In the second half of the 19th century, there was a surge of Russian lyric poetry. Only a listing of the most famous names of poets says a lot - Apollon Nikolaevich Maikov (1821-1897), Apollon Alexandrovich Grigoriev (1882-1864), Yakov Petrovich Polonsky (1819-1898), Ivan Savich Nikitin (1824-1861), Alexei Nikolaevich Apukhtin ( 1840-1893), Konstantin Konstantinovich Sluchevsky (1837-1904), Semyon Yakovlevich Nadson (1862-1887), Konstantin Mikhailovich Fofanov (1862-1911), Fedor Ivanovich Tyutchev (1803-1873), Alexei Konstantinovich Tolstoy (1817-1875), Afanasy Afanasyevich Fet (1820-1892), Nikolai Alekseevich Nekrasov (1821-1877/78).

Unfortunately, the triumph of poetry was short-lived. In Russian literature, prose is developing, especially large epic forms. The triumph of prose turned out to be more durable and is associated with the names of I. Turgenev, F. Dostoevsky, L. Tolstoy. And yet the poetry of the second half XIX century had a huge role in the development of Russian literature and culture in general. Poetry was a multifaceted system in which there were various forms of manifestation of the lyrical "I". To understand this "I", and the reader must have an open heart and soul. N.V. Gogol noted: “Reading a lyrical work properly is not a trifle at all.”

It is important to remember that poetry developed in two directions - Pushkin's and Gogol's. Romantics of the 19th century (especially A.S. Pushkin) proclaimed its independence from the authorities and the people, considered the poet a creator who was inspired by God. The program for them was a poem by A.S. Pushkin "The Poet and the Crowd". The slogan is the final words "Not for worldly excitement, / Not for self-interest, not for battles, / We were born for inspiration, / For sweet sounds and prayers." The ideas of the Romantics of the beginning of the century were picked up by the Romantics of the second half of the 19th century and substantiated the theory of "pure art". The main provisions of "pure art" can be formulated as follows: art should not depict reality, play a social role. The purpose of art is to create beautiful, i.e. poetic world. Art should exist for the elite.

The opposite point of view on the art of the civil direction was substantiated by N.V. Gogol in the poem "Dead Souls" (the beginning of the seventh chapter). He compared the creator of "art for art's sake" and the writer-denunciator. The principles of the “civilian” direction in the poetry of the second half of the 19th century are most consistently and vividly implemented in the poetry of N.A. Nekrasov.

Gogol proclaimed and embodied the idea that poetry should serve the people. Nekrasov made the peasant the main character of poetry, and the struggle for his happiness - the pathos of his work. The ideas of "pure art" are the basis of the worldview and artistic system of A.A. Feta. From the point of view of the history of poetry, the Pushkin and Gogol trends enriched the literature, culture, poetry of the 19th century and prepared many phenomena of the cultural life of Russia.

The poets of the second half of the 19th century turned out to be receptive to life, to the spiritual atmosphere of Russian society. They continued and developed the traditions of the Russian poetic school of the 18th - early 19th centuries. At the same time, poets were looking for a new poetic language, original forms of its expression. They were concerned about issues of national identity; ratio of good and evil; death and immortality; spiritual generosity of people. A feature of Russian poetry of the 19th century is the magic of sound and words. I. Nikitin conveys the subtlest shades of color, form and sound. Landscape lyrics are intensively developing (A. Maikov, "Landscape"; I. Koltsov, "South and North"; K. Sluchevsky, "Oh, do not scold me for the fact that I lived aimlessly ...", etc.).

Song character, folklore, Russian antiquity, the beauties of domestic nature, the originality of the Russian national character became the source of Russian poetry. Alexander Blok called A. Grigoriev's poem "The Gypsy Hungarian Woman" "the only pearls of its kind in Russian poetry." The "guitar" nature of the poem, set to music, made it a popular romance. Many poems by Y. Polonsky, "The Song of a Gypsy" (arranged to music by P.I. Tchaikovsky) became romances and folk songs. Famous romances were A. Apukhtin's poems, set to music, "A Pair of Bays", "Crazy Nights, Sleepless Nights ..."; S.Ya. Nadson "In the shadow of a pensive garden...".

In the second half of the 19th century, Russian poetry gradually moved towards modernism. Such was the movement in world literature, especially in French poetry. Baudelaire, Rimbaud, Verlaine - the French symbolists were contemporaries of N. Nekrasov, late A.A. Fet, V. Solovyov. The harbingers of modernism in Russia were primarily F.I. Tyutchev, A.A. Fet.

As the researcher V.S. Babaevsky: “Russian poetry of the 19th century, as a whole, with all its structural and chronological diversity, a manifestation of the spirit of the people, does not fit strictly into the boundaries of the century. The last decade, the 1890s, already belongs in its essence to modernism. We can say that for Russian poetry the 20th century began in 1892. Poetry K.M. Fofanova and S.Ya. Nadson connected two centuries of Russian poetry “golden” and “silver”.

etc.) and dactylic rhymes. If earlier 3-syllables were used only in small genres, then Nekrasov and other poets also write large poems and poems with them (III,,,). 3-syllables become universal. If in the XVIII century. iambs made up more than 80% of all poetic lines, and 3-syllables less than 1%, if in the first quarter of the 19th century. - respectively 3/4 and about 4%, then in the period under consideration iambic - about 2/3, 3-syllables - 13% ( ). And Nekrasov has iambs - about 1/2, 3-syllables - about 1/3. 3-syllables are dominated by 3-foot (III, , , , , , ,), less often 4-foot (III, , ,) and alternation of different stops; 5-foot single (III, ).

