VA Zhukovsky introduced the Russian reader to one of the most beloved genres of Western European romantics - the ballad. And although the ballad genre appeared in Russian literature long before Zhukovsky, it was he who gave it poetic charm and made it popular. Moreover, he merged the poetics of the ballad genre with the aesthetics of romanticism, and as a result, the ballad genre turned into a characteristic sign of romanticism.

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Topic: VA Zhukovsky "Svetlana" The moral world of the heroine of the ballad

Objectives: educational : to acquaint students with the work of Zhukovsky, to consider the nationality and poetry of the ballad "Svetlana", to contribute to the comprehension of the originality of the artistic world of Zhukovsky: subtle psychologism, dissatisfaction with reality, elegiac sadness, dreaminess, striving for the ideal;

Developing : to develop the ability of students to penetrate into the world of feelings of the lyric hero, to observe the development of the lyric plot;

Educational: to cultivate love for the works of Russian classics.

During the classes:

1. Organizational moment.

2. The teacher's story about the life and work of the poet.

Vasily Andreevich Zhukovsky was born on January 29, 1783 in the village of Mishenskoye, Tula province. He was the illegitimate son of the landowner A.I.Bunin and the captive Turkish woman Salha. He received his surname and patronymic from his godfather, a poor nobleman A. G. Zhukovsky. Studied at the Noble Boarding School at Moscow University. In 1802 he published the elegy "Rural Cemetery", which brought him wide fame. Zhukovsky's contemporary F.F. Vigel responded to the elegy with the words: "How can you be so touchingly sad with all your soul and then laugh from the bottom of your heart?" As a militia he participated in Patriotic War 1812, which influenced the poet's worldview. In the same year, Zhukovsky became famous thanks to the poem "A Singer in the Camp of Russian Warriors." Zhukovsky is one of the founders and an active participant in the literary society "Arzamas". In 1841 he left for Germany. He died on April 12, 1852 in Baden-Baden.

The personality of V.A. Zhukovsky served as a kind of moral standard for contemporaries; the poet's humanity and disinterestedness was manifested in the ransom from serf bondage of the Ukrainian poet Taras Shevchenko, in the liberation of his own peasants, in the establishment of scholarships and grants for beginning artists. Zhukovsky stood up for the Decembrists exiled to hard labor, asked for pardon on A.S. Pushkin and M.Yu. Lermontov.

Zhukovsky condemned arbitrariness and violence, believed that serfdom incompatible with elementary moral principles. He sought to alleviate the fate of the convicted Decembrists, repeatedly defended A.S. Pushkin, contributed to the liberation of TG Shevchenko from serfdom, took an active part in the destinies of E.A. Baratynsky, A.V. Koltsov, A.I. Herzen.

Zhukovsky gave preference to two literary genres: ballad and elegy. Zhukovsky's elegiac lyrics are centered around two main themes - lost friendship and destroyed love. The poet's intimate lyrics are based on his feeling for his beloved niece Masha Protasova, to whom the elegies "Song", "Remembrance", "To her" are dedicated. The main genre feature of a ballad is a plot narration. But the plot of the ballad differs significantly from the plot in the works of other genres: the tension of the narrative, its understatement, fragmentation, dramatic richness, conventiontemporal and spatial coordinates of what is happening, the decisive significance of the subtext: lyrical, philosophical or socially psychological.

The literary ballad goes back to folk origins, but differs in the author's peculiarities: a bright unusual plot, in the main part contains dialogue, the narrative principle and emotionality are combined.

Disappointed with the ballad "Lyudmila", relying on the plot of the burgher's "Lenora", Zhukovsky conceived in 1808 (finished in 1812), published in 1813 the most joyful ballad, which he called "Svetlana".

3. Reading and analyzing a ballad

(the ballad is associated with Russian customs, with folklore tradition. The poet depicts us the fortune-telling of girls on Epiphany evening. Winter Russia with its own customs and traditions opens up before us.)

- How do you see the main character - Svetlana?

This is the look of a sweet Russian girl who is sad, because her fiancé is somewhere far away. She is a little shy when she's guessing. But she's kind of bright and clean.)

- Contemporaries called Zhukovsky "Svetlana's singer." It is believed that this is the first artistically convincing image of a Russian girl in Russian poetry. What are the traits of a Russian woman in the image of Svetlana? (loyalty, humility, poetry, meekness)

What means of creating the image of the main character does Zhukovsky use? (name, dream, household details).

Writers often resort to describing the hero's dream as an artistic precursor. What are the signs of Svetlana's sleep? (not prophetic, occupies most space of the work, sleep is the culmination of the work, the misfortune of a nightmare is opposed to the happiness of awakening).

What images represent evil in Svetlana's dream? (black coffin, "black lie", blizzard and blizzard, dead man in the hut).

What is the dominant color in the ballad? (White).

What is the whiteness effect created with? (the name of the heroine, snow sparkling under the moon, a candle light lit by Svetlana, light from the open doors of the church).

The landscape sketches of the ballad are closely related to the psychological state of the heroine. What emotional experiences of the bride-girl reveal the pictures of nature depicted in the work? (dull anxiety, tense expectation of danger, heightened feelings of Svetlana).

Why does the author show us such a terrible dream? After all, we said that this is the most joyful ballad. (Zhukovsky formulates the main idea of the ballad with the words: "Our best friend in life is this faith in providence ..." What can you say about this? .)

Dialogue plays an important role in the ballad. To whom does Svetlana complain about her bitter fate? (to girlfriends).

What methods of folk tale narration does the poet use in the ballad? (folklore inception, the image of the features of the Russian national life, a description of customs and rituals, the inclusion

full text of the processed divination song, permanent epithets).

Why does Zhukovsky introduce a fragment of the song "A blacksmith is coming from the smithy ..."? (a hint of a happy ending).

What are the realities natural world presented in a ballad? (field, road, sky, moon).

What size is the ballad written in? (alternating tetrameter and tricycle chorea).

