The first folk poet, he wrote about the people and for the people, knowing their thoughts, needs, concerns and hopes. The connection with the people filled the life of Nekrasov with special meaning and was the main content of his poetry.

"On the way"

Nekrasov the poet is very sensitive to the changes that are taking place among the people. In his poems, people's life is depicted in a new way, not like that of his predecessors.

Through all the work of the poet passes the motive of the road - a through motive for Russian literature. The road is not just a segment connecting two geographical points, it is something more. “If you go to the right, you will lose your horse; if you go to the left, you yourself will not be alive; if you go straight, you will find your destiny.” The road is the choice life path, goals.

There were many poems for the plot chosen by Nekrasov, in which dashing troikas raced, bells rang under the arc, and coachmen's songs sounded. At the beginning of his poem, the poet reminds the reader of this:

Boring! boring! .. The remote coachman,
Disperse my boredom with something!
Song, or something, buddy, sing
About recruiting and separation ...

But immediately, abruptly, decisively, he breaks off the usual and familiar poetic course. What strikes us in this poem? Of course, the coachman's speech, completely devoid of the usual folk-song intonations. It seems as if bare prose unceremoniously burst into poetry: the coachman's speech is clumsy, rude, saturated with dialect words. What new opportunities does such a “mundane” approach to depicting a man from the people open up for Nekrasov the poet?

Note: in folk songs, as a rule, we are talking about “a daring coachman, a “good fellow” or a “red maiden”. Everything that happens to them is applicable to many people from the popular environment. The song reproduces events and characters of national significance and sound. Nekrasov is interested in something else: how people's joys or hardships are manifested in the fate of this particular hero. The poet depicts the general in peasant life through the individual, the unique. Later, in one of his poems, the poet joyfully greets his village friends:

All familiar people
Whatever a man, then a friend.

So after all, it happens in his poetry that no man is a unique personality, a one-of-a-kind character.

Perhaps none of Nekrasov's contemporaries dared to get so close, to get close to a peasant on the pages of a poetic work. Only he could then not only write about the people, but also "speak to the people"; letting in peasants, beggars, artisans with their different perceptions of the world, in different languages in verse.

With ardent love, the poet refers to nature - the only treasure of the world, which "strong and well-fed lands could not take away from the hungry poor." Subtly feeling nature, Nekrasov never shows it in isolation from man, his activities and condition. In the poems "Uncompressed Strip" (1854), "Village News" (1860), in the poem "Peasant Children" (1861), the image of Russian nature is closely intertwined with the disclosure of the soul of the Russian peasant, his difficult life fate. A peasant who lives in the midst of nature and deeply feels it rarely has the opportunity to admire it.

About whom in question in the poem "Uncompressed band"? As if about a sick peasant. And the trouble is comprehended from the peasant point of view: there is no one to clean the strip, the grown crop will be lost. Here, the land-breadwinner is also animated in a peasant way: “it seems that the ears of corn are whispering to each other.” I was going to die, but this rye, ”they said among the people. And with the onset of the hour of death, the peasant did not think about himself, but about the land, which would remain an orphan without him.

But you read the poem and more and more you feel that these are very personal, very lyrical poems, that the poet looks at himself through the eyes of a plowman. So it was. Nekrasov wrote the “uncompressed strip” to seriously ill patients before leaving abroad for treatment in 1855. The poet was overcome by sad thoughts; it seemed that the days were already numbered, that he might not return to Russia either. And here the courageous attitude of the people to troubles and misfortunes helped Nekrasov to withstand the blow of fate, to preserve his spiritual strength. The image of the “uncompressed lane”, like the image of the “road” in the previous poems, acquires a figurative, metaphorical meaning from Nekrasov: this is both a peasant field, but also a “field” of writing, the craving for which the sick poet has is stronger than death, as love is stronger than death a grain grower to work on the earth, to a labor field.

"Song to Eremushka" (1859)

Nekrasov condemns in this "Song" the "vulgar experience" of opportunists, crawling their way to the blessings of life, and calls on the younger generation to devote their lives to the struggle for the happiness of the people.

The task

Reading and independent analysis or commentary of Nekrasov’s poems: “On the road”, “Is I driving at night”, “I don’t like your irony ...”, “Uncompressed band”, “Schoolboy”, “Yeremushka’s Song”, “Funeral”, “ Green Noise”, “Morning”, “Prayer”, fragments from the cycle “About the weather”.

The analysis of poems is carried out at three levels:
- figurative-linguistic (vocabulary, tropes);
- structural and compositional (composition, rhythm);
- ideological (ideological and aesthetic content).

In the poem "Yesterday at six o'clock" Nekrasov first introduced his Muse, the sister of the offended and oppressed. In his last poem“Oh Muse, I am at the door of the coffin,” the poet recalls for the last time “this pale, bloody, / Whip-slashed Muse.” Not love for a woman, not the beauty of nature, but the suffering of the poor, tormented by poverty - this is the source of lyrical experiences in many of Nekrasov's poems.

The subject matter of Nekrasov's lyrics is varied.

The first of the artistic principles of Nekrasov-lyric can be called social. The second is social analytics. And this was new in Russian poetry, absent from Pushkin and Lermontov, especially from Tyutchev and Fet. This principle permeates two of Nekrasov's most famous poems: "Reflections at the front door" (1858) and " Railway» (1864).

"Reflections at the Front Door" (1858)

In "Reflections ..." a specific isolated case is the arrival of peasants with a request or complaint to a certain statesman.