Comparing the 3-foot anapaests of Nekrasov (III, , , , , ) given here, you can see how diverse they are rhythmically and intonationally - from song verse to colloquial verse.

In the 40s, dactylic rhymes were used even more often in comic verse, couplet or feuilleton, for example, in iambic 3-foot with cross alternation with masculine ones: A? bA? b (III,). From the middle of the century, dactylic rhymes become as universal as feminine ones (III, , , , , , , , , ). The only size they have not been grafted to is iambic 4-foot. In the form of a single experiment, they appear even in the Alexandrian verse, instead of female ones (III, ).

Experiences of imitation of folk verse become few - and only in small genres (III, , , ). From the second third of the XIX century. imitation of the Russian folk song in many ways begins to approach the gypsy romance (cf. II,,; III,). The poet, Nekrasov, who most organically assimilated the poetics of folklore, absorbed folk poetic vocabulary, syntax, imagery, but from the features of folk verse he perceived only dactylic rhymes - and made them the property of literary verse.

Nekrasov is the only poet of the 19th century who allowed 15 omissions of metric stress (tribrachs) in 3-syllables (III, , , ), which will develop half a century later. In Nekrasov, there are interruptions in meter, anticipating the achievements of the poets of the 20th century, in particular Mayakovsky. In several works, among the usual 3-syllables, he allows contractions, introducing separate dolnikov verses (III, , ); or highlights the ending by putting a dactyl instead of an anapaest (III, ); or adds an extra syllable, turning the dactyl into a tactician - at the same time, again, into a “dactylic” tactician instead of an anapaest (III,).

Few contemporaries appreciated these innovations. The editor of the first posthumous edition of Nekrasov corrected the imaginary mistakes of the poet. N. G. Chernyshevsky rightly wrote: “The usual reason for amendments gives him an “irregularity in size”; but in fact the meter of the verse he corrects is correct. The fact is that Nekrasov sometimes inserts a two-syllable foot into the verse of a play written in three-syllable feet; when this is done the way Nekrasov does, it does not constitute an irregularity. I will give one example. In The Wanderer's Song, Nekrasov wrote:

I'm already in the third: man! Why are you beating your grandmother?

In the Posthumous Edition, the verse is corrected:

... why are you hitting a woman?

Nekrasov, not through an oversight, but deliberately, made the last foot of the verse two-syllable: this gives special power to expression. The amendment corrupts the verse."

Tyutchev's metric interruptions are few, but extremely expressive, moreover, in the most traditional, and therefore the most conservative size - iambic 4-foot (III,,). The innovation of Nekrasov and Tyutchev was duly appreciated in our days, against the backdrop of Blok, Mayakovsky and Pasternak, when dolniks, tacticians, tribrachs, and metric interruptions have become familiar. Single examples of free verse (III, ) are a foreshadowing of the 20th century.

Rhyme. During this period, approximate rhyme begins to develop ( birch - tears); theoretically it was substantiated and often used in all genres by A. K. Tolstoy (III,,), but the main background remains the exact rhyme. Lyrics, folklore stylizations are satisfied with familiar rhymes, in dactylic rhymes the percentage of grammatical ones is especially high: consolation - salvation etc.

Composite rhymes are frequent in satire, with proper names, barbarisms (III,,,). D. D. Minaev was nicknamed the king of rhyme: his punning rhymes, like the compound rhymes of Nekrasov the feuilletonist, anticipate the achievements of Mayakovsky.

The sound instrumentation of the verse, in particular the inner rhyme (III, , , , , , , , ), begins to acquire greater significance than in the previous period.

strophic. The proportion of strophic works is increasing. If in the XVIII and the first quarter of the XIX century. their number was approximately one third of all poetic works, but now it noticeably exceeds half ( ). 4-verses predominate. Huge complex stanzas, like those of Derzhavin and Zhukovsky, come to naught. But Fet and some other poets virtuously vary 6-verses (III, , , , , ,), 8-verses (III, , ), odd stanzas are unusual (III, , , ), even 4-verses sound unusual (III , ). Of particular note are the stanzas with blank verses. There are two types. One is a 4-verse with only even verses rhymed haha ​​(III,,), which became very popular from the middle of the century under the influence of translations from Heine. The other is individual stanzas. For the early Tyutchev, they were similar to Derzhavin's (III,,), for Fet they were peculiar (III,,).

Diverse stanzas continue to develop, first of all - 4-verses (III, , , , ). The extreme degree of contrasting diversity - rhyme-echo (III,) and the combination in the stanza of different meters (III,) - so far only in satire.

Examples of strophic free verse are becoming more frequent (III,,). The sonnet fades into the background; from other solid forms, a sextine suddenly appears - in L. A. Mey (III,), L. N. Trefolev. Unlike the canonical form, both of them are rhymed.

Unusual strophoids of white iambic 3-foot are created by Nekrasov in the poem “Who Lives Well in Russia” and in the poem “Green Noise” (III,), written simultaneously with the beginning of the poem. The alternation of dactylic and masculine clauses is not set by the stanza model, but depends on the syntactic structure. Within one sentence, which can cover from 2 to 7 verses in a poem (from 2 to 5 in a poem), all endings are dactylic; the end of a phrase is indicated by a masculine clause. This is just as individual a structure as, for example, Onegin's stanza, and if it occurs in someone, it sounds like a rhythmic quotation.