4. Summing up.

Today we plunged into nineteenth-century Russia. Thanks to the works of Vasily Andreevich Zhukovsky, we feel spiritual nobility, patriotism, the triumph of justice and love. His name lives and will live for a long time thanks to the works of verbal painting, nature and culture, beauty and music of his words. No wonder A.S. Pushkin said prophetic words: "His poems captivating sweetness Will pass the envious distance for centuries."

5.Homework: memorize the beginning of a ballad.

Give a plan for the work of Zhukovsky (Svetlana)

Answers:

V. A. Zhukovsky, ballad "Svetlana" 1. Epiphany evening. Fortune-telling of girls 2. Girls sing fortune-telling songs 3. Svetlana is sad. The girls ask her to tell fortunes on her betrothed. 4. Svetlana is sad for her friend, who has not been around for more than a year. 5, Svetlana began to guess in front of the mirror. A dear friend came to her. He behest to marry her. 6. Svetlana and Friend are riding in a sleigh. Svetlana notices that he has changed dramatically: he is pale and silent. 7. They drive up to God's Temple. Enter it. Svetlana sees a black coffin there. 8. Suddenly everything disappears: horses, sleighs, church. A blizzard has risen. Svetlana is alone in an empty abandoned house. She again sees the coffin, covered with a cuff. 9. Svetlana fell in front of the icon, prayed, the snowstorm subsided. 10. A white dove flew up to Svetlana. He embraced her with his wings. 11. Svetlana saw that the dead man was moving. 12. The dove, protecting Svetlana, sat down on the dead man's chest. And Svetlana saw that the dead man was her Friend. 13. Svetlana woke up. It was a terrible dream. 14. Svetlana hears the ringing of bells, a stately guest approaches the house. Her fiancé. 15. Get ready, young and old; Shifting the bells of the bowl, in tune Sing: many years!

Unexpected meeting

On an early cold autumn morning in the modernly arranged apartment of the correspondent of the newspaper "District Chronicle" Innokenty Ovchinnikov, a phone call suddenly rang. Executive Secretary editorial board Gennady Serebryany gave him an urgent task - to immediately go to the village of Kamennaya and prepare material about the public building of the station of young naturalists illegally privatized by fraudsters. According to Serebryany, the privatization was annulled only after a cassation appeal sent by qualified lawyers to the court of appeal.

Being a collected and organized person, Ovchinnikov instantly prepared to leave. In a matter of minutes, he threw into his travel bag a change of linen, washed and ironed shirts, and a patched and patched green woolen scarf knitted by his grandmother's hands.

In Stone Innokenty quickly found the station of the Yunnats. It was housed in a pillared wooden mansion surrounded by an old wrought-iron fence. A wooden house, as a rule, is not built prudently. Several years have passed since its construction, and they are amazed to notice that the house is not recognizable. On the right, an incongruous extension grew, on the left, a cornice collapsed (originally a cute idea), ivy grew like mad and completely closed the balcony. It's good that the cornice collapsed, it would be out of place now.

The fate of families depends on whether they live in a stone house or in a wooden one. In a wooden house, the family does not collapse, it sprawls. An absurd extension grows. Someone gets married, gives birth to children, the wife dies. The widower is overgrown with ivy, a new cornice is being erected ...

The children are walking again, and the husband is dying. The widow remains, and the children have girlfriends and friends from the neighboring house ... And the widow takes the neighboring children to her upbringing. All this grows, laughs, and again someone is getting married. A friend comes, whom the widow has not seen for thirty years, and remains forever, a new extension is being erected, unlike anything else.

Who is the mother here? daughter? a son?

One house knows everything for everyone: it helps all its residents to live. Apparently, the wooden house in which the station of young naturalists was located was intended for the joint life of parents, children and grandchildren.

Suddenly, unexpectedly, an uninvited and uninvited guest, Innokenty appeared before the director of the station. She was an energetic and confident woman with an unusually sleek face and dyed hair in a strange color. Unexpectedly, Ovchinnikov recognized her as his longtime beloved Inna Blinnikova. Despite the devoted and selfless love of Innokenty, Inna completely unreasonably considered him a windy and frivolous young man. After one of the constant and groundless quarrels, they parted, and it seemed to Ovchinnikov that Inna was lost to him forever.

Stunned and depressed, with a forced smile, Innokenty looked at the surprised Inna. It was evident that she was delighted and a little confused. Wise with life experience, Ovchinnikov confidently invited Inna to a restaurant.

Everything in the restaurant was arranged in a truly national spirit. The room was lit with oil lamps. Antique bog oak furniture stood against the chalk-whitewashed walls, and wicker walkways lay on the unpainted floor, scraped to whiteness. Encouraged and unspeakably delighted by the meeting, Ovchinnikov felt like a true birthday boy and invited Inna to spend the next day together. She coyly but graciously agreed. It was an unheard-of victory: Innokenty was forgiven. (454 words)

According to I. Baklanova

Downloaded from the educational portal http://megaresheba.ru/ all statements for passing the final exam in the Russian language for 11 classes in the Republic of Belarus.

V. Tokareva's story "The happiest day"

The events of the story take place in a not so distant time, and today's high school students face the same problems as the heroine of the story, reflecting on honesty and lies in the name of achieving personal goals, on selfishness and careerism in modern society, about true and false targets and values, the ability to empathize and empathize. Her classmates "scribble with incredible speed and passion" an essay on a not very correct topic given by the teacher, and the main character still faces a choice - to write something generally accepted or, waving her hand at all the conventions, write, albeit not about the happiest, but about just the happiest day of her life, because she hasn’t had the happiest day yet. “He’s ahead of me,” the girl is convinced.

The task of the writer is to make the reader think about the meaning of life, about its most important component - about happiness. The word happiness and its derivatives are used twenty-seven times in the story. This word is assigned a central role in organizing the content of the text. In the story, the word happiness is realized in two meanings: benefit and pleasure. Hence the compatibility of the word happiness with the words of the lexico-semantic groups, benefit and family, because it is in a family with relatives that the heroine experiences "inexpressibly beautiful" feelings.