This poem is built on contrast. The poet contrasts two worlds: the world of the rich and the idle, whose interests are reduced to "red tape, gluttony, play", "shameless flattery", and the world of the people, where "blatant sorrow" reigns. The poet depicts their relationship. The nobleman is full of contempt for the people, this is revealed with the utmost clarity in one line:

Drive!
Ours does not like ragged mob!

The feelings of the people are more difficult. Walkers from a distant province wandered "for a long time" in the hope of finding help or protection from a nobleman. But the door "slammed" in front of them, and they leave,

Repeating: "God judge him!",
Spreading hopelessly hands,
And as long as I could see them,
With their heads uncovered...

The poet is not limited to depicting the hopeless humility and endless groaning of the people. “Will you wake up, full of strength? ..” - he asks and leads the reader to answer this question with the whole poem: “The happy are deaf to good”, the people have nothing to expect salvation from the nobles, he must take care of his own fate.

Two principles of reflecting reality in Nekrasov's lyrics naturally lead to the third principle - revolutionary. The lyrical hero of Nekrasov's poetry is convinced that only a popular, peasant revolution can change the life of Russia for the better. This side of the consciousness of the lyrical hero was especially strongly manifested in poems dedicated to Nekrasov's associates in the revolutionary-democratic camp: Belinsky, Dobrolyubov, Chernyshevsky, Pisarev.

Literature

School curriculum grade 10 in answers and solutions. M., St. Petersburg, 1999

Yu.V. Lebedev Comprehension of the people's soul // Russian literature of the 18th–19th centuries: reference materials. M., 1995

IMAGE OF THE PEOPLE IN N.A. NEKRASOVA "WHO WILL LIVE WELL IN RUSSIA"

Enough! Finished with the last calculation. Done with sir! The Russian people are gathering strength And learning to be a citizen!

ON THE. Nekrasov

Both Pushkin's novel "Eugene Onegin", called by Belinsky "an encyclopedia of Russian life", and Nekrasov's poem "Who lives well in Russia" can rightfully be considered an encyclopedia of Russian folk life in the middle of the last century. The author called the poem "his favorite brainchild", and collected material for it, as he himself put it, "word by word for twenty years." It embraces the people's life with an unusually wide scope, raises the most important questions of its time and includes the treasures of the people's speech.

This work reflected the contemporary life of the poet. It solved the problems that worried the minds of progressive people: in what direction the historical development of the country would go, what role the peasantry was destined to play in history, what were the fate of the Russian people.

Nekrasov creates a whole gallery of pictures of village life, and in this sense the poem has something in common with Turgenev's Notes of a Hunter. But, as a realist, a writer of everyday life, Nekrasov goes further than Turgenev, showing them with encyclopedic completeness, delving into not only the thoughts and moods of his heroes, but also into the social and economic way of their life.

Nekrasov's poem "Who Lives Well in Russia" begins with the question: "In what year - calculate, in what land - guess." But it is not difficult to understand what period Nekrasov is talking about. The poet is referring to the reform of 1861, according to which the peasants, not having their own land, fell into even greater bondage.

Through the whole poem passes the thought of the impossibility of living like this, of the heavy peasant lot, of the peasant ruin. This moment of the hungry life of the peasantry, whom “longing-trouble exhausted”, sounds with particular force in the song called “Hungry” by Nekrasov. Moreover, the poet does not exaggerate, showing poverty, poverty of morals, religious prejudice and drunkenness in peasant life.

The situation of the people is drawn with the utmost distinctness by the names of the places where the truth-seeking peasants come from: Terpigorev district, Pustoporozhnaya volost, Tightened province, the villages of Zaplatovo, Dyryavino, Znobishino, Razutovo, Gorelovo, Neyolovo, Neurozhayka. The poem very vividly depicts the bleak, powerless, hungry life of the people. “A peasant’s happiness,” the poet exclaims bitterly, “leaky with patches, humpbacked with calluses!” Peasants are people who "have not eaten their fill, slurped without salt."

With undisguised sympathy, the author treats those peasants who do not put up with their hungry, disenfranchised existence. Unlike the world of exploiters and moral freaks, serfs like Yakov, Gleb, Ipat, the best of the peasants in the poem retained true humanity, the ability to sacrifice, spiritual nobility. These are Matrena Timofeevna, the bogatyr Saveliy, Yakim Nagoi, Yermil Girin, Agap Petrov, seven truth-seekers and others. Each of them has his own task in life, his own reason to “search for the truth”, but all of them together testify that peasant Russia has already awakened, come to life. Truth seekers see such happiness for the Russian people:

I don't need neither silver, nor gold, but God forbid, So that my countrymen And every peasant Live freely, cheerfully In all holy Russia!

In Yakima Nagoy, the peculiar character of the people's truth-seeker, the peasant "righteous man" is presented. Yakim is hardworking, he is ready to stand up for his rights, an honest worker with great self-esteem. The hard life did not kill his love for beauty. During a fire, he saves not money, but “pictures”, having lost his accumulated wealth over the whole century - “thirty-five rubles”. This is what he says about the people:

Every peasant has a Soul like a black cloud - Wrathful, menacing - and it would be necessary for Thunders to thunder from there, To pour bloody rains, And everything ends with wine.