F. I. Tyutchev (1803–1873)

As the ocean embraces the globe,
Earthly life is surrounded by dreams;
Night will come - and sonorous waves
The element hits its shore.

That is her voice; he urges us and asks...
Already in the pier the magic boat came to life;
The tide is rising and taking us fast
Into the immensity of dark waves.

vault of heaven; burning with star glory,
Mysteriously looks from the depths, -
And we are sailing, a flaming abyss
Surrounded on all sides.

2. Two sisters

I saw both of you together -
And I recognized all of you in her ...
The same look of silence, the tenderness of the voice,
The same charm of the morning hour,
What blew from your head!

And everything, as in a magic mirror,
Everything is redefined:
Past days of sadness and joy
Your lost youth
My lost love!

3. Madness

Where with the scorched earth
Merged like smoke, the vault of heaven, -
There in carefree fun? Loy
Madness miserable lives on.

Under fiery rays
Buried in the fiery sands
It has glass eyes
Looking for something in the clouds.

It suddenly springs up and, with a sensitive ear
Falling to the cracked earth
Hearing something with a greedy ear
With secret contentment on the forehead.

And he thinks that he hears boiling jets,
What hears the current of underground waters,
And their lullaby singing
And a noisy exit from the earth! ..

Let the pines and firs
All winter stick out
In the snow and blizzard
Wrapped up, they sleep.
Their skinny greens
Like hedgehog needles
Though it never turns yellow,
But never fresh.

We are a light tribe
Bloom and shine
And a short time
We are guests on branches.
All red summer
We were beautiful
Played with rays
Bathed in dew!

But the birds sang
The flowers have faded
The rays faded
The Zephyrs are gone.
So what do we get for free
Hang and turn yellow?
Isn't it better for them
And we'll fly away!

O wild winds,
Hurry, hurry!
Rip us off
From boring branches!
Rip it off, rip it off
We don't want to wait
Fly, fly!
We fly with you!

Be silent, hide and hide
And your feelings and dreams -
Let in the depths of the soul
They get up and come in
Silently, like stars in the night,
Admire them - and be silent.

How can the heart express itself?
How can someone else understand you?
Will he understand how you live?
Thought spoken is a lie.
Exploding, disturb the keys, -
Eat them - and be silent.

Only know how to live in yourself -
There is a whole world in your soul
Mysterious magical thoughts;
Outside noise will deafen them
Daytime rays will disperse, -
Listen to their singing - and be silent! ..

6. Spring calm

(From Uhland)

Oh don't put me down
Into the damp ground
Hide, bury me
Into the thick grass!

Let the breath of the breeze
move the grass,
The flute sings from afar,
Light and quiet clouds
Float over me!

7. Sleep on the sea

And the sea and the storm rocked our boat;
I, sleepy, was betrayed by every whim of the waves.
Two infinities were in me,
And they arbitrarily played with me.
Rocks sounded around me like cymbals,
The winds called and the billows sang.
I lay stunned in the chaos of sounds,
But my dream hovered over the chaos of sounds.
Painfully bright, magically mute,
It blew lightly over the thundering darkness.
In the rays of the flame, he developed his world -
The earth turned green, the ether glowed,
Lavirinth gardens, halls, pillars,
And hosts seethed silent crowd.
I learned a lot of unknown faces,
Ripe creatures magical, mysterious birds,
On the heights of creation, like a god, I walked,
And the world under me motionless shone.
But all dreams through and through, like a wizard's howl,
I heard the roar of the deep sea,
And into the quiet realm of visions and dreams
The foam of roaring shafts burst in.

My soul is Elysium of shadows,
Shadows silent, bright and beautiful,
Nor the thoughts of this violent year,
Not involved in joys or sorrows.

My soul, Elysium of shadows,
What is common between life and you!
Between you, ghosts of past, better days
And this insensitive crowd? ..

10. Day and night

On the world of the mysterious spirit?
Above this nameless abyss,
The cover is thrown over with gold-woven
High will of the gods.
Day - this brilliant cover -
Day, earthly revival,
Souls of the aching healing,
Friend of men and gods!

But the day fades - the night has come;
Came, and from the fatal world
The fabric of the fertile cover
Tearing off, throwing away...
And the abyss is naked to us
With your fears and darkness
And there are no barriers between her and us -
That's why we are afraid of the night!

11. Russian woman

Far from the sun and nature
Far from light and art
Far away from life and love
Your younger years will flash,
Feelings that are alive will die,
Your dreams will shatter...

And your life will pass unseen
In a land deserted, nameless,
On unseen land,
How the cloud of smoke disappears
In the sky dim and misty,
In the autumn endless haze ...

Like a pillar of smoke brightens in the sky! -
How the shadow below glides elusively! ..
“This is our life,” you said to me,
Not light smoke, shining in the moonlight,
And this shadow running from the smoke ... "

Human tears, oh human tears,
You pour early and late sometimes ...
Flow unknown, flow invisible,
Inexhaustible, innumerable, -
Pour like rain streams pour
In autumn, deaf, sometimes at night.

14. Poetry

Among thunders, among fires,
Among the seething passions,
In spontaneous, fiery discord,
She flies from heaven to us -
Heavenly to earthly sons,
With azure clarity in your eyes -
And on the stormy sea
Pours conciliatory oil.

I don't know if grace will touch
Of my painfully sinful soul,
Will she be able to rise and rise,
Will spiritual fainting go away?

