation of the Russian language in literature. Pushkin, of course, did not immediately become what he was. He learned from his predecessors and implemented in his own linguistic mastery all the achievements of the art of words that were achieved by poets and writers of the 17th and 18th centuries. In the language of Pushkin’s works we have the opportunity to observe traditional elements of the Russian literary language, inherited from past periods of development.

At the beginning of his poetic creativity, Pushkin had not yet limited the use of traditional speech elements to any stylistic tasks, using them only as a direct tribute to the heritage of the past.

Later, traditional speech elements continue to be preserved in the language of Pushkin’s works, but their use is strictly stylistically justified.

Pushkin called for the abandonment of frozen and pretentious expressions, for their replacement with simple designations of objects and ideas. He ironically builds the following stylistic parallels, contrasting long and sluggish periphrases with simple and short notations.

With the publication of Ruslan and Lyudmila, Pushkin becomes an all-Russian famous writer, the first poet in Rus'. The enormous success of the poem was largely due to the author's national position on issues of language and style. The poem shows a greater bias towards vernacular than was allowed by the norms of the secular Karamzin style for works of this genre.
The verses of the poem are undoubtedly stylized to resemble fairy-tale common people, folklore antiquity. This is manifested both in the speeches of the characters and in the author’s narration. For example, the words of Ruslan:

Shut up, empty head!

I'm going, I'm going, I'm not whistling,

And once I get there, I won’t let you go!

or Now you're ours: yeah, you're trembling!

In Chernomor's speech:

Otherwise, you’re joking with me - I’ll strangle you all with my beard!

In the Head's speech: Go back, I'm not kidding.

I’ll just swallow the impudence;

Listen, get away...;

I foolishly also stretched myself;

I lie there not hearing anything

I dare to deceive him!

These are the words in which Pushkin talks about Lyudmila (princess, daughter of the Kyiv Grand Duke Vladimir!): The princess jumped out of bed -

The trembling raised her fist,

And she screamed in fear,

Which stunned all the Arabs.

In an excerpt from Song III of “Ruslana”, published in “Son of the Fatherland”, Chernomor is called “Carlo”. In RL 1820 the spelling of this word is uncertain: either “carlo” or “karla”. RL 1828 brings clarity: the non-Russian-sounding “karlo” is completely replaced by the word “karla”, which corresponds to the folk tradition.

The desire to more clearly comprehend the morphological structure dictated some other amendments.

In RL 1820, verse 72 of Song I was printed: “And the trash is unpleasant to us.” In RL 1828 we read: “And brashna...” The poet eliminated the inaccuracy in the ending of the Old Russian word.

Verse 31 of Song III in “Son of the Fatherland” and RL 1820: “On the theme of midnight mountains,” and in RL 1828: “On the crown of midnight mountains,” which, of course, is grammatically more correct.

Pushkin also eliminates some other minor inaccuracies, showing concern for word usage, euphony, etc. The use of interjections and conjunctions within a verse phrase is semantically clarified, as well as the use of prepositions and prefixes.

7. The place of the work in the history of Russian and world culture

In Pushkin's work, poems occupy the largest place along with lyrics. Pushkin wrote twelve poems (one of them, “Tazit,” remained unfinished), and more than twelve more were preserved in sketches, plans, and initial lines. In 1817, Pushkin began his greatest poem - “Ruslan and Lyudmila” - and wrote it for three whole years. These were the years of rising revolutionary sentiment among the noble youth, when secret circles and societies were created that prepared the December uprising of 1825.

Pushkin, although not a member of the Secret Society, was one of the largest figures in this movement. He was the only one in these years (before exile to the south) who wrote revolutionary poems, which were immediately distributed in handwritten copies throughout the country.

But even in legal, printed literature, Pushkin had to fight reactionary ideas.

In 1817, Zhukovsky published the fantastic poem “Vadim” - the second part of the large poem “The Twelve Sleeping Virgins” (the first part of it - “Thunderbreaker” - was published back in 1811). Taking a conservative position, Zhukovsky wanted with this work to lead young people away from political actions into the realm of romantic, religiously colored dreams. His hero (to whom the poet not by chance gave the name Vadim - the legendary hero of the Novgorod uprising against Prince Rurik) is an ideal young man striving for exploits and at the same time feeling in his soul a mysterious call to something unknown, otherworldly. He eventually overcomes all earthly temptations and, following steadily this call, finds happiness in a mystical union with one of the twelve virgins, whom he awakens from their wonderful sleep. The action of the poem takes place either in Kyiv or Novgorod. Vadim defeats the giant and saves the Kyiv princess, whom her father intends for him to be his wife. This reactionary poem was written with great poetic power, beautiful verses, and Pushkin had every reason to fear its strong influence on the development of young Russian literature. Moreover, “Vadim” was at that time the only major work created by a representative of the new literary school, which had just finally won the fight against classicism.

Pushkin responded to “Vadim” with “Ruslan and Lyudmila,” also a fairy-tale poem from the same era, with a number of similar episodes. But all its ideological content is sharply polemical in relation to the ideas of Zhukovsky. Instead of mysterious and mystical feelings and almost ethereal images, Pushkin’s everything is earthly, material; the entire poem is filled with playful, mischievous eroticism (description of Ruslan’s wedding night, Ratmir’s adventures with twelve maidens, Chernomor’s attempts to take possession of the sleeping Lyudmila, etc., as well as a number of author’s digressions).