Yermil Girin is also remarkable. A literate peasant, he served as a clerk, became famous throughout the district for his justice, intelligence and disinterested devotion to the people. Yermil showed himself to be an exemplary headman when the people chose him for this position. However, Nekrasov does not make a righteous man out of him. Ermil, taking pity on his younger brother, appoints Vlasyevna's son as a recruit and then, in a fit of repentance, almost commits suicide. The story of Ermil ends sadly. He is imprisoned for his performance during the riot. The image of Yermila testifies to the spiritual forces lurking in Russian people, the richness of the moral qualities of the peasantry. But only in the chapter "Savelius, Hero of Holy Russia" does the peasant protest turn into a revolt, culminating in the murder of the oppressor. True, the reprisal against the German manager was still spontaneous, but such was the reality of serf society. Serf riots arose spontaneously as a response to the cruel oppression of the landlords and those who managed their estates. Nekrasov shows the difficult and difficult path that the growth of rebellious moods and the formation of Savely's consciousness went on: from silent patience to passive resistance, from passive resistance to open protest and struggle.

Saveliy is a consistent fighter for the interests of the people, despite the rods and hard labor, he did not resign himself to his fate, he remained a spiritually free person. "Branded, but not a slave!" - he answers the people who called him "branded". Savely embodies the best features of the Russian character: love for the motherland and the people, hatred for the oppressors, a clear understanding of the irreconcilability of the interests of the landowners and peasants, the courageous ability to overcome any difficulties, physical and moral strength, self-esteem. The poet sees in him a true fighter for the cause of the people.

Not meek and submissive are close to the poet, but recalcitrant and courageous rebels, such as Savely, Yakim Nagoi, whose behavior speaks of the awakening consciousness of the peasantry, of its boiling protest against oppression. Nekrasov wrote about the oppressed people of his country with anger and pain. But the poet was able to notice the "hidden spark" of the mighty internal forces inherent in the people, and looked ahead with hope and faith:

The army rises - Innumerable, the Power in it will be indestructible!

1. Russian people in the image of N.A. Nekrasov

Nekrasov is often called a folk poet, and this is true. He, like no one else, often turned to the topic of the Russian people.

Nekrasov still lived under serfdom and could personally observe pictures of the life of enslaved people who did not dare to raise their heads. The vast majority of Nekrasov's poems (especially famous ones) are dedicated to the Russian peasant. After all, wherever you look, there is suffering everywhere. If you ride the railroad, thousands of nameless people who put their lives on its construction invisibly stand outside the window. If you stand at the front door, you see the unfortunate, ragged, desperate, waiting for an answer to their petitions (and often they only waited for them to be pushed in the neck). Do you admire the beauties of the Volga - barge haulers pull a barge along it with a groan.

Neither in the city nor in the village is there a simple peasant who would be really happy. Although they are looking for happiness. Nekrasov talks about this in the poem “Who in Russia should live well”. The men came together with a seemingly simple goal: to find happiness, to find out who lives well and why. Yes, but it turns out that there is no man who would have a good life. He has no rights, he cannot resist the rudeness and arbitrariness of his superiors. It turns out that only gentlemen can live freely, who do not know how to do anything, but have unearned money and undeserved power.

The conclusion that Nekrasov comes to is simple and obvious. Happiness is in freedom. And freedom is still just glimmering in front of a dim light. It must be reached, but it will take many years.

Yes, the life of the Russian people is hard. But after all, in any most hopeless existence there are bright glimpses. Nekrasov skillfully describes village holidays, when everyone, young and old, start dancing. After all, he who knows how to work, knows how to relax. Here reigns true, nothing marred fun. All worries and labors are forgotten. And going to mass is a whole ritual. The best outfits are taken from the chests, and the whole family, from children to the elderly, decorously goes to church.

In general, Nekrasov pays special attention to peasant religiosity. Religion has supported the Russian people from time immemorial. After all, it was impossible to count on anyone's help, except God's. Therefore, in case of illness and misfortune, they fled to miraculous icons. Every person has the right to hope, it is the last thing he has left even at the time of the most difficult trials. For the peasants, all hope, all light, was concentrated in Jesus Christ. Who else will save them, if not him?

Nekrasov created a whole galaxy of images of ordinary Russian women. Perhaps he romanticizes them somewhat, but one cannot but admit that he managed to show the appearance of a peasant woman in a way that no one else could. A serf woman for Nekrasov is a kind of symbol. A symbol of the revival of Russia, its disobedience to fate.

The most famous and memorable images of Russian women in the image of Nekrasov are, of course, Matrena Timofeevna in “Who Lives Well in Russia” and Daria in the poem “Frost, Red Nose”. What unites these two women is their main grief - they are serfs:

Three heavy shares had fate,

And the first share - to marry an Arab,

The second is to be the mother of the son of a slave,

And the third is to obey the slave to the grave,

And all these heavy shares fell

On the woman of the Russian land.

The peasant woman is doomed to suffer until death and keep silent about her suffering. No one will listen to her complaints, and she is too proud to confide her grief to anyone. In the poem “To whom it is good to live in Russia”, peasants come to Matryona Timofeevna looking for happiness. And what do they hear from her? The story of the life of a serf woman. She was happy, protected, loved by her parents before her marriage. But you won’t stay long in the girls, the groom is, and a hard life begins in a strange house. You have to work from morning to night, and you won’t hear a kind word from anyone. The husband is working, and his family does not favor his daughter-in-law. The first son of Matryona Timofeevna dies in infancy, the other was recruited. There is no light ahead, nothing to hope for. Matrena Timofeevna says to the peasants:

It's not a matter - between women

Happy searching!

One thing remains for a woman: to endure until the end of her days, to work and raise children, the same slaves as their father.

Daria also got a heavy share (“Frost, Red Nose”). Her family life at first developed more happily: the family was friendlier, and her husband was with her. They worked tirelessly, but did not complain about fate. And then grief falls upon the family - Daria's husband dies. For peasants, this is the loss of not only a loved one, but also a breadwinner. Without it, they will simply starve to death. No one else will be able to go to work. The family was left with old people, children and a single woman. Daria goes into the forest to get firewood (formerly a man's duty) and freezes there.