But if the soul could
Here on earth find peace
You would be a blessing to me -
You, you, my earthly providence! ..

16. Last love

Oh, how in our declining years
We love more tenderly and more superstitiously ...
Shine, shine, parting light
Last love, evening dawn!

Half the sky was engulfed by a shadow,
Only there, in the west, radiance wanders,
Slow down, slow down, evening day,
Last, last, charm.

Let the blood run thin in the veins,
But tenderness does not fail in the heart ...
Oh, last love!
You are both bliss and hopelessness.

Between 1852 and 1854

Is in the autumn of the original
Short but wonderful time -
The whole day stands as if crystal,
And radiant evenings ...

Where a peppy sickle walked and an ear fell,
Now everything is empty - space is everywhere, -
Only cobwebs of thin hair
Shines on an idle furrow.

The air is empty, the birds are no longer heard,
But far from the first winter storms -
And pure and warm azure pours
On the resting field…

Nature is a sphinx. And the more she returns
With his temptation, he destroys a person,
What, perhaps, no from the century
There is no riddle, and there was none.

I. S. Turgenev (1818–1883)

19. (On the road)

Foggy morning, gray morning
Fields sad, covered with snow,
Reluctantly remember the time of the past,
Remember faces long forgotten.

Remember abundant passionate speeches,
Looks, so greedily, so timidly caught,
First meetings, last meetings,
Quiet voice favorite sounds.

Remember separation with a strange smile,
You will remember a lot of distant native,
Listening to the unceasing murmur of the wheels,
Looking thoughtfully at the wide sky.

With missing eyes
I see an invisible light
By missing ears
I will hear the chorus of silent planets.
With missing hands
I will paint a portrait without paints.
missing teeth
Eat an immaterial pate,
And I will talk about
Non-existent mind.

Green Noise is coming,
Green Noise, spring noise!

Playfully disperse
Suddenly the wind is riding:
Shakes alder bushes,
Raise flower dust
Like a cloud, everything is green:
Both air and water!

Green Noise is coming,
Green Noise, spring noise!

My hostess is humble
Natalya Patrikeevna,
Water will not stir!
Yes, she got in trouble.
As a summer I lived in St. Petersburg ...
She said, stupid
Pip on her tongue!

In the hut he is a friend with a deceiver
Winter has locked us up
Into my eyes are harsh
Looks - the wife is silent.
I am silent ... but the thought is fierce
Does not give rest:
Kill ... so sorry heart!
Endure - there is no strength!
And here the winter is shaggy
Roars day and night:
"Kill, kill the traitor!
Get the villain out!
Not that you will miss the whole century,
Neither day nor long night
You won't find peace.
Into your shameless eyes
Neighbors spit! .. "
To the song-blizzard winter
The fierce thought got stronger -
I have a sharp knife in store ...
Yes, suddenly spring crept up ...

Green Noise is coming,
Green Noise, spring noise!

Like drenched in milk
There are cherry orchards,
Quietly noisy;
Warmed by the warm sun
The merry ones make noise
Pine forests;
And next to the new greenery
Babbling a new song
And the pale-leaved linden,
And white birch
With a green braid!
A small reed makes noise,
Noisy high maple ...
They make new noise
In a new way, spring ...

Green Noise is coming,
Green Noise, spring noise!

The fierce thought is weakening,
Knife falls out of hand
And all I hear is a song
One - in the forest, in the meadow:
"Love as long as you love,
Endure as long as you endure
Goodbye while goodbye
And God be your judge!

62. About the weather. Epiphany frosts

(Excerpt)

“My lord! where are you running?"
- “To the office; what's question?
I don't know you! - Rub it, rub it
Hurry, for God's sake, your nose!
Turned white! - "BUT! very grateful!”
- "Well, what about mine?" - "Yes, yours is radiant!"
- “That's it! - I took measures ... "-" What-with?
- "Nothing. Drink vodka in cold weather -
Save your nose
Roses will appear on the cheeks!

63. Recently

(Excerpt)

Harmless, peaceful themes!
They won't get angry, they won't quarrel...
We all have personal interests
Do more in those days.
However, we had Russophiles
(Those who saw the Germans as enemies),
Slavophiles came to us,
Their secular type then was as follows:
Petersburg champagne with kvass
Drinking from ancient ladles
And in Moscow they praised with ecstasy
pre-Petrine order of things,
But, living abroad, owned
Very bad native language
And they didn't understand
About his Slavic vocation.
I laughed my ass off once,
Hearing Prince NN say:
"I, my soul, am a Slavophile."
- "And your religion?" - "Catholic".

Honest fell silent, valiantly fallen,
Their lonely voices were silent,
Crying out for the unfortunate people,
But cruel passions are unbridled.

A whirlwind of malice and rage rushes
Above you, unrequited country.
All living things, all good things squint ...
Heard only, O dawnless night!

In the midst of the darkness you poured
Like enemies, triumphant, collide,
Like the corpse of a slain giant
Bloodthirsty birds flock
Poisonous bastards crawl ...

Between 1872 and 1874

M. L. Mikhailov (1829–1865)

<Из Гейне>

How it trembles, reflecting
In the splashing sea, the moon;
And she walks across the sky
And calm and clear, -
So you go, calmly
And clear, in its own way;
But your bright image trembles
In my trembling heart.

They say spring has come
Bright days and warm nights;
The green meadow is full of flowers,
The nightingales sing in the woods.
I walk among the meadows -
I'm looking for your traces;
In more often I listen to the forest,
Your voice will not be heard.