An important distinguishing feature of V. Tokareva's style is aphorism. In the organization of the text of the story "The happiest day" aphoristic statements, quotes play an important role. They reveal the main life ideas of the heroine of the story and her kind of opponent - teacher Marya Efremovna. “A person is truly happy only when he brings benefit to people,” says Marya Efremovna, and in her mouth it is famous saying sounds somewhat artificial. From its frequent use, it has somewhat worn off, and the reader does not believe in its truth. At the same time, the no less famous quote: “Every person in his life must plant a tree, give birth to a child and write a book about the time in which he lived,” is natural and quite in tune with the heroine's mood, and therefore does not cause her rejection. Aphorisms in V. Tokareva's text directly or indirectly help to reveal the main key concept of the story - happiness. They carry not only ideological and semantic, but also emotional load.

Of particular interest to us is irony as a distinctive feature of the author's style. The heroine of the story, like many modern girls, is smart and ironic. She knows her strengths: She reads a lot, she has "a large vocabulary and can easily use it." But, comparing herself with her classmates, the heroine regretfully becomes convinced that her virtues are completely unnecessary. modern man... Behind her irony, like behind a mask, she hides what she wants to hide from others: her doubts, anxieties and an acute sense of happiness in communicating with loved ones. In the text of the story, the aphorism “education is given to a person precisely in order to hide his true feelings is not accidental. In the event that they are inappropriate. " And the task of the text is to teach the teenager not to hide his views, openly express his opinion and be able to give convincing arguments in his defense.

The range of problems raised in the story is important and of paramount importance for the formation of a person's life position. But Tokareva speaks about them not in an edifying tone, which almost always causes sharp rejection, especially among young people, but with irony. (490 words)

By L. Korotenko

Downloaded from the educational portal http://megaresheba.ru/ all statements for passing the final exam in the Russian language for 11 classes in the Republic of Belarus.

Cruise on the Oka and Volga

In order to take a break from the Moscow heat, we went on a cruise along the Oka and Volga.

When we arrived at the river station, we were informed that there was no motor ship, because the Oka had become shallow, and therefore the ship would leave from Ryazan. I had to start the rest by storming the buses, in which everyone tried to take a better place. Note that the buses that took us to Ryazan did not have air conditioning and the windows did not open. It seemed that during those two hours during which we were wading through Moscow traffic jams, the sun would melt the bus.

We reached Ryazan when it got dark. The captain assured the vacationers that as soon as the mechanics had repaired the engine, the ship would leave for the voyage, but he could not say when.

After we left the buses, our only desire was to clean up properly. However, when we approached the shower room, we saw the attendant, who patiently explained to the passengers that if there was a key, they would definitely take a shower.

A new problem arose when we needed to charge a hungry mobile phone. It turned out that there were no electrical outlets in the cabin, which was locked with a key and where you could leave the phone unattended. It turned out that there are two or three sockets in the corridor along which all and sundry go. Something was already sticking out of one of the sockets with a plastic bag hanging from it. When we got closer, it became clear that someone had plugged the charger into the socket, which was connected to the phone, and hung a bag on the charger, where the mobile phone lay. We realized that there is always a way out of any situation, especially if you think carefully. I suspect that the owner of this package is a very rich man, if he was not afraid that during the night someone would call his phone to Magadan or Cleveland.

For some reason, the ship moored at six o'clock in the morning to the ancient Russian cities, which attracted with their beauty and in which I wanted to climb every nook and cranny. It was very difficult for us to wake up, since the day before we had not gone to bed for a long time, because we were feeding the noisy seagulls.

Despite the fact that surprises fell on us, we happily photographed the monasteries, which were reflected in the river, and if we managed to take a nap for an hour or two, we felt happy. It's a pity that we slept through the moment when the ship ran aground.

At first, your whole being seems to expand, and your existence will become clearer to you from one glance at the magnificent picture of the Volga coast. To the left at our feet, under a terrible steepness, we saw a wide river-mother, beloved by the people, glorified by Russian beliefs; she plays proudly, and shines with silver scales, and smoothly and majestically stretches into the bluish distance. To the right, on the slope of the mountain, picturesque huts are piled up in a friendly heap between the bushes and trees, and above them, on a cliff that juts into the river, we see the white ribbon of the monastery fence, from the midst of which the domes of churches and monks' cells rise.

On the one hand, the ancient Kremlin rises on the mountainous coast, and the scaly bell towers are highlighted in blue sky, and the whole city bends and stretches towards the Volga slope. On the other, the meadow side, the gaze embraces the boundless space, dotted with villages and irrigated by the mighty currents of the Oka and Volga, which mix their multi-colored waters at the very foot of the city. (485 words)

According to I. Baklanova

Downloaded from the educational portal http://megaresheba.ru/ all statements for passing the final exam in the Russian language for 11 classes in the Republic of Belarus.

The heroes and the plot of the ballad by V.A. Zhukovsky "Svetlana"

Literature and Library Science

Zhukovsky Svetlana V. Svetlana Zhukovsky's most famous work is a translation of a ballad by the German poet Burger Leonor. However, Svetlana is a joyful work despite the presence of an afterlife in it. Svetlana prays that her beloved will return at midnight during the fortune-telling, the groom unexpectedly appears and calls Svetlana to get married.

The heroes and the plot of the ballad by V.A. Zhukovsky "Svetlana"

V. A. Zhukovsky is considered one of the fathers of Russian romanticism. Thanks to his wonderful translations, the works of European romantics became known to Russian readers."Svetlana" is the most famous work of Zhukovsky, it is a translation-transcription of the ballad "Leonora" by the German poet Burger. The plot of "Svetlana" is based on the traditional old motif of folk historical and lyrical songs: a girl is waiting for a groom from the war. In 1812 the poet finished Svetlana.

The plot of the ballad

In "Svetlana" the plot is traditional for romantic poetry. The groom returns to the lonely bride after a long separation. He invites the maiden on a long journey, and she embarks on a strange journey. The dark night, the light of the moon, the deserted cemetery, the ominous words of the groom - everything heralds some kind of terrible end. In the finale, it turns out that the groom is revived in order to take the bride with him to the grave, the dead man, and the maiden dies with him. However, "Svetlana" is a joyful work, despite the presence of the afterlife in it. The heroine of the ballad finds herself alone with the dead groom, but suddenly ... wakes up and meets in the light of day her lover who has returned safely.