Nekrasov has another interesting peasant image. This is a Pear from the poem “On the Road”. She grew up in a manor house and was not trained in hard country work. But fate decreed that she married a simple man. The pear begins to languish, and its end is very near. Her soul languishes, but her husband, of course, is not able to understand her. Indeed, instead of working, she “looks at some rubbish and reads some book ...” Peasant labor is beyond her power. She would be happy to work, to help, but she is not accustomed. In order to endure all this hard labor, you need to get used to it from childhood. But many generations of peasants grew up in just such an environment. From childhood, they worked tirelessly. But all this did not go for the future: they worked for the masters, and they themselves were fed from hand to mouth, if only not to fall off their feet.

So humiliated, but proud, the people appear in the works of Nekrasov. The Russian peasant bends his neck, but does not break. And he is always supported by a woman, strong and patient. Nekrasov sees his destiny in describing the present of the Russian people without embellishment and giving them hope for a brighter future. The poet believes that it will come, and he will contribute to this great change.

Answer left Guru

In the early 60s of the 19th century, it seemed that a small effort was enough, and the people would overthrow serfdom, and with it the autocracy, a happy time will come. But serfdom was abolished, but freedom and happiness never came. Hence the real realization by the poet that this is a long historical process, until the end result of which neither he nor the younger generation (in the poem it is Vanya personifies) will live. Why is the poet so pessimistic? In the work, the people are depicted in two guises: a great worker, deserving of universal respect and admiration for his deeds, and a patient slave, who can only be pitied without offending this pity. It is this slavish obedience that makes Nekrasov doubt the imminent change in people's life for the better. The narrative opens with a picture of nature, written juicy, plastic and visible. Already the first, muzhik-like word “vigorous”, so unusual for landscape lyrics, gives a special feeling of freshness and taste of healthy air and turns out to be a daring bid for democracy, folk work. The beauty and harmony of nature turn out to be an occasion to talk about the world of people.

Glorious autumn! frosty nights,
clear, quiet days… .
There is no ugliness in nature!

Unlike nature, human society is full of contradictions, dramatic clashes. In order to tell about the severity and feat of folk labor, the poet turns to a technique that is quite well known in Russian literature - a description of the dream of one of the participants in the story. Vani's dream is not only a conditional device, but the real state of a boy, in whose disturbed imagination the story of the suffering of the road builders gives rise to fantastic pictures with the dead coming to life under the moonlight.

Chu! terrible exclamations were heard!
Stomp and gnashing of teeth;
A shadow ran over the frosty glass….
What's there? Crowd of the Dead!

In the picture of the dream, labor appears both as unprecedented suffering and as a feat realized by the people themselves (“God's warriors”). Hence that lofty pathetic manner in which it is said about people who brought to life barren wilds and found a grave in them. The picture of fresh and beautiful nature that opens the poem not only contrasts with the dream picture, but is also correlated with it in grandeur and poetry.

… Brothers! You are reaping our fruits!
We are destined to rot in the ground ... .
Do all of us, the poor, remember kindly
Or have you forgotten a long time ago?

The biggest problem revealed by Leskov in the tale "Lefty" is the problem of the lack of demand for the talents of the Russian people.
Leskov is overwhelmed not only with feelings of love and affection for his people, but also with pride in the talents of his compatriots, for their undisguised sincere patriotism.
The main character Lefty refers to all the poor talented people of that time who did not have the opportunity to develop their talent and apply their skills. These people, possessing a natural gift, did things that the vaunted Englishmen never dreamed of. If Lefty had at least a little knowledge of arithmetic, the flea would also dance. If Lefty were more self-interested and lazier, he could steal a flea and sell it, because he was not paid a penny for his work.
However, the sovereign, marveling at the art of overseas masters, did not even remember the talents of his people. And even when Platov proved that the weapons were made by Tula craftsmen, the tsar felt sorry that they embarrassed the hospitable British.
At the same time, Lefty, being abroad, did not forget about the Motherland and parents for a minute. He refused all the tempting offers of the British: “We are committed to our homeland ...”

N. Nekrasov, for the first time in Russian poetry, opened before the reader people's life in all its fullness - with its beauty and wisdom, with its bottomless grief and torment. Before him, the opinion that, for example, was bluntly expressed by the writer and journalist A. Druzhinin, was almost dominant in literature. He convinced Nekrasov, then still a young publisher of the Sovremennik magazine: “The magazine's subscribers are educated people.

Well, is it interesting for an educated reader to know that Yerema eats chaff, and Matryosh howls over a fallen cow. Indeed, everything that is written about the Russian peasant is exaggerated. What needs does he have for another life? He is completely satisfied and happy if he manages to get drunk on a tumor with homebrew or vodka to a bestial state on a holiday.

Nekrasov not only refuted the lie about the Russian peasant; he saw the people's soul as a great soul: pure and sublime, sympathetic and merciful, suffering and patient, strong and rebellious. For no author before, the “low”, ordinary life of a simple person, crushed by want and slavery, has yet been the main, constant subject of poetry.

Thanks to the truth, merciless and burning, which Nekrasov was capable of, thanks to his gift to masterfully paint this "low" life with accurate and sharp colors, the poet's poems turned out to be previously unknown literature, an artistic discovery. I. Turgenev, having read in a magazine one of the first “truly Nekrasov” poems “Am I driving down a dark street at night ...”, wrote from abroad to V. Belinsky: “Tell Nekrasov from me that his poem is in the 9th book of Sovremennik “I was completely crazy; day and night I repeat this amazing work - and I have already learned it by heart. Indeed, how could it be more expressive to draw this:

Do you remember the day how, sick and hungry,

Am I discouraged, exhausted?