Where is spring and where are the flowers?
You don't go to pick them up.
Where is the song of the nightingale?
I can't hear your speech...
Spring has not yet come.
The day is gloomy, the night is cold.
A field of hoarfrost is being forged,
The birds cry, they don't sing.

67. Epigrams

MISUNDERSTANDING

We talked a lot in the magazines about the free press.
The public understood this: rot us freely under the press!

RECOVERY

Even penal servitude and execution are called decrees penalty:
You are exacted (so understand!) by royal mercy.

V. S. Kurochkin (1831–1875)

I'm not a poet - and unbound by bonds
with the muses
I am not deceived by either false or right
Glory.
Devoted to the motherland with unknown love,
honest,
Without singing with jury singers
Important
Evil and good, with equal chances,
stanzas,
I put my feeling filial
Everything is in her.

But I can't cry for joy
With nastiness
Or look for beauty in ugliness
Asia,
Or smoke in the direction given
incense,
That is - to flirt with evil and adversity
Odami.

Climbing with rhymes special happiness
To power I
I don't find it - whatever it is
Arrived.
My rhymes walk with firm steps,
Proud
Settling down in rich couples -
Barami!

Well, they won't give me for them at the Academy
Prizes
They will not be given in examples of piitiki
Critics:
“There is nothing, they say, for “reading the people”
good,
No uplifting soaring
genius,
There is no warlike, brave and in old age,
Rage
And not one for Petrushka and Vasenka
Fables".

Well? Mother nature left me
Rules,
Giving a simple feeling equally
Anyone.
If they find a book with different songs
Idle
Good people worthy of attention -
What else?
If I rhyme free and bold
I will do
In addition, the well-known impression
honest -
In it, and poetry will be plentiful,
strong
The fact that it is not even connected with the muses
By bonds.

D. D. Minaev (1835–1889)

(Excerpt)

From the German poet
Genius can't take over
Can our poets
Take the size of his creations.

Let it rhyme through the line
Modern Russian Heine,
And in the water of such songs
You can swim like in a pool.

I'm bad at poetry
But - I swear here before everyone -
I will write in that size
Every evening a poem

Every evening a poem
Without hard work
Where intertwined through the line
Along with the rhymes of wit.

70. Epigrams

I ate soup while sitting in a restaurant,
The soup was sweet like a subsidy
I sleep and think about
We tempt with a round sum.

Can't trust hope
She lies terribly often:
He gave hope before
Now he gives denunciations.

I'm not fit, of course, to be a judge,
But not embarrassed by your question.
Let Tamberlik take do breast
And you, my friend, take do - with your nose.

IN FINLAND

The area of ​​rhymes is my element,
And I write poetry easily;
Without hesitation, without delay
I run to line from line
Even to the Finnish brown rocks
Handling a pun.

OUR PEOPLE

A thief will not say about another and aside:
"Crow!.."
Eyes, it is known, will not gouge out a crow
Crow.

TO OFFICIAL GERMANS

In Russia, everyone is German,
Chinov suffering from thirst,
For them five times
Let us crucify.
For this reason
Before you, ross,
He turns up his nose
With the order, with the rank:
For a German, after all, ranks
Tastier than ham.

AFTER THE BENEFIT

“Whose play was on today?”
- Alexandrova. - "Was
Played with chic, without chic?
- "With chic, with chic: they hissed loudly."

B. M<АРКЕВИ>BC

The other day, dragging with him two huge portacocks,
He dragged himself to the station; sweat dripped from his face...
"Don't tell him!" - all around regretted the people,
And just some bully
Said, "Don't worry - bring!.. "

IN THE ALBUM TO KRUPP JUNIOR, WHO COMED TO PETERSBURG

Do I eat semolina soup
Or I see horse croup -
Krupp comes to mind
And behind him - a large mass,
A pile of "cannon fodder" ...
Oh, let it not be thorny
The path of such a person:
He is a great humanitarian
Nineteenth century!

71. Rhymes and puns

(From the notebook of a mad poet) I

Grooms, do not weigh your noses,
Coming to his bride.

II

Value gold by weight
And for pranks - hang.

III

Don't go like everyone's open
Without a gift you to Rosina,
But, making visits to her,
Every time you bring a bouquet.

IV

Me, meeting with Isabella,
I cherish a gentle look,
As a reward, and, for the white
Taking her hand, I tremble.

V

Beautiful features, I pray
Depict me, painting them,
And I am written in pastel
I'll hang the portrait above the bed.

VI

With her I went to the garden,
And my annoyance is gone
And now I'm all over
Remembering the dark alley.

IX

You sadly exclaim: “Am I the one?
My waist is a hundred centimeters ... "
Indeed, I will become
I won't give praise.

XIII

In the midday heat on the Seine
I searched in vain for the canopy,
Remembering the Volga, where, in the hay
Lying, listening to Senya's song:
“Oh, you, my canopy, my canopy! ..”

XIV

At a picnic, under the shade of spruce
We drank more than we ate
And, knowing a lot about wine and ale,
Barely returned home.

L. N. Trefolev (1839–1905)

72. Song about the Kamarinsky peasant

(Excerpt)

Like on Varvarinskaya street
Sleeping Kasyan, peasant Kamarinsky.
His beard is tousled
And cheaply soaked;
Scarlet streams of fresh blood
Cover sunken cheeks.