The polemical meaning of the poem is fully revealed at the beginning of the fourth canto, where the poet directly points to the object of this polemic - Zhukovsky's poem "The Twelve Sleeping Virgins" - and mockingly parodies it, turning its heroines, mystically minded pure maidens, "nuns of saints", into frivolous inhabitants of a roadside “hotels” that lure travelers to their place.

Pushkin's witty, brilliant, sparkling poem immediately dispelled the mystical fog that surrounded folk fairy-tale motifs and images in Zhukovsky's poem. After “Ruslan and Lyudmila” it became no longer possible to use them to implement reactionary religious ideas. The good-natured Zhukovsky himself admitted defeat in this literary struggle, giving Pushkin his portrait with the inscription: “To the victorious student from the defeated teacher, on that highly solemn day when he finished his poem “Ruslan and Lyudmila.”

This poem was a huge success; it put Pushkin in first place among Russian poets. They began to write about him in Western European magazines.

Practical part. Studying the poem “Ruslan and Lyudmila” in high school according to the Buneev program

The work of A.S. Pushkin “Ruslan and Lyudmila” is studied in the 5th grade according to the Buneev program. But the children do not go through the entire poem, but the prologue. Studying the material at school takes 1 hour.

I would like to analyze the study of the poem according to the textbook by V.G. Marantsman, grade 5, and according to the methodological manual by V.Ya. Korovina.

1 Study of the poem according to the textbook by V.G. Marantzman

In the literature program for grades 5-9 based on a textbook prepared under the editorship of. V. G. Marantsman, in the 5th grade course in the cycle “Freedom of a Fairy Tale,” the introduction to “Ruslan and Lyudmila” is studied, i.e. prologue, as a collective image of the magical world of Russian fairy tales.

“Ruslan and Lyudmila” is considered as a kind of overture to the poet’s work, in which an attentive reader can recognize ideas, plots, and artistic techniques already familiar to them from previously studied works. According to the program, 1 hour is allocated for studying the prologue to the poem. The program does not require a complete reading of the poem, but only reading the prologue and knowing it by heart.

Questions and assignments given in the textbook ed. V.G. Marantsman:

1.Read the prologue. How do you understand the word “Lukomorye”?

2.How do you imagine this fabulous place? Describe in your own words.

.What is the role of the prologue in this work of fiction?

.Determine the genre of the poem.

.Reading Pushkin’s lines, one gets the impression of the “reality” of the fairy tale. Why is that?

2 Study of the poem according to the methodological manual by V.Ya. Korovina

Tasks and questions:

1.What seemed funny and wonderful to you in Pushkin’s prologue, and what seemed ordinary and familiar to a fairy tale?

2.Why is the prologue to “Ruslan and Lyudmila” called a short encyclopedia of Russian fairy-tale folklore?

.What impression did the prologue to the poem make on you?

.What folk tales remind you of the lines from the prologue?

There the king of koschei languishes over gold...

There's a hut there on chicken legs

It stands without windows, without doors.

In the dungeon there the princess is grieving,

And the brown wolf serves her faithfully...

.Find traditional fairy tale formulas, constant epithets in the prologue.

After analyzing the questions and tasks of the textbook and teaching aid, you can set goals:

· Know poetic means of artistic expression

· Be able to determine the role of the Prologue in a poem

· Be able to work with literary text

Conclusions on course work

From early childhood, A.S. Pushkin was imbued with deep respect and love for works of oral folk art: fairy tales, songs, proverbs, sayings. With enthusiasm and joy he listened to the fairy tales told by his grandmother and Arina Rodionovna, the poet’s nanny.

“Ruslan and Lyudmila” is an original work in which the features of a fairy tale intersect with real historical events.

Critics have defined the genre of Pushkin's poem in different ways. Some called it a comic and ironic fairy tale poem. Others are a work in which the historical content prevails over the fabulous.

More than 200 years have passed since the birth of A.S. Pushkin, and his works continue to live, becoming increasingly read and loved over the years in our country and abroad.

I hope that children will still be interested in reading this work, and that my work will be useful in literature lessons in the 5th grade.

Bibliography

1. Bursov B.A. The fate of Pushkin. - Soviet writer. Leningr. department, 1986, p. 60

Maimin E.A. Pushkin. Life and art. - Moscow: “Science”, 1982, p. 35 - 39

Slonimsky A.I. Pushkin's mastery. - Moscow: State. ed. thin literature, 1963, p. 187 - 216

Stepnik Yu.V. On the role of national poetic traditions of the 18th century in the poem

Reader on literary criticism for schoolchildren and applicants. M.: "RIPOL CLASSIC", 2000.

Pushkin: judgments and disputes. - Moscow worker, 1997, p. 17

Problems of modern Pushkin studies. Leningrad Order of the Red Banner of Labor State Pedagogical Institute named after A.I. Herzen, 1986

Makogonenko G.P. Creativity of A.S. Pushkin in the 30s. L., Fiction.

Tomashevsky B.V. Pushkin. Works from different years. M., Book , 1990

Feinberg I. Unfinished works of Pushkin. Moscow, Fiction, 1979

Petrov S.M. Historical novel by Pushkin. M., Publishing House of the USSR Academy of Sciences, 1953.