Features of the genre

1. Zhukovsky brings the content of Svetlana as close as possible to Russian life.

The Russian folk tradition of guessing on the eve of Epiphany (throwing a shoe out of the gate, “weeding” the snow, feeding the chicken with “countable” grain, “swallowing” songs, looking in the mirror at midnight. These details bring the romantic plot closer to Russian folklore.

2. A ballad is a story about something “wonderful”. Zhukovsky creates a magical atmosphere:

At the beginning of the story, it is not known that what is happening is only a dream of the heroine. Svetlana prays that her beloved will return

At midnight, during the fortune-telling, the groom unexpectedly appears and calls Svetlana to get married. She agrees, and a terrible journey begins. Horses carry a sleigh with the groom and the bride through the night snow-covered expanses, Svetlana's beloved is silent and "looks at the moonlight, pale and dull." Horses rush past the lonely temple where the funeral service is taking place. A blizzard begins. In front of a lonely hut, the maiden is magically left alone. Entering the house, she discovers in it an "unrequited inhabitant" - a dead man covered with a shroud. Svetlana is waiting in fear for the morning. A "snow-white dove" flies to her. According to church canons, this image symbolizes the Holy Spirit. The dead man begins to revive, but the divine protector flies to his chest and deprives him of his strength. Svetlana with horror recognizes the groom in the deceased and wakes up. The ending of the poem is upbeat and solemn. Sunlight, the crowing of a rooster, the ringing of a bell - everything is in stark contrast to a dark dream.

3. Svetlana does not grumble at fate, does not call the Creator to the judgment, does not pray for the "angel-comforter" to appease her sorrow. Therefore, the dark forces have no power to destroy her pure soul. Relentless fate gives way to good Providence. The ballad logic is destroyed, the happy, fairy-tale ending refutes the traditional scheme. The heroine's bright soul turns out to be stronger than the darkness of the night, faith and love are rewarded.

Ballad heroes

The main character in the ballad is endowed with the best features of the national character - loyalty, sensitivity, meekness, simplicity. In Svetlana, external beauty is combined with internal. The girl is "sweet", "beautiful". She is young, open to love, but not frivolous. For a whole year, without receiving news from the groom, the heroine is waiting for him. She is capable of deep feeling. The girl is sad and yearning in separation from her beloved. She is emotional, pure, spontaneous and sincere. As a reward for true faith, for meekness and patience, God saves the girl. Svetlana does not die in separation from her beloved, but finds happiness on earth. Zhukovsky believed that even the death of the groom could not destroy love. The poet was convinced that loving souls also unite outside of earthly existence. His heroine also possesses the same faith. Zhukovsky revealed in his work the character of a Russian girl, open and heartfelt, pure, rejoicing in life. Svetlana is worthy of happiness, because in her "the soul is like a clear day ..."

A kind of fairytale "double" of the heroine - "snow-white dove". This is the very "angel-comforter" to whom Svetlana turned before the fortune-telling and begged: "Soothe my sorrow." This is the kind messenger of heaven, "with bright eyes." The epithet gives an idea of the purity, holiness of the angel. He keeps Svetlana. Saves her from the dead. "Dove" is an affectionate, gentle name. It is a symbol of love. Love saves Svetlana, and the author speaks of the dove with growing tenderness: "but the white dove does not sleep." Good confronts evil and conquers it.

The image of Svetlana's groom also corresponds to romantic ideas. He is handsome, daring, kind. The girl's lover is capable of an all-consuming feeling.

Zhukovsky emphasizes the main qualities that the author values in his heroes - faith and loyalty.

Composition and artistic means

The composition of the ballad allows Zhukovsky to achieve a realistic effect. A terrible dream is in a "life" frame, full of reliable details. The poet creates light and dark images with the help of such artistic means as epithet, personification, parallelism.

In the realistic part of the ballad, the epithets are mostly joyful: "sonorous", "stately", "sweet", "cute". The gloomy mood of sleep is conveyed by the epithets: "dull", "lonely", "black", "scary".

Nature appears in the work as spiritualized: a cricket cries plaintively, a crow ominously croaks, a rooster rejoices in the day.

Zhukovsky actively uses interjections ("ah", "o", "chu"), rhetorical exclamations and questions, gives the ballad a lively, energetic sound.

Output

The content of "Svetlana" is based on a German ballad. However, one can safely consider Zhukovsky's work independent.

What brings together the ballad V.A. Zhukovsky's "Svetlana" with works of Russian folklore?

TO early XIX For centuries, a ballad existed in Russian poetry, but Zhukovsky manages to create precisely the "genuine" ballad. The main element in the ballad is the fantastic, the mysterious, the enigmatic. Main characters: dead, ghosts. The action takes place in a semi-fantastic world.

"Svetlana" became Zhukovsky's most popular ballad. This is the first national Russian ballad. It is not without reason that she was considered the best work of the poet by her contemporaries and gave the critics the right to call the poet "Svetlana's singer."

From the unusually melodious and musical poems "Svetlana" breathes with the charm of old legends, great cordiality and sincere warmth. Zhukovsky uses numerous folklore elements and images, uses ancient beliefs and fortune-telling of girls before Epiphany.

The ballad begins with a description of an old girl's fortune-telling. In the old days in Russia there was a superstitious idea that before the religious holiday of Epiphany a person was revealed to his future fate. But by the time of Zhukovsky, fortune-telling on Epiphany evenings had become a kind of game, during which the girls wondered about the suitors. Girls threw their shoes into the street, and it was believed that that girl would be the first to marry, whose shoe would be lifted by a stranger. The girls put rings in a large bowl or dish with water and, while singing, took them out one at a time: under which song the ring was taken out, it means that that song contains a hint of a future life.