In our room, empty and cold,

The steam from breathing went in waves.

Do you remember the mournful sounds of the trumpets,

Splashes of rain, half light, half darkness?

Your son cried, and cold hands

You warmed him with your breath.

He did not stop - and a piercing call

There was his cry... It was getting darker;

The child cried and died...

Poor! Do not shed tears of the reckless!

………………………………………………..

In different corners we sat gloomily.

I remember you were pale and weak

A secret thought ripened in you,

There was a struggle in your heart.

I dozed off. You left silently

Dressed up as if to a crown,

And an hour later brought hastily

A coffin for a child and dinner for a father.

We quenched the painful hunger,

A light was lit in a dark room,

They dressed their son and put him in a coffin ...

Has chance helped us out? Did God help?

You were in no hurry with a sad confession,

I didn't ask anything

Only we both looked with a sob,

I was only gloomy and embittered ...

How many purely Russian paintings do we find in Nekrasov's poems and poems - and they are always painted in the color of sadness, they are always in tune with peasant need, recruit tears, a dull coachman's song, a sad lullaby ... “Again, - as if apologizing, the poet says, - again I am about mournful motherland”, and this “again” is tragically repeated now, as if a century and a half had not passed and the world, man, the Russian land had not changed.

How long-lived the poet's feeling turned out to be, what an imperishable sore string he touched, if the echo from his poems still flies over our expanses and cannot die out either in the dense Russian forests, or in the all-worldly Russian distances, or in Russian souls that have survived a lot:

Again desert-quiet and peaceful

You, the Russian way, the familiar way!

Nailed to the ground with tears

recruiting wives and mothers,

The dust is no longer standing in pillars

Over my poor homeland.

Again you send to the heart

restful dreams

And you hardly remember

What were you like during the war?

When over serene Russia

The incessant creak of the cart rose,

Sad as a people's groan!

Russia rose from all sides,

All that I had, I gave

And sent for protection

From all country lanes

His obedient sons.

Nekrasov can be called a chronicler of people's grief. Re-read his poems “To whom it is good to live in Russia” and “Pedlars”, “Frost, Red Nose” and “Peasant children”, “Sasha” and “Orina, a soldier’s mother”, “Railway” and “Unfortunate”, “Russian women ”And“ Grandfather ”,“ Contemporaries ”and“ Belinsky ”, and many poems that have sunk into memory -“ Reflections at the front door ”,“ Yesterday, at six o’clock ... ”,“ Elegy ”(“ Let the changeable fashion ...), "Prayer", "Uncompressed band" - together they represent a vivid and detailed picture of peasant Russia, its needs, stretching the veins of labor, barbarism and slavery. But there were so many prose writers, poets, playwrights, lively journalists around - and none of them tore off the veil behind which the terrifying disorder of Russian life was hidden. Nekrasov did this with all the passion of the people's sorrower and intercessor:

Motherland!

Name me a place like this

I didn't see that angle.

Wherever your sower and keeper,

Wherever the Russian peasant moaned.

He groans through the fields, along the roads,

He groans in prisons, prisons,

In mines, on an iron chain;

He groans under the barn, under the stack,

Under the cart, spending the night in the steppe;

Moaning in his own poor little house,

The light of God's sun is not happy;

Moaning in every deaf town,

At the entrance of the courts and chambers ...

“The muse of revenge and sadness,” Nekrasov said about his song. Why "sadness" is understandable. And why - "revenge"? Russian poets never sang revenge, except perhaps revenge on the enemy. Any of the Christian feelings could be evoked in the reader's heart by the poems of Russian poets: pain, pity, participation, compassion, but revenge ...

It seems to me that this feeling of the poet can be explained by the similar state of Leo Tolstoy, expressed by him a quarter of a century after the death of Nekrasov. Receiving daily angry letters from disadvantaged compatriots, the author of War and Peace fully agreed with the warning that his correspondents addressed to the rulers on the eve of the first Russian revolution: “There can be only one answer to what the government does to the people: revenge, revenge and revenge !"

Nekrasov, not only in childhood and youth, was wounded by horrific violence against forced people. And later, he, a journalist, a man of a social warehouse, eagerly followed the events in Russia and acutely experienced any cruelty. And the news of violence and the reciprocal popular anger were not so rare.

In the report of the third police department to Nicholas I for 1841, for example, it was said: “The investigation into the murder of the Mogilev landowner Svadkovsky by his courtyard people revealed that the reason for this atrocity was his unusually cruel treatment of the peasants for 35 years ... ". “... disobedience was rendered in 27 estates and for the most part it seemed necessary to use military assistance for pacification; on the estates of Count Borch and Demidova, the authorities were forced to act with an armed hand, and in the first 21 were killed and 31 were wounded, and in the last 33 were killed and up to 114 were wounded.

In a report for 1843, Benckendorff's department reported: “An unnamed denunciation has been received about the killing of a ten-year-old yard girl Firsova by the landowner of the Tver province Postelnikov. It was found that Firsova really died of starvation and beatings. In three provinces, state-owned peasants ... with weapons in their hands met the military teams sent there, and only reinforced detachments were brought into obedience, and 43 people were wounded and killed ... ".

Could Nekrasov, knowing this, write differently, without anger and indignation:

Here he is, our gloomy plowman,

With a dark, dead face, -

Bast shoes, rags, hat,

Torn Harness; barely

The nag pulls the roe deer,

Barely alive with hunger!

The eternal worker is hungry,

Hungry too, I'm afraid!