Lotman Yu.M. At the school of poetic word. M., Enlightenment, 1988

Antokolsky P. About Pushkin. - M.: Soviet writer, 1960.

Zinedullina M.V. Pushkin's myth at the end of the twentieth century. - Chelyabinsk, 2001. 243 p.

Karpushkina L.A. The image of Pushkin in Russian literature XIX - early. XX centuries. Abstract of thesis. for the job application scientist Ph.D. degrees philologist. Sci. - M., 2000.

Poetics of Russian literature: / Pushkin. era. Silver Age./: Sat. scientific Art./Kuban. state un - t; resp. ed. Stepanov L.A. - Krasnodar, 1999.- 183 p.

Rozanov I. Alexander Blok and Pushkin // Book and proletarian revolution. - 1936. - No. 7.

Tomashevsky B.V. Pushkin, book. 2. - M.-L.: Publishing house. USSR Academy of Sciences, 1961.

Kirpotin V. Mir A.S. Pushkin. Articles. Research. M.: Sov. writer, 1993.

Nazirov R. The problem of artistry A.S. Pushkin Under the general ed. G. Shchennikova. Ekaterinburg: Ural Publishing House. University, 1991.

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A poem is a large poetic work with a narrative or lyrical plot. There are many genre varieties of poems: heroic, didactic, satirical, historical, lyrical-dramatic, etc.

In my opinion, “Ruslan and Lyudmila” is an original work in which the features of a fairy tale intersect with real historical events. The plot of the poem is fabulous, everything in it breathes youth and health, the sad is not sad, and the scary is not scary, because sadness easily turns into joy, and the scary becomes funny.

The kidnapping of the bride, her search, the motive of rivalry, the heroine's stay in the enchanted kingdom, performing feats to save her, a happy ending - all this looks like a fairy tale. But as the story progresses, within the plot, there is a constant clash between the fabulous and the most ordinary, the fantastic and the everyday. The sorceress turns out to be not only evil, but also a pitiful old woman, the ferocious sorcerer Chernomor turns out to be a feeble old man. The triumph of truth over deceit, malice and violence - this is the content of the poem. “Ruslan and Lyudmila” is only a fairy tale, with the usual sharp contrast between good and evil characters in fairy tales and with a happy ending.

Do you hear the loving whisper,

And the sweet sound of kisses,

And an intermittent murmur

The last timidity?..

(Song one)

And suddenly there is a sharp transition to the terrible and mysterious. The suddenness of the event is emphasized by the hyphenation and tempo of the verse; there are quick, abrupt phrases:

... Spouse

Feels delight in advance;

here they come...

Thunder struck, light flashed in the fog,

The lamp goes out, the smoke runs out,

Everything around is dark, everything is trembling,

And Ruslan’s soul froze...

Everything fell silent. In the menacing silence

And someone in the smoky depths

Soared blacker than the foggy darkness...

At that time the valiant Farlaf,

Having dozed sweetly all morning,

Hiding from the midday rays,

By the stream, alone,

To strengthen your mental strength,

I dined in peaceful silence.

When suddenly he sees someone in the field,

Like a storm, he rushes on a horse;

And without wasting any more time,

Farlaf, leaving his lunch,

Spear, chain mail, helmet, gloves,

Jumped into the saddle and without looking back

He flies - and he follows him.

(Song two)

The features of the historical poem include names that go back to Karamzin’s “History of the Russian State” (Rogdai, Farlaf), and a description of real historical events. In the sixth song, the poem comes closest to the historical narrative: the siege of Kyiv by the Pechenegs already represents an artistic transformation of a scientific source. The tone of the poem changes noticeably in the sixth canto. Fiction is replaced by history. The gardens of Chernomor are obscured by an authentic picture of the capital city before an enemy attack:

...Kyivians

Crowd on the city wall

And they see: in the morning fog

The tents are white across the river,

Shields shine like a glow;

Riders flash in the fields,

Black dust rises in the distance;

The marching carts are coming,

Bonfires burn on the hills.

Trouble: the Pechenegs have risen!

This is already a reliable and accurate description of the war of the 10th century with its weapons, tactics and even means of communication. This is already the beginning of historical realism. Irony goes hand in hand with fairy tales and history. The author does not hesitate to make fun of his heroine even in her most tragic moments. She cries, but “does not take her eyes off” the mirror; decided to drown herself - and did not drown herself; says that she won’t eat, and then “I thought and began to eat.” Jokes do not in any way violate the lyrical image of the heroine - on the contrary, they give it a “sweet” character.

Rogdai in the poem says to Farlaf: “Despised one, let yourself be caught up! Let me rip your head off!”

The scene of Lyudmila's fight with Chernomor is depicted as follows:

He was already approaching: then,

The princess jumped out of bed,

Gray-haired Karl for the cap

With a quick hand I grabbed it,

Trembling raised fist

And she screamed in fear,

Which stunned all the Arabs.

Every day, when I rise from sleep,

I thank God from the bottom of my heart

Because in our times

There aren't that many wizards.

Besides - honor and glory to them!

Our marriages are safe...

Their plans are not so terrible

For husbands, young girls.