The poet connected the ballad with a fairy tale, and therefore all the images in it obeyed the laws of the fairy tale. In particular, the image of the road is typical for both ballads and fairy tales. In Svetlana, he acquired a fabulous function. In a fairy tale, the hero also sets out on a journey and overcomes many obstacles. At the end of the journey, a well-deserved reward awaits him.

The introduction of a fairy tale into a ballad expanded the folklore basis, moreover, it was Russian folklore. But not only in the descriptions of Russian customs, the national flavor is conveyed, the Russian folk attitude to all fantastic horrors is conveyed. The sane and realistic view of the Russian people manifested itself in the fact that almost all fairy tales with witches, dead people rising from their graves, and other horrors in Russian folklore end in the victory of man over dark forces.

The action of the ballad is associated with a mysterious event. In a dream, the heroine thinks that the groom appears, takes her away, brings her to the hut. But this is beginning to take on a mysterious character. The heroine sees a coffin from which a dead man rises, unexpectedly the dove protects Svetlana and she wakes up.

This is the only ballad that is devoid of tragedy. It was the appeal to beliefs that allowed Zhukovsky to include fortune-telling, omens, wedding songs, folk legends in his work - all this conveys the world of folklore, the Russian national character.

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Nowhere does the originality of V. A. Zhukovsky's creative personality appear with such vivid evidence as in ballads. It was his ballads that contributed to the exceptional popularity of this genre in Russia.

Based on the plot of the ballad of the German poet Burger "Lenora", Zhukovsky created two original works - the ballads "Lyudmila" and "Svetlana".

Not finding in Russian folklore a plot about a dead groom (such a plot entered Russia relatively late), the poet found such peculiar phenomena as Russian ritual poetry and Christmas divination, during which, according to popular beliefs, her future groom appears to the bride. Putting the plot of Lenora as the basis for Svetlana, Zhukovsky significantly changed it, bringing it as close as possible to Russian folklore.

The ballad "Svetlana" begins with a description of Russian folk fortune-telling. The Russian atmosphere is also emphasized here by such realities as the house, the sled, the church, the priest. The introduction itself contributes to the transfer of the national flavor:

Once in the Epiphany evening
The girls wondered:
Slipper behind the gate,
Taking it off their feet, they threw ...

The author, being a great connoisseur of Russian folklore, imitates in a ballad folk subtle songs that girls sang during Christmas divination on a saucer: "Blacksmith, // Get me a gold and a new crown, // Get a golden ring." Throughout the ballad Zhukovsky uses folk vernacular words and expressions, such as “utter a word”, “legohonko”, as well as phrases from folk songs (“girlfriend”, “the light is red”, “my beauty”).

Against this background, the appearance of a sweet, simple-minded and morally pure Svetlana looms. She is depicted either tacitly and sad, yearning for the unknown disappeared groom, or shy and timid, freezing from fear during fortune-telling, then perplexedly alarmed, not knowing what awaits her: joy or sorrow. The image of Svetlana is considered the first artistically convincing image of a Russian girl in Russian literature.

The saturation of the ballad with elements of Russian folklore is an important, but not the only feature of Zhukovsky's ballad work.With a pronounced realistic introduction, national-Russian flavor and everyday realities, the defining pathos of the ballad is, of course, romantic. It manifests itself in the uniqueness of the event, in the rare charm of a rare heroine, in a conventional landscape that emphasizes the uniqueness of what is happening in time and space: "The moon is dimly shining // In the gloom of fog"; "Everything around is empty", "Around a blizzard and a blizzard." All the traditional signs of romanticism are present here, right down to the peculiarities of the language. There is a "black lie", and a "black coffin", and "the secret darkness of the days to come."

Late in the evening, the heroine of the ballad Svetlana, sitting in front of the mirror, dreams of a distant betrothed and quietly falls asleep. In a dream, she has to go through several terrible moments. She sees a coffin, and in it - her fiancé. The falling asleep girl, worried about the fate of the "dear friend", peers into the mirror, and before her eyes both a robber den and a "replacement" groom, who turns out to be a murderer, pass by.

However, when Svetlana wakes up in the morning, she sees a sunny frosty landscape outside the window, hears a ringing bell, notices that a sleigh is entering the courtyard, and Svetlana's living fiance is not dead, but a living one rises onto the porch. So, everything dark and fantastic in the ballad is attributed by the author to the realm of sleep, and the plot gets a happy ending.

Zhukovsky substituted hoax for the real in the ballad and gave everything an impression of fantasticality. The heroine's terrible dream is not a poetic joke or a parody of romantic horrors. The poet reminds the reader that life on earth is fleeting. Here Zhukovsky expresses the idea of the predetermination of human destiny, which is close to him. In "Svetlana", to a lesser extent than in "Lyudmila", the idea arises of the folly and even sinfulness of man's murmur about his fate, for any sorrows and trials have been sent down to him from above. The poet formulates the main idea of the ballad as follows: “Our best friend in this life // Faith in Providence”.

And yet "Svetlana" is the brightest balada of Zhukovsky. Despite the fact that the author appears here as a romantic poet, moving away from the reality of life into the world of dreams and fantasy, he affirms the triumph of love over death, and the pathos of the work itself is generally joyful and optimistic.

In Zhukovsky's ballads, a poetic and deeply dramatic world of folk legends, beliefs and legends was first revealed to the reader. Like his Western European brothers in the pen, the Russian poet, in turn, discovered layers of Russian folk fiction untouched by literature. Zhukovsky called them the general term "superstition". He highly appreciated Russian folk fiction, rightly considering it a real treasure trove of plots and ideas. It was "superstition" that was the basis for the creation of the Russian national ballad.

Literature and Library Science

The heroes and the plot of the ballad by V.A. Zhukovsky "Svetlana"

V. A. Zhukovsky is considered one of the fathers of Russian romanticism. Thanks to his wonderful translations, the works of European romantics became known to Russian readers. "Svetlana" is the most famous work of Zhukovsky, it is a translation-transcription of the ballad "Leonora" by the German poet Burger. The plot of "Svetlana" is based on the traditional old motif of folk historical and lyrical songs: a girl is waiting for a groom from the war. In 1812 the poet finished Svetlana.