………………………………………

The spectacle of the disasters of the people

Unbearable, my friend.

The notorious “literature scammer” Thaddeus Bulgarin reported to the third police department in 1848: “Nekrasov is the most desperate communist; it is worth reading his poems and prose in the St. Petersburg Almanac to verify this. He cries terribly in favor of the revolution.”

But who is preparing the revolution? Not at all those who "shout" against slavery and violence, but just those who mock their own country. The instigators of revolts are the people in power. It is they who are pushing the people towards revolutions, pushing them with their cruelty, venality, inability to provide fellow citizens with a tolerable life. Today, over Nekrasov's poems, you recall with bewilderment the verbiage of the Pharisees: "The limit on the revolution has passed." Gentlemen, there was a limit on the mockery of the mortified people. You won't have to do it with impunity for a long time. Listen to the poet

Every country is coming

Sooner or later turn

Where obedience is not stupid -

Friendly strength is needed;

Fatal misfortune is coming -

The country will tell in a moment.

The passionate desire for people's freedom was a living grain in the poetry of Pushkin, and Lermontov, and Koltsov. But only in Nekrasov's lyrics did this grain germinate and become an ear, and if you take a look at all Russian poetry, then it was this ear that laid the foundation for a ripened field of hope. Russia remembered Nekrasov as a harbinger of freedom, and after him Russian literature could no longer be perceived otherwise than as a beacon in any bad weather, in the surrounding twilight, in temporary darkness. It was hitherto unheard of that in poetry there was a fearless and justified call for revenge:

Unbridled, wild,

Enmity to the oppressors

And a great power of attorney

To selfless work.

With this hatred right

With this faith, the saint

Over the wickedness

Ranging God's thunderstorm ...

One of the St. Petersburg newspapers wrote then: “Not by the sonority of the verse, not by the poetic processing of the form, but by the very content, close to every heart, involuntarily touching it to the quick, by the burning interest of thought, by its humanity, by compassion for the suffering, by humor , sometimes bilious and even somewhat painful, by passionate drama - Nekrasov's works enjoy common love, ardent sympathy, and even when they were placed separately in magazines, many learned by heart or were written out in special notebooks.

Nekrasov thought a lot about the singer's own lot; having defined it for himself, he left such a testament to the following generations of lyricists:

And you, the poet! heaven's chosen one,

Herald of the truths of the ages,

Do not believe that he who does not have bread

Not worth your prophetic strings! ..

Be a citizen! serving the art

Live for the good of your neighbor

Subordinating your genius to feeling

All-Encompassing Love…

Nekrasov's poems seem to echo the everyday peasant conversation, the soulful folk song. It seems that his poetry was originally inherent in the national warehouse. He opened the world of our everyday life as a spiritual and moral world, finding true, priceless beauty in this combination of Russian life and spirituality.

In the domestic, and in the world, lyrics, there are few poets who, like Nekrasov, would tell so many worldly stories that together made up what we call folk life; discovered so many human destinies, which together constituted the fate of the people. And all these stories and destinies are illuminated by the light of earthly beauty and healing sympathy. From the school bench, we memorized the sad lines from the poem "Frost, Red Nose":

... Savrasushka, touch,

Pull tighter!

You served the master a lot,

Serve for the last time!

Chu! two death blows!

Priests are waiting - go! ..

Murdered, mournful couple,

Mother and father walked ahead.

Both guys with the dead

Sat, not daring to cry,

And, ruling Savraska, at the tomb

With the reins of their poor mother

Chagall... Her eyes sunk in,

And was not whiter than her cheeks

Worn on her as a sign of sadness

From a white canvas scarf ...

But we hardly realized that the story of poor Proclus, his unfortunate wife Daria and restless children would sink into our memory for life, acquire worldly truth, like a tragedy that seemed to have happened before our eyes and shocked us - we hardly realized we that it will be imprinted as a living picture in our destiny largely because of the wonderful, unforgettable lines accompanying it about peasant labor, about Russian nature. For example, these:

It is not the wind that rages over the forest,

Streams did not run from the mountains,

Frost-voivode patrol

Bypasses his possessions.

Looks - good blizzards

Forest paths brought

And are there any cracks, cracks,

Is there any bare ground anywhere?

Are the tops of the pines fluffy,

Is the pattern on oak trees beautiful?

And are the ice floes tightly bound

In great and small waters?

Walks - walks through the trees,

Cracking on frozen water

And the bright sun plays

In his shaggy beard...

Probably, in his ancestral Greshnev and later in the places where Nekrasov hunted, he not only saw human grief, but also heard plenty of juicy conversations, playful skirmishes, intricate words, saw enough of old rituals, skillful practical jokes. All this passed into the poet's books:

Ouch! light, light box,

Shoulder does not cut the strap!

And the sweetheart took everything

Turquoise ring.

Gave her a piece of calico,

Scarlet ribbon for braids

Belt - white shirt

Gird in hayfield -

Everything was laid down by the beloved

In the box, except for the ring:

"I don't want to go smart

Without a heart friend!

Nekrasov revealed many such folk customs, many rituals - whether it was courtship, whether funerals, whether the harvest began, whether the end of suffering - rituals that had developed in Russian life over the centuries, he brought to light, as if saying: “Admire your native wealth, Russians people, marvel at the talent and wisdom of the ancestors!” In the poem “To whom it is good to live in Russia”, almost every hero talks about his life or the hardships of the rural world not in erased words, but with a special verbal outlet, with his sentence and saying. For example, the peasant woman Matrena Timofeevna decided to tell the wanderers about her life in detail, with details, and began her story from her youth, from her pre-marriage time. A guy with matchmakers came to her - the bride did not sleep all night, mentally admonished the groom:

Oh! what are you, a guy, in a girl,

Did you find the good in me?