(Song Four)

Also in “Ruslan and Lyudmila” there are features of a romantic poem: an unusual hero - a knight who has no past, an unusual place - the action takes place either in a historical event or in a fairy tale. “It was a “lyric-epic” poem, or, in other words, romantic, because the introduction of a lyrical element into the epic in itself,” wrote A. Slonimsky, “was already a fact of romantic significance. But Pushkin's romanticism was of a special nature. This was not the abstract romanticism of Zhukovsky, which led to superstellar spheres, but the romanticism of youth, health and strength, a romanticism that already had realistic inclinations. Even as he flew away on the “wings of fiction,” Pushkin did not forget about the earth. Reality constantly reminded itself of itself, breaking through the fantastic fabric of the story in the form of lyrical and autobiographical digressions and author’s assessments of persons and events... In “Ruslan” there was not yet - and Belinsky was right in this - complete romanticism penetrating the entire fabric of the work, it was only a step to romanticism. But where the author’s lyrics came into their own, islands of fresh, newly found romantic pictures appeared, and the light music of romanticism sounded. The fantastic is carried out through living perception - through visual, sound and motor sensations - and thereby becomes almost reality...”

In the poem by A. S. Pushkin, the possibility of extra-plot authorial digressions is widely used. With such a digression, for example, the third song of the poem “Ruslan and Lyudmila” opens:

It was in vain that you lurked in the shadows

For peaceful, happy friends,

My poems! You didn't hide

From angry, envying eyes.

Already a pale critic, to her service,

The question was fatal to me:

Why does Ruslanov need a girlfriend?

As if to laugh at her husband,

I call both maiden and princess?

You see, my good reader,

There is a black seal of anger here!

Tell me, Zoilus, tell me, traitor,

Well, how and what should I answer?

The lyrical basis of “Ruslan and Lyudmila” is a festive feeling of life, the fullness of sensations, the play of young forces. The author's position is playfully defined in the dedication:

For you, the soul of my queen,

Beauties, for you alone

Tales of times gone by,

During golden leisure hours,

Under the whisper of chatty old times,

I wrote with a faithful hand;

Please accept my playful work!

The author plays with fairy-tale images, as if not taking them seriously. His imagination glides over the characters, who are outlined with light contours. The brave boast: “I’m going, I’m going, I’m not whistling, but when I get there, I won’t let go!”, all this brave tone in the scene with the Head - do not fit well with the mood of Ruslan, who lost his wife and was just thinking about the “grass of oblivion”, the “eternal darkness of times" and similar romantic subtleties. All this can be explained very simply: the heroes have not yet acquired a completely independent existence, have not isolated themselves from the author’s lyrics. They form the subject of lyrical play, and the springs of their actions are still in the hands of the author. From this point of view, it is quite understandable that ardent romantic feelings are attributed to the ancient knight:

But, tired of ardent passion,

Ruslan in love does not eat or drink,

He looks at his dear friend,

Sighs, gets angry, burns

And, pinching my mustache with impatience,

Counts every moment...

(Song one)

Ruslan is not an ancient knight or an epic hero, but a romantic hero who performs feats to save his beloved. Such a modernization of the heroes provided a convenient excuse for the author’s lyrical intrusions. He puts himself, for example, in the position of Ruslan, who lost his beloved in the midst of “delight”:

And suddenly a minute wife

Lose forever... Oh friends,

Of course, it would be better if I died!..

(Song one)

Ruslan flared up and trembled with anger;

He recognizes this violent voice...

My friends! and our maiden?

Let's leave the knights for an hour...

And at the end of the song, after the story about Lyudmila:

But something about our good knight?

Do you remember the unexpected meeting?..

It is important to note the reform of verse carried out by Pushkin. He assigned lyrical iambic tetrameter to the poem. Pushkin gave it a free lyrical movement, not constrained by the correct alternation of rhymes. He uses triple and quadruple rhymes in “Ruslan and Lyudmila”:

Trembling, with a cold hand

He embodies silent darkness...

Oh, grief: there is no dear friend

It gasps for empty air;

Lyudmila is not in the thick darkness,

Abducted by an unknown force.

(Song one)

Alone walks through the gardens,

He thinks about his friend and sighs,

Or, having given free rein to your dreams,

To my native Kyiv places

Flies into the oblivion of the heart;

Hugs his father and brothers...

(Song Four)

This iambic tetrameter made it possible to freely move intonations - from jokes and irony to soft, melodious lyricism and heroic pathos, from literary polemics to pictures of magical antiquity.

“Ruslan” was written over three years, and naturally, each song was a step forward and had its own character. The poet grew along with his work. He began the poem in the spirit of “cheerful dreams” and “heartfelt inspirations” of his youthful lyrics, but towards the end other, more serious notes sounded in it. During the era of the creation of the poem, the circle of Pushkin’s historical ideas expanded enormously.

“The epic finally triumphs over irony and subjective lyricism,” believed A. Slonimsky, “history over the fairy tale. In this regard, the style and manner of narration changes. The verse grows stronger, becomes more strict and courageous. Persons and events are depicted more specifically. The first songs contained a lot of conventional and traditional things. What is characteristic, for example, of Lyudmila’s behavior in the second song?

She comes up - and in tears

I looked at the noisy waters,

Hit, sobbing, in the chest...