Oh, you dear friend, my dear Kasyan!
It's your birthday today, which means you're drunk.
There are twenty nine days in February
On the last day, the Kasyans sleep on the ground.
On this day for them green wine
Especially drunk, drunk, drunk.

February twenty-ninth
A whole damask of damned wine
Kasyan poured into the sinful womb,
I forgot my dear wife
And my dear children,
Two twins, youngsters.

Having famously twisted his hat on one side,
He went to his cousin's hut.
There the godfather baked his rolls;
Baba is kind, blush and white,
I baked him a hot bun
And respected ... more, more, more.

73. Cones fall on poor Makar

(Excerpt)

Makaram is not going well. Over poor Makars
Fate-villain amuses herself with cruel blows.
Our peasant, poor Makarushka,
There is no money for a rainy day, no woman, no lady.
In truth, there is money: a copper penny strums,
And there is a woman: she lies, withered and pale.
Help her, how can you help? Not affordable for the road
All doctors and healers, our dashing enemies ...

K. K. Sluchevsky (1837–1904)

74. At the cemetery

I lie on my tombstone,
I watch the clouds go high
How quickly the swallows fly under them
And in the sun their wings shine brightly.
I look like in the clear sky above me
Hugs green maple with pine,
How to draw on the haze of clouds
Movable pattern of fancy sheets.
I watch the long shadows grow
How quietly the twilight floats across the sky,
How beetles fly, bumping their foreheads,
Spiders spread their webs in the leaves...

I hear, as if under a tombstone.
Someone shudders, turns the earth,
I hear how the stone is sharpened and scraped
And they call me in a barely audible voice:
“Listen, dear, I have long been tired of lying!
Let me breathe spring air
Give me, my dear, to look at the white light,
Let me straighten my crushed chest.
In the realm of the dead, only silence and darkness,
Tenacious roots, yes rot, yes sputum,
Sunken eyes are covered with sand,
My bare skull is worm-eaten,
I'm tired of silent relatives.
Will you lie down, my dear, for me?

I was silent and only listened: under the stove
He pounded his bone head for a long time.
For a long time the dead man gnawed the roots and scraped the earth,
He fumbled and quieted down at last.
I lay myself on a tombstone,
I watched the clouds rush in the air,
Like a ruddy day burned out in the sky,
As a pale moon floated up into the sky,
How they flew, bumping their foreheads, beetles,
How fireflies crawled out on the grass ...

75. Winter landscape

Yes, amazing, right, light jokes
There is in the winter landscape, dear to us!
So sometimes the plain, covered with a veil of snow,
Richly reddened by the sunbeam,
Some kind of senile freshness shines.
A fast river that flows through the plain
And, in rings, twisting in bends,
Does not freeze in deep winter, -
Enters into a color connection with the sky!
Skies green bright coloring
She is absolutely incredibly green;
On the white snow she, green, runs,
Green like emerald, like duckweed...

And so it seems then that in front of us
Earth and sky are joking, exchanging colors:
The sky shines, passing its blush to the snow,
The color of the green fields - it is accepted by heaven,
And, as if in memory of the past, like a trace of a trace,
Runs on white snow green water.
O! if it were possible for you, sky plains,
Taking in all the colors of summer and spring,
Take our sorrows, doubts, the need for bread -
Giving back a little of your silence
And your peace ... we need them!

A. N. Apukhtin (1840–1893)

When you will be, children, students,
Don't break your head over the moments
Over the Hamlets, Lyres, Kents,
Over kings and presidents
Over the seas and over the continents
Don't mess around with your opponents
Be smart with your competitors.
And how do you finish the course with eminents
And you will go to the service with patents -
Do not look at the service of assistant professors
And do not hesitate, children, with presents!
Surround yourself with partners
Always say compliments
Be clients for bosses
Comfort their wives with instruments,
Treat old women with peppermints -
They will pay you for these with interest:
They will sew your uniform with braids,
The chest will be decorated with stars and ribbons! ..
And when doctors with ornaments
They will call you, alas, patients
And they will kill you with medicines ...
The bishop will sing for you and the regents.
Bury will be carried with assistants,
Provide your children with rent
(So ​​that they can be subscribers at the opera)
And they will cover your ashes with monuments.

M. N. Soymonov (1831–1888)

77. Woman's business

On the strip, I sting
Knitted sheaves of gold -
Young;
Tired, frustrated...
That's our woman's business -
Bad share!
It's heavy, - yes, it would be fine,
When there is no sweetness in the heart
Yes anxiety;
And with the sweetheart ... little sense! ..
On the sheaves I dozed off
By the road.
Darling, how did it happen here,
Smiled, leaned over
Started caressing
Kiss ... but the strip
So it remained, unfinished,
crumble…
The husband and mother-in-law waited a long time:
“The whole wedge, tea, - they reasoned -
Masha will survive.
And the night grew dark over Masha...
That's our woman's business -
Our stupidity!

Chernyshevsky N. G. Full coll. op. T. 1. M., 1939, p. 751.

So people call the awakening of nature in the spring. (Author's note).