The plot of the ballad

Features of the genre

1. Zhukovsky brings the content of Svetlana as close as possible to Russian life.

2. A ballad is a story about something “wonderful”. Zhukovsky creates a magical atmosphere:

At the beginning of the story, it is not known that what is happening is only a dream of the heroine. Svetlana prays that her beloved will return

Ballad heroes

A kind of fairytale "double" of the heroine - "snow-white dove". This is the very "angel-comforter" to whom Svetlana turned before the fortune-telling and begged: "Soothe my sorrow." This is the kind messenger of heaven, "with bright eyes." The epithet gives an idea of the purity, holiness of the angel. He keeps Svetlana. Saves her from the dead. "Dove" is an affectionate, gentle name. It is a symbol of love. Love saves Svetlana, and the author speaks of the dove with growing tenderness: "but the white dove does not sleep." Good confronts evil and conquers it.

The image of Svetlana's groom also corresponds to romantic ideas. He is handsome, daring, kind. The girl's lover is capable of an all-consuming feeling.

Zhukovsky emphasizes the main qualities that the author values in his heroes - faith and loyalty.

Composition and artistic means

In the realistic part of the ballad, the epithets are mostly joyful: "sonorous", "stately", "sweet", "cute". The gloomy mood of sleep is conveyed by the epithets: "dull", "lonely", "black", "scary".

Nature appears in the work as spiritualized: a cricket cries plaintively, a crow ominously croaks, a rooster rejoices in the day.

Zhukovsky actively uses interjections ("ah", "o", "chu"), rhetorical exclamations and questions, gives the ballad a lively, energetic sound.

What brings together the ballad V.A. Zhukovsky's "Svetlana" with works of Russian folklore?

By the beginning of the 19th century, a ballad existed in Russian poetry, but Zhukovsky manages to create precisely the "genuine" ballad. The main element in the ballad is the fantastic, the mysterious, the enigmatic. Main characters: dead, ghosts. The action takes place in a semi-fantastic world.

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At the beginning of his career, he largely imitated the pen of German and English poets. Zhukovsky borrowed the plot for the ballad "Svetlana" from Burger. It was written in 1812. Putting the original source in his own way, Zhukovsky gave the Russian reader the pleasure of getting to know a light ballad full of incredible events and Russian folklore.

The theme of the work "Svetlana" is not difficult to determine: a girl's nightmare during fortune-telling and morning awakening, which brought joy and happiness. In the ballad, the author also touches upon the themes of love, fidelity, fear, mental anguish, doubt, surprise, fate. Fate, according to Zhukovsky, cannot be predetermined from above. And no fortune-telling can decide fate. Only a person himself can influence his life. Christmas divination theme is revealed by the author ironically.

The ballad begins and ends with light and joy. The beginning tells about the Epiphany fortune-telling of Russian girls. What they did not do to find out their future fate: they threw a shoe at the gate, and melted wax, and put jewelry in the water. Zhukovsky likes these girls, he likes their youth and naivety. The first fourteen lines of the ballad flow easily and naturally. So you hear the laugh of the funny girls behind the lines.

Joyful lines soon give way to sad ones: the author introduces the reader to the sad Svetlana, who does not guess and does not have fun with her friends. She has not received letters from a dear friend for a year. The girl's soul languishes in anguish and uncertainty. To her friends, she simply explains her current mood: “How can I, girlfriends, sing? Dear friend far away ... " We see a very sensitive, devoted, sincere girl who has suffered inconsolable sadness from separation from her beloved.

Girlfriends offer Svetlana to tell fortunes on her betrothed. She agrees ... And from this moment in the narrative there are disturbing notes of the coming terrible confusion, which envelops the reader from head to foot. He becomes an eyewitness to a fantastic adventure that happened to Svetlana.

The pale and dull face of a loved one, a dead man revived, a strange dove, howling a storm, snow, horses, sleighs, a church, coffins, a hut - all of the above keeps the reader in terrible tension! It seems that something terrible is about to happen.

At the end of the ballad, we see a happy Svetlana. Sleep was out of hand! Alive and unharmed, a friend, along a snowy sled path, rushed to his sweet beloved. The end of the ballad is kind and fair: a person conquers circumstances. The author is happy for his heroine, he is happy with her happiness: "Be her whole life bright, be joy, as it was, the days of her friend."

The ballad "Svetlana" is built from simple and unpretentious sentences. And this is its charm and charm. Nothing superfluous, nothing pretentious. The length of the verse - trochee - helps the ballad to be sonorous, graceful and fast as a stream. Cross-rhyme also lends melody to the piece.

Among the linguistic means that increase the emotional attitude of the author to events, in "Svetlana", first of all, it should be noted the bright comparisons: "... her soul is like a clear day",“… Glory - we were taught - smoke; light is a crafty judge ... ". Unhappiness is compared to a lying dream, happiness is compared to awakening, a cricket is compared to the messenger of midnight. Zhukovsky uses in a ballad antithesis, which helps to understand the uniqueness of events, their inconsistency: "Snow falls in tufts" - "Everything has calmed down ... there is no blizzard ..."; "And over the bowl they sang in tune with sub-dishes" - "How can I, girlfriends, sing?"; "He speaks not good - a bitter fate".

Figurative definitions give an accurate description of heroes, objects or phenomena: "Secret darkness, menacing eyes, bright eyes, dear Svetlana, with a friendly run, snow dust".

There are many lyrical characters in the romantic ballad "Svetlana": girlfriends, author, dove, dead man, groom, priest, deacons, horses. But the main lyrical heroine is still Svetlana. Bright, like her name, faithful, pure and beautiful. Beautiful in her faith and devoted love.