This is a traditional gesture of despair in general, which has no individual characteristics. Ruslan’s melancholy reflections on the battlefield (in the third song) resemble a sentimental-meditative elegy of the Karamzin type.” Ruslan’s speech sometimes descends to simple colloquial speech, but such speech in the mouth of an ancient knight becomes less reliable, too refined:

I can't sleep, my father!

What to do: I am sick at heart.

And it’s not a dream, how sickening it is to live.

Let me refresh my heart

Your holy conversation...

(Song one)

These “somethings”, “I’m sick at heart”, “sick” sound too effeminate. In the sixth song of “Ruslan and Lyudmila” there are no such mistakes. Realistic tendencies can already be felt here. Gestures and behavior of actors are more characteristic of a given person and a given situation. The old prince's excitement at the sight of sleeping Lyudmila is expressed differently than Ruslan's excitement. It is clear that this is an old man, and that he is scared and does not know what to do:

Change your sad face,

The old prince gets up from his chair,

Hastens with heavy steps...

And the old man has a restless look

He stared at the knight in silence...

Ruslan’s behavior is different: he has a magic ring, and he acts quickly and energetically, not even paying attention to Farlaf, who rushed to his feet:

But, remembering the secret gift of the ring,

Ruslan flies to the sleeping Lyudmila,

Her calm face

Touches with a trembling hand...

Only this “trembling hand” betrays Ruslan’s excitement. Here is how A. Slonimsky spoke about the sixth song: “The characters here are not lumped together, but are isolated from each other: each has their own position. The scene gained in terms of brevity and became psychologically and mimicically more deeply grounded.” The beginning of the first song - concise, colorful - seemed to promise a historical poem:

Our ancestors did not eat soon,

It didn't take long to move around

Ladles, silver bowls

With boiling beer and wine.

They poured joy into my heart,

Foam hissed around the edges,

It is important that the teacups wore them

And they bowed low to the guests.

Everything here exuded sedate antiquity: the slow circular movement of the vessels (“not soon…”), the important posture of the cup makers, their low bows. Belinsky even suggested that the first seventeen verses were the reason for “adding” the entire poem to them. Then a fairy tale began, where there were no real historical events, and the action took place outside of time and space. In the sixth song we return to earth again. Ruslan becomes more real and psychological here.

“In the creative evolution of Pushkin, the significance of the last song “Ruslan and Lyudmila” is enormous. Here, for the first time, the people appear in his work as an active force in history. He is shown in his worries, hopes, struggles and victories. The great theme of national struggle and glory enters the poem, wrote Grossman. - At the last stage of his fabulous wanderings, the hero becomes the liberator of the Motherland. All wounded in battle, he holds in his right hand the victorious sword that liberated the Grand Duchy from enslavement. The fairy tale takes on a historical perspective. “The legends of deep antiquity” resonate with modern times: through the vivid picture of the expulsion of the Pechenegs, the theme of Russia’s deliverance from foreign invasion in 1812 sounds.” The final fragment, to a certain extent, diverges in style from the spirit of the poem it is intended to complete. Preserving the tradition of the magical knightly novel, A. S. Pushkin, towards the end of the poem, combines in a new way the fantastic elements of the Old Slavic fairy tale with the dramatic facts of Old Russian history, freely mixing genres. He created a work that still arouses genuine interest among many generations of readers.

The work was created by the great poet and writer Alexander Sergeevich Pushkin. The master's creativity is just beginning to unfold. The author pierced the poem with a fabulous presence. The basic idea is quite interesting.

The main character Ruslan married the prince's beautiful daughter Lyudmila. The character has rivals: Rogdai, Farlaf, Ratmir. They are saddened by what is a cause for celebration. When the young couple headed to their chambers, something happened: thunder roared, it became dark. After this, the hero realized that the girl was missing. Three knights and Ruslan go on a search.

Brave Ruslan learned that the kidnapper's name was Chernomor, he was a wizard. Rogdai believed that the main rival in the battle for Lyudmila was her new husband. He wants to kill him in order to steal the girl's love. The battle took place near the banks of the Dnieper. Our hero turned out to be the best warrior, Rogdai died in the river.

At this time, Lyudmila woke up and realized that she was in rich chambers. Three girls braided her hair and put on beautiful outfits. The princess only remembers her lover. At night, Chernomor comes to visit the kidnapped person; he was frightened by her scream and became entangled in his own beard (all his strength lives in it).

Ruslan sees the field of the former battle, having found armor for himself, he could not find a worthy sword. There he met the head of a giant. The head told about what happened to it, about the meanness of the dwarf brother Chernomor, who cut off the giant’s head while sleeping with a powerful sword. From the story, he realized that all the strength of the kidnapper was in his long beard.

The hero challenges the sorcerer to a duel to free his beloved. The battle lasted three days, the battle was great. Ruslan was able to cut off the villain's beard. He returned to Chernomor's domain, looking for Lyudmila. When he accidentally tore off her invisibility cap, he discovered that she was bewitched in an unconscious state. The good wizard Finn appeared and said that Lyudmila needed to be taken to Kyiv, where she would wake up. That's what the hero did.

On the way home, he told the head that he had avenged her, the giant was able to die peacefully. Ratmir found happiness in another girl; when they met, the former rivals wished each other happiness. But the evil witch Naina appeared to the coward Farlaf, she took him to the sleeping Ruslan. Farlaf hit Ruslan in the chest three times and stole the girl. He brought Lyudmila to Kyiv, but she does not regain consciousness.