Russian poets of the second half of the 19th 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 the 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 the poetry of the 19th century also had a strong influence on the development of national art. Whether this is good or bad is another question, but for a full-fledged study of Russian poetry and its integration into the general context of Russian art, it 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 at different times of the year, which directly corresponds to the natural lyrics of Russian poets of different directions. No less popular were everyday scenes "from the life of the people", just as 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 Fine Arts" (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 the judgment of the class team and jointly decide what is not entirely 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 the Poetic Word” (M., 1972), the collection of articles “Poetry and Music” (M., 1993) and the recent article by M. Petrovsky “Riding to the Island of Love”, or What is a Russian romance” (Questions of Literature. 1984. No. 5), as well as an invaluable practical reference book “Russian Poetry in Russian Music” (M., 1966), which lists almost all vocal works based on poems by 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 Marietta

X. 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 Borisovich

Russian poets of the second half of the 19th century

From the book World Artistic Culture. XX century. Literature the author Olesina E

Russian poets of the second half of the 19th century in biographies and

From the book Essay the author Shalamov Varlam

Pushkin'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 Evgenievich

Domestic poetry of the second half of the 20th century. Difficulties in comprehending The history of Russian poetry of the 20th 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 Nikolaevich

Russian 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 the book Foreign Literature of the 20th Century. Teaching aid author Gil Olga Lvovna

From the book German Literature: Study Guide author Glazkova Tatyana Yurievna

POST-REFORM RUSSIA AND THE RUSSIAN NOVEL IN THE SECOND HALF OF THE 19TH CENTURY (N. I. Prutskov) 1The conquests of the Russian novel in the first half of the 19th century largely predetermined the 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 Borisovich

Foreign 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 Alexander

Literature 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 Alexandrovich

Austrian 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 book

Swiss 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 book

ON 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 book

Russian 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 book

Petersburg in the second half of the 19th century ONE OF THE MOST SIGNIFICANT events in the economic, economic, and political life of Russia in the middle of the 19th century was the construction of the railway between St. Petersburg and Moscow. The road was in the full sense of the word straight, or

The Pushkin era became a high age in Russian poetry. After the life of Lermontov and Pushkin suddenly died out in the first half of the 19th century, poetry, as part of the literary process, experienced a peculiar period of stagnation.

The development of poetry in the second half of the 19th century

The poems that were created by Russian authors in the 50s were subject to sharp criticism - they were all compared with the legacy of Alexander Sergeevich, and, according to many critics, they were much much “weaker” than them. During this period, poetry began to gradually supplant prose. Such talented prose writers as Tolstoy, Turgenev and Dostoevsky appeared in the literary field. It should be noted that it was Tolstoy who was one of the most categorical critics of the new Russian poets: he ignored the work of Tyutchev, openly called Polonsky, Maikov and Fet "mediocrity".

Maybe Lev Nikolaevich was really right, and we should not perceive the poetry of the post-Pushkin era as a literary heritage? Then why do many of us associate the 19th century not only with the works of Lermontov and Pushkin, but also with the brilliant poems of Fet, Nekrasov, Pleshcheev, Koltsov, Polonsky, A. Tolstoy?

Moreover, if we consider Russian poetry from such a radical position, then poets - silversmiths - Akhmatova, Blok, Bely, Mayakovsky, Tsvetaeva automatically fall into the category of "mediocrity" who have not reached the level of Pushkin. Therefore, we see that such an opinion is devoid of all logical grounds, and it is categorically impossible to be guided by it.

Creativity Nekrasov

In the second half of the 19th century, Russian poetry began to actively recover, despite active opposition. The work of N. A. Nekrasov became the pinnacle of Russian poetry in the second half of the 19th century. In his poems and poems, he raised topics that were acute at that time, concerning the painful life of the simple Russian people. Through literary techniques, actively involved in the works, Nekrasov tried to convey to the upper strata the concept of the greatness of a simple peasant, deprived of material wealth, but who managed to preserve true human values.

The poet perceived his literary activity primarily as his civic duty, which consisted in serving his people and Motherland. Nekrasov, known for his publishing activities, became the father and mentor of young poets of that time and gave them an impetus for further realization.

Creativity of Fet, Tyutchev, Pleshcheev, Polonsky

A special place in the literature of that time was occupied by poetic lyrics. The poems of Fet, Tyutchev, Maykov, Pleshcheev, Polonsky, Koltsov, Nikitin were filled with admiration for the greatness of nature, its power and at the same time vulnerability. A striking example is Tyutchev's poem "I love a thunderstorm in early May", which the reader will always associate with the magic and magic of ordinary natural phenomena that take the breath of a person.

The works of these poets, despite the lyrical content, were not deprived of a civic position. This was especially clearly observed in the work of A. K. Tolstoy, the author of many historical ballads and satirical poems, in which the monarchical regime and the very concept of royal power in Russia were ridiculed.

Lesson #14

Topic: "Review of Russian literature of the 2nd half of the 19th century"

Goals:

An overview of an entire literary and historical era;

Show the main directions of development of literature in this period;

Assess the contribution of literary figures of the era to the development of Russia;

Learn to collect and organize information;

Select material for messages.

Equipment: presentation on the topic, exhibition of literature.

During the classes.

Teacher's lecture.

1. Socio-political and cultural-historical situation in Russia in the second half of the nineteenth century.

Slide 1.

Introduction by the teacher. Today we will get acquainted with the features of the history and cultural development of Russia in the 2nd half of the 19th century. I want to draw your attention to the epigraph (slide 2) - the words of N.G. Chernyshevsky, who spoke about the role of literature in this historical period as follows:

“Literature in our country still concentrates almost the entire mental life of the people, and therefore it is directly incumbent on it to deal with such interests that in other countries have already passed, so to speak, into a special department of other areas of mental activity ...”

Individual task Historical reference. 1850s.