The plot, heroes and problems of the ballad by V. A. Zhukovsky "Svetlana"

Zhukovsky turned in the ballad "Svetlana" to mythological plot about the "wedding with the dead." Earlier this plot was used by the German poet G. A. Burger in his romantic ballad "Lenora". Zhukovsky translated "Lenora" into Russian and gave it the title "Lyudmila". In terms of content, the translation remained faithful to the original. The girl expects her loved one from the war. The army returns, but the heroine's groom is not among the soldiers. She complains about fate and God, as a result of which further events are determined by the influence of certain mystical forces. At midnight, the groom appears on her porch. The heroine joyfully greets him, he, deathly pale and “gloomy”, calls her to go to his distant home - this “home” turns out to be the grave. This is how the heroine is punished for daring to murmur against God.

The author strove to create the national character of the Russian girl, but in "Lyudmila" this creative task was not solved. In Svetlana, the same story about the dead man is told by Zhukovsky in a different way. The eerie coloring of the narrative, traditional for a romantic "terrible ballad", the author balances with the poetry of love experiences, a happy ending. The image of the heroine also belongs to the author's poetic discoveries. Svetlana embodies the character of a Russian girl - cheerful and active, capable of sacrificial and faithful love. Subsequently, this type of heroine was repeatedly reproduced in Russian literature.

The plot about the dead man is preceded in the ballad by a household scene of Christmas fortune-telling, and “Svetlana” ends with the heroine's awakening from sleep, returning to real life and a happy meeting with the groom. The everyday framing of the mystical plot changes the character of the work as a whole. The story of a dead man appears as a kind of fun - nothing more than a scary tale told before bed. At the same time, the fortune-telling scene allows the poet to reproduce the features of the Russian national life, folk customs:

Once in the Epiphany evening

The girls wondered:

Slipper behind the gate,

Having taken it off their feet, they threw it;

We poured snow; under the windows

Listened; fed

Counted grain chicken ...

The girls are having fun, only Svetlana is sad (there is no news from her betrothed). In the name of love, the heroine decides to try her luck and starts fortune-telling. For her, this becomes a difficult test: she is left alone with unknown forces and is seized with fear:

The shyness in her excites the chest,

It's scary for her to look back,

Fear clouded the eyes ...

But then the knock of the castle is heard, and then "a quiet, light whisper." The betrothed returned, he calls the heroine to church, and Svetlana without hesitation sets off on the road with her imaginary fiancé.

In folklore tradition, the image of the road is associated with ideas about the path of life. So in "Svetlana" the road symbolizes life path heroines - from the crown to the grave. But Svetlana takes this path with an inauthentic betrothed, which explains her vague, disturbing forebodings, the trembling of her "prophetic" heart.

Horses rush through a blizzard and blizzard across the snow-covered and deserted steppe. Everything prophesies trouble, speaks of the presence of evil forces: white snow (associated with the veil of death - a shroud), a black raven, the flickering of the moon. The coffin is also mentioned twice - a clear sign of death. Svetlana and her “groom” jump first to God's temple, and then to a “peaceful corner”, “a hut under the snow” (a metaphor for a grave). The "groom" disappears, and Svetlana is left alone with an unknown dead man and has a premonition near death: "What is the girl? .. Trembling ... Death is near ..."

The culminating event is the scene of the sudden "revival" of the dead man ("Groaning, he gnashed his teeth terribly ..."), in which the heroine recognizes her fiancé. However, in the next instant she, waking up from a dream, sits in her room by the mirror (in front of which fortune-telling began). The horror of the past is behind, and the heroine is rewarded both for her fears and for her willingness to follow her beloved into an unknown distance: the bell rings, and Svetlana's real, living groom - stately and "amiable" - comes up to the porch ...

Including the traditional plot in a new form, the poet connected the ballad with a fairy tale, thanks to which the traditional plot clichés for the ballad were reinterpreted. In particular, the image of the road is typical for both ballads and fairy tales. In the fairy tale, the hero will receive a well-deserved reward at the end of the journey, and this is what happens in Svetlana. How did the heroine deserve the "award"? Firstly, by their dedication, loyalty, spiritual endurance. Secondly, by her faith in God, to whom she constantly turns for spiritual support ("Before the icon she fell to the dust, she prayed to the Savior ...").

Divine Providence, the poet shows, protects a living soul, does not allow it to perish. If it does not deviate from the true faith, the night is replaced by day - a bright time filled with colors and sounds: "... a noisy rooster beats its wing ...", "... the snow shines in the sun, the steam turns red thin ... ". In "Svetlana", unlike traditional ballads, a joyful and light perception of life triumphs, folk principles, the bearer of which is Svetlana, triumphs.

SVETLANA

(Ballad, 1808-1811)

Svetlana- the heroine of the ballad, written, like another ballad of Zhukovsky, "Lyudmila", on the theme of the "exemplary" ballad of the German poet G.-A. Burgher "Lenora" - the return of the dead groom for his bride and their way to the coffin. "Svetlana" is an attempt to create an ideal national character, the "Russian soul" as the poet saw and understood it. The distinctive features of this soul-character are purity, meekness, obedience to Providence, loyalty, tenderness and light sadness. To depict his heroine, the poet used folk colors, stylizing her - in a sentimental way - like a girl from a folk song or fairy tale.

Sad S. wonders on Epiphany evening at the mirror about her sweetheart. Her fiancé appears and tells her that heaven has been tamed, her murmur is heard. He calls her to follow him, puts her in a sleigh, and they ride along the snowy steppe. S. sees God's temple, in which someone is serving a funeral service. Finally the sleigh arrives at the hut. The horses and the groom disappear. The heroine, crossing herself, enters the house and sees the coffin. A dead man rises from it and reaches out to her. But S. is saved by a wonderful dove, covering her with wings from a terrible ghost. In the latter, the heroine recognizes her sweetheart and wakes up. In the finale, the groom appears alive and well. The heroes unite and play a wedding.

The images and plot of "Lyudmila" ("Lenora") are rethought in "Svetlana": the appearance of a dead man to the bride turns out to be a terrible dream-deception (the groom did not die, the ghost dreamed in a dream, obviously, a demon-seducer, from which the heroine is protected by the gospel dove), is removed an important motive of the heroine's guilt (for the appearance of the terrible groom S. did not give any reason); the ballad death of the heroes turns into their happy union.