Where did you spot me?

Is it about Christmas time, how am I from the hills

With guys, with friends

Riding, laughing?

You are mistaken, father's son!

From the game, from skating, from running,

Inflamed with frost

The girl has a face!

Is it in a quiet conversation?

I was dressed up there

Prestige and Pretty

Saved up over the winter

Bloomed like poppies!

And you would look at me

I shake flax like sheaves

I’m praying on the rig ...

Is it in the parent's house? ..

Oh! to know! would send

I'm in the city of the brother-falcon:

"Dear brother! silk, garus

Buy - seven colors,

Yes, a blue headset!

I would embroider in the corners

Moscow, king and queen,

Yes Kyiv, yes Tsargrad,

And in the middle - the sun,

And this curtain

I would hang it in the window

Perhaps you would look -

I would have passed! ..

From attention to the spoken peasant language comes Nekrasov's courage in the artistic use of any word. It is known that the people can put a walking word in such a neighborhood that no rhetorician will ever dream:

Grass fell under the scythe,

Under the sickle burned rye…

…………………………………….

Sheep pubescent,

Feeling the proximity of the cold ...

……………………………………

Above the swamp turned blue,

hung over dew…

……………………………………

Rain, or something, is going,

They walk across the sky gobies

……………………………………

Titus home. fields not orans,

The house is torn to shreds...

And how much poetry is spilled over the pages of this "social" work!

The quiet night descends

Already out into the dark sky

The moon is already writing a letter

Lord of pure gold

Blue on velvet

That wise letter,

Which neither reasonable,

Not stupid to read.

In the spring, that the grandchildren are small,

With the ruddy sun-grandfather

Clouds are playing

Here is the right side

One continuous cloud

Covered - clouded

She froze and cried:

Rows of gray threads

They hung to the ground.

And closer, above the peasants,

From small, torn,

Merry clouds

Laughing red sun

Like a girl from sheaves.

One can cite colorful lines from Nekrasov's poems and poems again and again - they refute the popular belief that our classic is supposedly a poet of the idea that the artistic, aesthetic was alien to him. It is not true. Nekrasov always carried in his soul that ideal that distinguishes a true artist. Once he convinced Turgenev: “... go into yourself, into your youth, into love, into the indefinite and madness-beautiful impulses of youth, into this melancholy without melancholy - and write something in this tone. You yourself don’t know what sounds will flow when once you manage to touch these strings of a heart that has lived as long as yours - with love, suffering and every kind of ideality.

He himself in many, many works - from the first love poems: "Let the dreamers be ridiculed for a long time ..." and "When from the darkness of delusion ..." to the last dying poem about the mother, as if interrupted by sobs - poured out so much tenderness, gratitude to life and people that became the favorite poet of compatriots.

This revolutionary democrat, as our literary criticism represented him in the twentieth century, had a truly Christian soul. In the poem "Silence" he exclaimed at the sight of the Orthodox Church on the impoverished Russian land:

Temple of Sigh, Temple of Sorrow -

Poor temple of your land:

Heavier groans have not heard

Neither the Roman Peter, nor the Colosseum!

Here the people you love

His longing irresistible

He brought the holy burden -

And he left relieved!

Come in! Christ will lay hands

And will remove by the will of the saint

From the soul of shackles, from the heart of flour

And ulcers from the conscience of the patient ...

We talked about how painful the endless patience of the people echoed in Nekrasov's soul. But peering into a Russian person, the poet never confused humility in him with kindness, responsiveness, and steadfastness in trouble. Remember the heroes of his poems, remember how they relate to God's commandments, according to what moral laws they live. For example, Orina, a soldier's mother, answers the question of why her heroic son died, returning home after soldiering:

Did not like, sir, to tell

He is talking about his military life,

It's a sin to show the laity

Soul - doomed to God!

To speak is to anger the Almighty,

To please the cursed demons ...

In order not to say too many words,

Do not get annoyed with enemies

Silence before death

Suitable for a Christian.

God knows what hardships

We crushed the power of Vanina!

According to Nekrasov, a commoner is not considered to be a person just by one who does not have God in his soul. And the tormentor, and the money-grubber, and the bribe-taker, for whom there is no earthly court and who are not afraid of the heavenly court, evoke sarcastic lines from the poet:

Happy is the dear one

Acquisition, who was faithful to her

And in life not once God

I didn't feel it in my empty chest.

The poet himself always "felt in his chest" God. His soul softened when he spoke about God's cathedral, about church bells, about righteous people. Here he often reached the merged earthly and heavenly song:

Chu! cranes in the sky

And their cry is like a roll call

Keeping the dream of their native land

The Lord's sentries, rushing

Over the dark forest, over the village,

Over the field where the herd grazes,

And a sad song is sung

In front of a smoldering fire...

So now we have to discover the "new" Nekrasov, who had a good feeling for the rare beauty of a pure soul, its closeness to God's image. And there could be no other poet who wrote:

The temple of God on the mountain flashed

And childishly pure sense of faith

Suddenly, it smelled.

A special cordiality and some kind of guilt before another soul, unprotected and suffering, were embodied in Nekrasov's poems addressed to women. I don’t know if any other Russian poet had the right to say at the end of his journey, like Nekrasov:

But I've been suffering all my life for a woman.

To freedom, her paths are ordered;

Shameful captivity, all the horror of the female share,

She had little strength left to fight ...