Ruslan was saved by Finn, he revived him with the help of dead and living water. The wizard gave the hero a ring to save his beloved. The prince and his army defended his city from the Pecheneg army. He disenchanted Lyudmila.

We can conclude that good triumphs over evil.

Option 2

One of the main characters in this work is a brave and strong knight named Ruslan. Ruslan goes through many difficult trials. The brave knight went to a distant place filled with adventures and dangers, albeit to save his beloved woman named Lyudmila. On his way, he will meet many evil and insidious enemies. His bride was kidnapped by the dwarf Chernomor, to whose lair he was gradually approaching.

All the characters, both positive and negative, are described very colorfully and interestingly; the reader can imagine them in his head, since they are also very realistic. Some characters evoke anger, some feel pity.

The brave knight defeated his evil enemy and frees his beloved bride. But later, the cunning and cruel Farlaf stabbed Ruslan with a sword while he was sleeping. Due to a vile act, Ruslan dies, but is resurrected by a hermit named Finn. The Finn also gave the hero a magic ring that will help him wake up his enchanted bride. After this, the brave Ruslan goes to Kyiv and wins there. He also saves Lyudmila from sleep.

The character of Chernomor in this work is negative. He managed to kidnap the bride at the wedding itself. He deprived people of happiness and peace.

The image of Lyudmila was like the image of an angel. She is pure and immaculate. The girl is also very beautiful, she has golden long hair and graceful shoulders and waist. Lyudmila is also a very brave and courageous girl. She tried to fight back the evil dwarf.

In the work you can meet another female character - Naina. Her fate is very sad and dramatic. She looks like an evil witch. But behind the mask of the sorceress hides a thin and flabby hunchbacked old woman. From her story, it becomes clear to the reader that she was once a beautiful girl, but time took away this beauty and youth from her. She was also the object of sympathy for the evil Chernomor, he also kidnapped her like Lyudmila, but later rejected her. After this, for many years the girl studied witchcraft.

Like any fairy tale, this one has a happy ending. Ultimately, evil was defeated, because the hero was able to overcome all the difficulties that came his way and defeat the sorcerer. Chernomor was very ashamed of his act and went to serve the father of the girl Lyudmila.

At the end of the work, Ruslan and Lyudmila finally get married and no one will stop them from doing so, they will be happy husband and wife.

Essay 3

Alexander Pushkin first conceived the idea of the poem “Ruslan and Lyudmila” while studying at the Tsarskoye Selo Lyceum, however, it is believed that work on the work took place in 1818-1820. The content and composition of the poem were influenced by such fashionable trends of the late 18th-19th centuries as classicism, sentimentalism, chivalric romances, and romanticism.

The plot of “Ruslan and Lyudmila” is built according to the stereotypical scheme of a knightly romance: the beauty is kidnapped by a villain, and the knight must go through many difficulties to save her. As a rule, a knight has rivals who are unworthy of a beautiful beauty. So it is in this case. At the feast, Lyudmila is kidnapped by Chernomor, and Ruslan and his rivals Ratmir, Ragdai and Farlaf, whose names are borrowed from the “History of the Russian State,” are looking for the beauty. Having overcome all difficulties, Ruslan manages to return his beloved.

Ruslan is an old and light-blond young man. The color of his hair symbolizes the purity of his thoughts, the nobility of his soul. The image of Ruslan is very similar to the images of heroes from epics. He is also the strongest, the bravest, the most determined. Ruslan loves Lyudmila very much. Even at the feast, he does not notice the conversations of his rivals, as he is absorbed in thoughts of Lyudmila. He loves her self-sacrificingly, giving up everything he has.

The image of Lyudmila is somewhat similar to the images of Russian beauties from epics. She is also the most beautiful, the tallest, the most skillful. However, in Lyudmila there is a certain carelessness and frivolity, flirtatiousness and melancholy inherent in girls of Pushkin’s time. Lyudmila remains faithful to her beloved Ruslan and does not agree to the kidnapper’s tricks. She waits and believes that Ruslan will definitely save her.

The image of the sorcerer is represented by the image of Chernomor. He is a short old man with a long beard who has magical powers. He kidnaps Lyudmila with his own strength and keeps her in the castle, and also prevents Ruslan from finding her.

Of course, “Ruslan and Lyudmila” is very reminiscent of a fairy tale, so one of the author’s main tasks is to show the victory of good over evil. And so it happened. Ruslan, a representative of the side of good, was able to overcome all difficulties and saved Lyudmila. Chernomor was deprived of magical abilities. Ruslan acted very mercifully and humanely, allowing him to continue living in his castle.

The poem “Ruslan and Lyudmila” belongs to the early work of Alexander Pushkin, where a craving for national motifs is still expressed, which is not present in the works of his mature period.

Prince and commander Dmitry Donskoy depicted in the painting by Victor Matorin is the personification of the power and fortitude of the Russian people

Gypsy character and image in the story Gorky's Childhood essay

The character of Maxim Gorky's story, nineteen-year-old Ivan, is very ambiguous. He received the nickname Gypsy because of his appearance - dark skin, dark hair, plus he often stole from the market

Essay based on the novel Fathers and Sons by Ivan Turgenev, grade 10

The work is dedicated to new ideas that penetrated Russia in the nineteenth century. In the images of his heroes, the author shows different sides of the opposing beliefs that dominated society at that time.