Sad S., in contrast to the desperate Lyudmila, does not grumble at fate, does not call the Creator to the court, but begs the "comforting angel" to appease her sorrow, she is devout and sinless. Therefore, the dark forces have no power to destroy her pure soul. Relentless fate gives way to good Providence.
The heroes of Zhukovsky's "terrible" ballads are always the "suffering side", they have no chance of salvation, everything that should happen will happen: the execution will come true, the prediction will come true. Such heroes are victims of their sin or supernatural gift. In "Svetlana" everything is the other way around: the heroine is innocent, the "prophetic dream" does not come true, which is completely exclusive both for the ballad genre and for the folklore, Christmastide, interpretation of the dream; the poem ends with the wedding of the heroes. The ballad logic is destroyed, the happy, fairy-tale ending refutes the traditional scheme. S. is a non-ballad heroine, placed by the will of the author in a genre world alien to her nature: the horrors traditional for a ballad are just a test of her faith. Her bright soul turns out to be stronger than the darkness of the night, faith and love are rewarded. The very name of the heroine has an etymology unusual for the genre: it sets in the poem the theme of light opposing and conquering the ballad darkness. (It is no coincidence that the ballad "Svetlana" ends early in the morning, while the action of "Lyudmila" - and "Lenora" - does not go beyond the night.)

S. is one of the most important poetic images for Zhukovsky, linking together his fate and work. Zhukovsky dedicated this ballad to Alexandra Andreevna Protasova (married Voeikova), whom he called "his muse, which inspired him to a poetic mood." The name Svetlana became the literary name of this woman - the addressee of many poetic messages of both Zhukovsky and N.M. Yazykov, I.I. Kozlov. The poet himself was called by the same name in the literary society "Arzamas". Years later, his friend PA Vyazemsky recalled the poet's words that the name he received at the Arzamas “baptism” turned out to be prophetic: Zhukovsky was “Svetlana not only in name, but also in soul”. The name S. became for Zhukovsky and his friends a symbolic designation of a special world outlook and attitude, a "light" faith, designed to illuminate with its presence the gloomy essence of life; it turned out to be a kind of wonderful talisman that protects against evil forces.

AS Pushkin used the “silent and sad” image of S. to characterize his heroine Tatiana (“Eugene Onegin”, ch. 3, stanza V). The image of S. has countless literary echoes: he became one of the central images of the Russian literary pantheon of heroes.

V. A. Zhukovsky is a well-known poet, master of the poetic word, a fine connoisseur of Russian culture and folklore. In the ballad "Svetlana" the author realistically described the Russian way of life, folk rituals, revealed the Russian soul, so big, generous, quivering and ardent. The life of a Russian person used to be closely connected with traditions and rituals. According to the signs of fate or nature, the life and activities of one person or a whole family were corrected.

Once in the Epiphany evening

The girls were guessing

Fear of the unknown, curiosity, a desire to know the fate of loved ones pushed to fortune-telling. Wealth or poverty, marriage or loneliness, life or death, eternal wanderings or a settled life with the family - fortune telling on holidays will tell everything.

V. A. Zhukovsky, the son of the landowner Bunin and the captive Turkish woman Salha, knew the Russian soul, loved the Russian outback, and felt nature. In the ballad "Svetlana" all this merged into one, and as a result the sadness of the soul, the fear of loss was exposed. The poet's verse is filled with music, rich in half currents and nuances.

It was not for nothing that A.S. Pushkin considered Zhukovsky a great poet, who paved many paths for Russian poetry. Zhukovsky had a rare gift to capture the anxieties of a Russian person in a short poem or ballad, to paint them with music and sound, to reveal their secret without violating their integrity.

The ballad "Svetlana" is dedicated to Sasha Protasova, with whom Zhukovsky was in love. Fortune telling on the mirror of a girl worried about the fate of her fiancé is traditional for Russian Christmas-tide rites. Svetlana peers into the mirror, and a phantasmagoria of images passes in front of her: a robber den, and a "replacement" groom, who turns out to be a murderer. But with a bright and clear smile, romantic horrors are resolved: this is only a terrible dream.

Oh, do not know these terrible dreams

You, my Svetlana.

The future of the real Svetlana turned out to be tragic, the marriage was unsuccessful. But the light, poetic beauty of the ballad has remained in the history of literature.

Once in the Epiphany evening

The girls wondered:

Slipper behind the gate,

Having taken it off their feet, they threw it;

We poured snow; under the windows

Listened; fed

Counted grain chicken ...

The shyness in her excites the chest,

It's scary for her to look back,

Fear clouded the eyes ...

In folklore tradition, the image of the road is associated with ideas about the path of life. So in "Svetlana" the road symbolizes the heroine's life path - from the crown to the grave. But Svetlana takes this path with an inauthentic betrothed, which explains her vague, disturbing forebodings, the trembling of her "prophetic" heart.

Horses rush through a blizzard and blizzard across the snow-covered and deserted steppe. Everything prophesies trouble, speaks of the presence of evil forces: white snow (associated with the veil of death - a shroud), a black raven, the flickering of the moon. The coffin is also mentioned twice - a clear sign of death. Svetlana and her “groom” jump first to God's temple, and then to a “peaceful corner”, “a hut under the snow” (a metaphor for a grave). The "groom" disappears, and Svetlana is left alone with an unknown dead man and anticipates imminent death: "What is the girl? .. Trembling ... Death is near ..."

SVETLANA

(Ballad, 1808-1811)

Svetlana- the heroine of the ballad, written, like another ballad of Zhukovsky, "Lyudmila", on the theme of the "exemplary" ballad of the German poet G.-A. Burger "Lenora" - the return of the dead groom for his bride and their way to the coffin. "Svetlana" is an attempt to create an ideal national character, the "Russian soul" as the poet saw and understood it. The distinctive features of this soul-character are purity, meekness, obedience to Providence, loyalty, tenderness and light sadness. To depict his heroine, the poet used folk colors, stylizing her - in a sentimental way - like a girl from a folk song or fairy tale.

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