It seemed that the poet was in a hurry to capture in his verses the luminous characters of his contemporaries, no matter what class - "low" or "noble" - they were. The peasant woman Daria from the poem "Frost, Red Nose", Sasha from the story of the same name, Orina, the soldier's mother, the wives of the Decembrists - Princesses Volkonskaya and Trubetskaya from the poetic dilogy "Russian Women", finally, the heroines of Nekrasov's lyrical confessions - all these images are deposited in our hearts like relatives, dear. Why? Maybe because we are touched in the poet's poems by an extraordinary understanding of the female soul, empathy with her and gratitude for the light and kindness. This note sounds with special force in the poem "Mother":

And if I shake it off easily over the years

From the soul of my pernicious traces

Correcting everything reasonable with your feet,

Proud of the ignorance of the environment,

And if I filled my life with struggle

For the ideal of goodness and beauty

And wears the song composed by me,

Living love deep features -

O my mother, I am inspired by you!

You saved a living soul in me!

In Nekrasov's love poems, there is no traditional romanticism with which a lyrical hero usually envelops his feelings. In Nekrasov's intimate lyrics, as in other works, there are many everyday details. The object of his worship is not an ephemeral, sublime image, but an earthly woman living in the same everyday environment as the poet. But this does not mean that his love turns out to be deliberately mundane, devoid of high worship and pure poetry. happiness and suffering loving people, daily in contact with the prose of life, with worldly hardships, are conveyed by Nekrasov in lines as tragic and serene, aloofly cold and fieryly passionate, like the immortal lines of other famous singers:

You are always good incomparably,

But when I'm sad and gloomy

Lives up so inspiring

Your cheerful, mocking mind;

You laugh so smartly and sweetly,

So you scold my stupid enemies,

Then, bowing his head dejectedly,

So slyly you make me laugh;

You are so kind, buying up on caresses,

Your kiss is so full of fire

And your darling eyes

So they dove and stroke me, -

What is the real grief with you

I wisely and meekly bear

And forward - into this dark sea -

Without the usual fear I look ...

All the addressees of Nekrasov's poems about love are women who supported him in life's adversities, selflessly shared the trials of fate with him. In 1848, Avdotya Yakovlevna Panaeva, a real Russian beauty, a woman with literary talent, became the poet's common-law wife.

Together with Nikolai Alekseevich, she wrote the novel "Three Sides of the World"; her memoirs became the most interesting story about the literary life of Russia in the middle of the nineteenth century. Many poems of the poet are dedicated to A. Panaeva, which have become an adornment of Russian lyrics. Reading them, you note the peculiarity of Nekrasov's lyrical revelations: there are no poetic conjectures, exaggerations in his confessions; here the fact of biography, family, everyday history are raised to the level of high art. Here is a poem from 1855, when the poet was struck by an illness that seemed fatal to him:

The heavy cross went to her share:

Suffer, be silent, pretend and do not cry;

To whom and passion, and youth, and will -

She gave everything, - he became her executioner!

For a long time she has not known a meeting with anyone;

Depressed, timid and sad,

Crazy, snarky speeches

Must listen without complaint:

"Do not say that youth ruined

You, tormented by my jealousy;

Don't speak!.. my grave is near,

And you are a fresh spring flower! .. "

N. Chernyshevsky rightly called Nekrasov's poems about love "poetry of the heart." From the depths of the heart, enthusiastic and sober, grateful and exhausted, the lines of such amazing poems surfaced, such as "I do not like your irony ...", "Farewell", "You sent me far away ...", "On the letters of a woman, dear to us ...", "You and I are stupid people ...". I can't help but cite the first one.

Everything is here: the tension of the lyrical feeling, and the noble intonation, and the stylistic sharpness of the lines, and the philosophical understanding of what has been said - everything is subject to the fact that the song for the glory of love is poetically high and at the same time worldly close to any reader:

I don't like your irony.

Leave her outdated and unlived

And you and I, who loved so dearly,

Still the rest of the feeling preserved, -

It's too early for us to indulge in it!

While still shy and gentle

Do you want to extend the date?

While still seething in me rebelliously

Jealous worries and dreams -

Do not rush the inevitable denouement!

And without that, she is not far away:

We boil stronger, full of last thirst,

But in the heart of a secret coldness and longing ...

So in autumn the river is more turbulent,

But the raging waves are colder ...

The last years of his life and especially the dying months of the poet were brightened up by another woman - Fyokla Anisimovna Viktorova. The daughter of a soldier, an orphan, she was thirty years younger than Nikolai Alekseevich. “She exuded spiritual kindness and deep affection for Nekrasov,” wrote the writer A. Koni. The poet called her in his own way - Zina, Zinaida Nikolaevna. Shortly before his death, Nekrasov married her in order to secure her right to inherit.

And in the verses addressed to Zina, the same lyrical hero is still there: suffering from a cruel illness, he understands that he involuntarily torments a close woman, and therefore seeks to support her with his gratitude, his consolation:

Don't cry furtively! - Believe in hope

Laugh, sing, as you sang in the spring,

Repeat to my friends, as before,

Every verse you wrote down.

Say that you are satisfied with a friend:

In the celebration of victories

Over your tormentor-disease

Your poet forgot about death!

Once V. Belinsky rightly remarked: "For a true artist - where there is life, there is poetry." Nekrasov knew how to find poetry in ordinary life, and even at such times when for millions of Russian people it was bonded and gloomy. But despondency and hopelessness seemed to him more terrible than death. The poet left us a lot of evidence of his unshakable faith: “The Russian people are gathering strength ...”, “They will endure everything - and they will pave the way for themselves with a wide, clear chest ...”, “The land that brings out so many glorious people from the people, you know ... »

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