The above decoding makes Pushkin’s work in these symbols harmonious and logical from beginning to end. This does not mean that when writing the poem, Pushkin had exactly the same ideas at the level of his own consciousness. The point is that through his unconscious levels of the psyche, through the images and drawings underlying the text, he was given global information from Above, which he reflected in his works. The above transcript is captivating with its logic and degree of correspondence with the text, but does not at all pretend to be exclusive. Such transcripts come to their authors through information channels linked to the channels that once worked for Pushkin, with Pushkin’s egregor.

Among the works of special significance in conceptual terms is the work of A.S. Pushkin's "Gavriliad". It helps to understand the nature of the official proclamation of the Prophets, as well as why there were no Prophets in the history of Russian civilization. The meaning of the “Gavriliad” comes down to the fact that the devil’s forces (the Tempter Serpent), the egregorial-church forces (the Archangel Gabriel) and God the Creator and Almighty had a relationship with the conception of Christ. Thus A.S. Pushkin shows that I. Christ was formed and involved simultaneously in three scenarios. He was a Righteous One who received revelations from Above, secondly, he is used by egregorial levels, church hierarchies to solve their earthly problems and, finally, by satanic forces raping humanity and shedding rivers of blood with crosses on their chests and the name of Christ on their lips. The righteous, who over the past three thousand years have not been able to fit into the script needed by the healers, are not declared Prophets. In "Gavriliad" the understanding of these processes by A.S. Pushkin demonstrates openly.

With the story of Moses
I don’t agree with my story:
He wanted to captivate the Jew with a fiction,
He lied importantly, and they listened to him.
God rewarded him with a submissive style and mind,
Moses became a famous gentleman,
But believe me, I am not a court historian,
I don’t need the important rank of a Prophet!

A.V.: What do you see as the origins of such a special mission of A.S. Pushkin?

V.A.: A.S. Pushkin, without a doubt, belonged to the systems of priestly initiation. In him, on his father’s side, he combined the knowledge of Holy Russian, Slavic, and on his mother’s side - the ancient Egyptian priesthood. The depth of his penetration into the mysteries of existence can be judged even by individual rare stories, where he provides information in a direct, uncoded form. Think about whether a person who wrote, for example, the following could write fairy tales for children:

Desert sower of freedom,
I left early, before the star;
With a clean and innocent hand
Into the enslaved reins
Threw a life-giving seed -
But I only lost time
Good thoughts and works...

Graze, peaceful peoples!
The cry of honor will not wake you up.
Why do the herds need the gifts of freedom?
They should be cut or trimmed.
Their inheritance from generation to generation
A yoke with rattles and a whip.

Or listen to how he understood the worthlessness of the official branches of government, in particular the legislative branch, in global governance schemes:

I don’t value loud rights dearly,
Which makes more than one head spin.
I don't complain that the gods refused
It's my sweet fate to challenge taxes,
Or prevent kings from fighting each other;

And there is little grief for me,
Is the press free to fool the fools?
Or sensitive censorship
In magazine plans, the joker is embarrassed.

And what is his most accurate algorithm for detuning from enslavement to economic priority through gold and world money? In fact, it provides an algorithm for crisis-free management, which we only have to comprehend and implement in practice:

How does the state get rich?
And what does he live on, and why?
He doesn't need gold
When a simple product has.

Having comprehended these lines, you understand that, contrary to the imposed stereotypes, our money supply should remain unchanged, even if not a single dollar or a single gram of gold remains in the country. And listen to what a cruel sentence A.S. pronounces. Pushkin to the future of usury, which in our time has destroyed the manufacturing sector of Russia with exorbitant usurious loan interest rates reaching up to 210% per annum:

The little imp, tucking his hoof under himself,
Twisted the moneylender by the fire of hell.
Hot fat dripped into the smoked trough.
And the money-lender baked on the fire.

This execution has great meaning:
Always having one acquisition in the subject,
This evil old man sucked the fat of his debtors
And he mercilessly spun them around in your light.

A.V.: In our programs you convincingly showed the essence of the six management priorities of conceptual power. There is also an idea of them in the works of A.S. Pushkin?

V.A.: Yes, that's true. I consider it possible to give answers to your questions directly in the verses of A.S. Pushkin. We are convinced that the priority of military weapons is the weakest, they are used by those who have not mastered the methodology for using information weapons. Now let’s listen to A.S. Pushkin:

Rivals in the art of warfare,
Know no peace among yourselves;
Bring tribute to the dark glory,
And revel in enmity!
Let the world freeze before you,
Marveling at the terrible celebrations:
No one will regret you
Nobody will bother you.

And here is his remark about the interaction of this military priority with genetic weapons:

Has God really given us one thing?
Is there pleasure in the sublunary world?
We are left in consolation
War and muses and wine.

Pushkin’s thought on the fourth priority of essentially world money has already been heard. Let's give his advice to the screenwriters of the third ideological priority.

You, knights of the Parnassian mountains,
Try not to make people laugh
The immodest noise of your quarrels;
Scold - just be careful.