A special place in the policy of Russia of this period was occupied by the Eastern question.

In 1853 the war began between Russia and Turkey. (slide 3) Feudal-serfdom, technically backward, with an army formed on the basis of recruitment from a completely illiterate population, Russia was unable to resist the enemies.

The main military operations unfolded directly on its territory, in the Crimea. In October 1854, the Allies laid siege to Sevastopol.

Accession to the throne of Alexander II. (slide 4)

The new sovereign was at the head of the country, tired of the bloody war. In the days of his coronation, many were granted freedom, including the Decembrists. There was an awakening of public thought. An intense search for a social ideal began in philosophy and literature, and the problem of uniting the nation, its spiritual unity, became acute. These searches were especially active in the most influential ideological currents in Russian social thought - Slavophilism and Westernism.

(loving Slavs and loving Western ideas)

Individual task. Historical events of the 1860-1870s

1861 – abolition of serfdom. Great historical significance. Slavery was abolished, and opportunities arose for the development of market relations in the countryside. Russia has practically taken the capitalist path of development. (slide 5)

The turn of the 1860s-1970s is the emergence of revolutionary populism.

(slide 6)

Teacher's word. The social struggle in Russia was reflected in the pages of numerous magazines. Journal controversy has become a bright page in the historical and literary process in Russia.

London was very popularnewspaper "The Bell"1857-1867), which Herzen A.I. published together with Ogarev N.P. The newspaper criticized the reactionary aspirations of top officials, the government and the entire political system of tsarist Russia. The Bell helped many to take a critical look at the reforms of Alexander II, the alignment of socio-political forces in the country. (Lessons of Russian literature, Author - Bikulova I.A., Bryansk, 2003) (slide 7)

Sovremennik magazine(slide 8)

Talented publicist D.I. Pisarev and the magazine "Russian Word"(slide 9)

Many argued with Sovremennik and the Russian Word. Well-known critics A. Druzhinin, V. Botkin, P. Annenkov believed that the artistic value of works is not connected with the requirements of the social situation. Therefore, they were supporters of only "pure art". Critics argued with Chernyshevsky, Dobrolyubov and Pisarev and evaluated not the ideological orientation, but the artistic features of the works. The main thing for them was the degree of talent of the author and "eternal values" - God, love, beauty, mercy.

It was not easy for readers to sort out the controversy in the journal and the conflicting assessments of one and the same work.

2. Features of the development of literature and art in the second half of the nineteenth century.

At this time, it was critical realism that gave brilliant creative results. The realistic traditions of culture have approved the concept of "golden age" in Russian art and literature. The gallery of artistic images in the works of Dostoevsky and Tolstoy, Nekrasov and Turgenev, in the music of Tchaikovsky and Mussorgsky, in the paintings of Repin and Perov, Kramskoy and Surikov, in the Maly Theater of the times of Shchepkin and Ostrovsky was a kind of mirror that reflected a kind of mirror that reflected Russian reality.

Literature, painting, music, the theater of the "golden age" purposefully asserted the aesthetics of public life, which gave rise to the world of "humiliated and insulted" and the world of "superfluous people", "typical images in typical circumstances." But Russian art not only reflected the world around it, but transformed his. Russian art was closely connected with spiritual quests in public life.

(slide 10)

The 19th century is rightly called the golden age of Russian literature. Domestic literature has rapidly passed a serious way, it, illuminated by the genius of A.S. Pushkin, N.V. Gogol, I.S. Turgenev, F.M. Dostoevsky, L.N. constellation of the largest writers, has moved into the ranks of the greatest literatures of the world and has had a noticeable impact on the artistic culture of all mankind. It has become the center of the spiritual life of society, its conscience, it has always been distinguished by the intensity of philosophical searches.

A grandiose panorama of the life of Russia in the second half of the 19th century was created by outstanding works: “Oblomov” by I.A. Goncharov, “Thunderstorm” and “Dowry” by A.N. Ostrovsky, novels by I.S. N.G. Chernyshevsky, “The Past and Thoughts”, A.N. Herzen, “The History of a City” by Saltykov-Shchedrin M.E., “Crime and Punishment” by F.M. Dostoevsky, “Who Lives Well in Russia” N .A. Nekrasov, "War and Peace" by L.N. Tolstoy, stories by A.P. Chekhov, lyrics by Tyutchev F.I., Tolstoy A.K., Fet A.A.

Realism has become the main direction of Russian literature (slide 11)

The novel became the most relevant genre (slide 12)

Definition of a novel.

Widespread varieties of the genre: social, political, historical, philosophical, psychological, love, family, adventure, fantastic. The novel broadly covered the social conditions of a person's existence, deeply penetrated into the inner world of the character. It was the novels that gained a huge response not only in Russia, but also abroad. Works of Tolstoy L.N., Dostoevsky F.M., Turgenev I.S. almost immediately translated into foreign languages ​​and enjoyed great success.

Russian literature of the second half of the 19th century climbed to the highest ideological and artistic level and reached a position that can be defined as the pinnacle of world art. (slide 13)

Student messages:

"The Significance of P.I. Tchaikovsky's Creativity in Russian Culture"

"The Mighty Handful" - the creative community of Russian composers"

"The Significance of the Maly Theater in Russia"

"The Meaning of the Association of Traveling Art Exhibitions in Russia"

Literature: “Lessons of Russian literature. The second half of the nineteenth century.", Bryansk "Kursiv", 2003

Individual task: reports on the biography of A.N. Ostrovsky.