A.V.: Could you give other, more or less obvious decodings of the second semantic series of A.S. Pushkin?

V.A.: You, apparently, remember our special program dedicated to the method of growing, during the 42-year campaign of Moses, zombified administrative periphery of social healer structures, biorobots according to the function they perform on Earth. And here is a reflection of the results of this savage experiment on human genetics in the work of A.S. Pushkin:

He was deafened by the noise of internal anxiety.
And so he is his unhappy age
Dragged, neither beast nor man,
Neither this nor that, nor the inhabitant of the world
Not a dead ghost...

Pushkin clearly and unambiguously speaks about his understanding of the Law of Time that we had previously discovered and the powerlessness of the Global Predictor and previous control algorithms in front of it:

He brings down the stars from the sky,
He whistles - the moon trembles;
But against the TIME OF LAW
His science is not strong.

Seven works by A.S. are filled with special mysticism. Pushkin, written in a single chronological and semantic matrix, ending with the work "Blizzard", which became the musical epigraph of our program. Of these, the “Secluded House on Vasilyevsky” (1828) stands out, followed by a rigid chronological grid:

On October 9, 14 and 20, 1830, “The Undertaker,” “The Station Agent,” and “The Young Lady and the Peasant Woman” were released in succession. Strictly on the same dates

All these seven works are written in the same matrix of images - each of them has seven main characters. Let us give inquisitive radio listeners the opportunity to identify these characters with social phenomena. Let's give some tips:

form of government - widow or widower in all seven works of A.S. Pushkin;

the ruling elite is the image of a dead man in each of the works;

liberal intelligentsia - Vladimir Nikolaevich, Masha's fiancé ("Blizzard");

people - Masha ("Blizzard", "Shot"), Parasha ("House in Kolomna");

ideology before 1917 - Masha's maid ("Blizzard"), Thekla ("Little House in Kolomna");

ideology after 1917 - Mavra ("Little House in Kolomna"); Shmit ("Blizzard")

contenders for leadership of the people - Colonel Burmin ("Blizzard"), the Black Mustache guards ("House in Kolomna").

Today the information left to humanity by A.S. Pushkin, started working. I would like to end today’s program with verses from one of the proponents of the “Dead Water” concept.

wedding feast

Kidnapping of Lyudmila

Meeting with a hermit

The Hermit's Story

Opponent's plans

Naina's appearance

Lyudmila at Chernomor

The Sorcerer's Secret

The disappearance of Lyudmila

Monstrous Head

Adventures of Ratmir

Lyudmila's deception

Battle

Death of Ruslan

Return to Kyiv

Happy ending of the poem "Ruslan and Lyudmila"

Tutoring

Option 2

Essay 3

I don’t value loud rights dearly, Which makes more than one head spin. I don't complain that the gods refused It's my sweet fate to challenge taxes, Or prevent kings from fighting each other;

And there is little grief for me, Is the press free to fool the fools? Or sensitive censorship In magazine plans, the joker is embarrassed.

How does the state get rich? And what does he live on, and why? He doesn't need gold When a simple product has.

The little imp, tucking his hoof under himself, Twisted the moneylender by the fire of hell. Hot fat dripped into the smoked trough. And the money-lender baked on the fire.

Rivals in the art of warfare, Know no peace among yourselves; Bring tribute to the dark glory, And revel in enmity! Let the world freeze before you, Marveling at the terrible celebrations: No one will regret you Nobody will bother you.

Has God really given us one thing? Is there pleasure in the sublunary world? We are left in consolation War and muses and wine.

You, knights of the Parnassian mountains, Try not to make people laugh The immodest noise of your quarrels; Scold - just be careful.

He was deafened by the noise of internal anxiety. And so he is his unhappy age Dragged, neither beast nor man, Neither this nor that, nor the inhabitant of the world Not a dead ghost...

He brings down the stars from the sky, He whistles - the moon trembles; But against the TIME OF LAW His science is not strong.

Read also

I don’t value loud rights dearly,
Which makes more than one head spin.
I don't complain that the gods refused
It's my sweet fate to challenge taxes,
Or prevent kings from fighting each other;

And there is little grief for me,
Is the press free to fool the fools?
Or sensitive censorship
In magazine plans, the joker is embarrassed.

How does the state get rich?
And what does he live on, and why?
He doesn't need gold
When a simple product has.

The little imp, tucking his hoof under himself,
Twisted the moneylender by the fire of hell.
Hot fat dripped into the smoked trough.
And the money-lender baked on the fire.

Rivals in the art of warfare,
Know no peace among yourselves;
Bring tribute to the dark glory,
And revel in enmity!
Let the world freeze before you,
Marveling at the terrible celebrations:
No one will regret you
Nobody will bother you.

Has God really given us one thing?
Is there pleasure in the sublunary world?
We are left in consolation
War and muses and wine.

You, knights of the Parnassian mountains,
Try not to make people laugh
The immodest noise of your quarrels;
Scold - just be careful.

He was deafened by the noise of internal anxiety.
And so he is his unhappy age
Dragged, neither beast nor man,
Neither this nor that, nor the inhabitant of the world
Not a dead ghost...

He brings down the stars from the sky,
He whistles - the moon trembles;
But against the TIME OF LAW
His science is not strong.