When analyzing a work of art, such a term as "problematics" is often used. In a novel or story, the writer expresses his point of view. It is, of course, subjective, and therefore causes controversy among critics and readers. Problematics is the central part of the artistic content, a unique author's view of reality.
The issue is the subjective side of the content. The subject matter is subjective. You can make a long list of books on a particular topic. For example, to name more than a dozen works dedicated to the conflict between generations. But you will not find a novel identical in ideology to Turgenev's Fathers and Sons.
Problematics is the moral attitude of the writer to a particular subject. The number of topics that inspire prose writers to literary creativity is not so great. There are few major writers whose books have similar problems.
"Problem" in Greek means "task". This word is often found in various spheres of human activity. In literary creativity, problematics is the task that the question poses, which he asks in his work, and not to himself, but to readers.
Anton Chekhov argued that two completely different phenomena should not be confused: the solution of a question and the formulation of a question. The writer must put the question correctly, and this is his main task. It is easy to identify the problems in such works as "Anna Karenina", "Eugene Onegin". They do not address copyright issues. But they are set correctly.
Questions arise when reading Anna Karenina. Did the main character do the right thing by leaving her husband? Did Vronsky ruin his beloved, or did he, first of all, become a victim of his own passion? Both critics and readers answer these questions in different ways. But the problems of the novel primarily affect the features of the Russian noble society of the 19th century. The tragedy of Tolstoy's heroine is that in her environment, a decent form comes first, and only then feelings.
Literary critics distinguish several types of this important aspect of artistic content. The study of the problems of the work began in the 19th century. But the first classifications appeared only in the 20th century. One of them belongs to the literary critic Bakhtin. He distinguished the problems by the author's approach to the image of a person.
Pospelov identified the following types:
There are many more classifications of problems, and it makes no sense to give each of them. Thus, the modern researcher Esin, in addition to mythological, identified such types as national, novel, sociocultural, philosophical. At the same time, some of them were divided into subtypes.
In order to understand what problems are, it is better to give examples from the literature. What is the problematic of the story "Taras Bulba"? It's easy to guess. After all, the author uses a national-historical type. But there are also novelistic aspects of the problem in Gogol's work.
In Crime and Punishment, the author raised important philosophical and moral questions. He paid considerable attention to the role of faith in human life. Although Soviet critics did not see such an aspect of the problem in Dostoevsky's novel. Let's give a little analysis of the work.
The problems of the novel are philosophical, moralistic, sociocultural. Where is the line between good and evil? Do they exist? These questions were put by the author to the readers. However, in the actions of the protagonist, no matter how cruel his act, it is difficult to identify these boundaries.
Another important issue in Crime and Punishment is the question of priorities. For Raskolnikov, at the beginning of the work, money comes first. He believes that only they will bring him closer to the goal, which, in turn, will be a boon for all that gray mass, about which he thinks with disdain. As you know, the ideas of the student are untenable.
There is a socio-cultural aspect in the artistic content of the novel. Dostoevsky portrayed Petersburg. But not that chic city, built as if for show. Events take place in poor areas, where it is very difficult for a person to maintain morality and faith in God.
In Russian literature, there are many worthy works dedicated to the Great Patriotic War. These include the story of Vyacheslav Leonidovich Kondratiev "Sashka". We suggest that you familiarize yourself with the analysis of the work according to the plan, which will be useful to students in grade 11 in preparing for a lesson in literature.
Year of writing- 1979.
History of creation- The story "Sashka" is largely autobiographical, since the author himself took part in heavy battles near Rzhev. These memories haunted him for many years, and in adulthood they turned into a story in which the problems of the war were revealed.
Topic– The central theme of the work is the problem of moral choice in war conditions.
Composition- The composition of the story has a mosaic structure and consists of microplots, with the help of which the essence of the main character is fully revealed. The work is characterized by an unhurried pace of narration, which allows you to better understand Sasha's inner world, the motives of his actions.
Genre- The story.
Direction- Realism.
Vyacheslav Leonidovich went to the front when he was barely 21 years old. As part of a rifle brigade, he fought desperately for the city of Rzhev, was wounded, and was awarded the medal "For Courage".
Memories of the war hard times did not leave Kondratiev throughout his life: they tormented him, did not allow him to enjoy the present. According to the writer, he re-read a lot of fiction about the Great Patriotic War, but not a single work could really hook him, in none of them did he find a description of “his” war.
The story of Vyacheslav Leonidovich "Sasha" was published in 1979 in the journal "Friendship of Peoples".
In the story, which describes all the realities of the Great Patriotic War, Kondratiev masterfully reveals the central theme of the work- the problem of moral choice in extreme conditions. The lot of the protagonist falls a lot of life's trials, capable of reflecting the true essence of a person as accurately as possible.
One of the most poignant and emotionally powerful episodes is Sasha's capture of a German. In the heat of battle, a soldier is driven only by the desire to defeat the enemy, but then he sees an ordinary person in a captured German. He worthily passes the test of power, without harming an unarmed person and promising him the preservation of life. Unable to fulfill the order of the battalion commander and shoot the defenseless young man, Sashka puts himself under attack.
Very revealing is the scene in which Sasha stands up for his new acquaintance, and takes his guilt upon himself. His noble act involuntarily evokes a feeling of admiration, since the hero puts the interests of a comrade above his own.
Sashka also passes the test of front-line love with dignity. Having learned that Zina's chosen one has fallen out of love with him, the hero accepts her betrayal with dignity. Despite deep disappointment, he finds the strength to understand her and let her go without a word of reproach.
In fact, Sashka became that collective image in which hundreds of thousands of ordinary guys found themselves face to face with the horrors of war. In his work, the author singled out a simple and old, like the world, idea- you need to remain a person under any circumstances, not to kill in yourself that good and bright beginning that is inherent in every person at birth. The world can be saved only by kindness, mercy, compassion.
Carrying out an analysis of the work in the story "Sashka", it should be noted that it is characterized mosaic composition without a single plot. The story consists of tiny plots designed to reveal the character of the protagonist as accurately and capaciously as possible.
The composition of the story is built in such a way that the disclosure of Sasha's spiritual qualities, his life priorities takes place gradually, which is facilitated by the slow pace of the narrative. With the advancement of the hero from the front line deep into the country, the reader is immersed in his inner world.
The work is written in the genre of the story. The work reproduces in detail the life of the war years, the events of that time, the main battles, therefore it is referred to the literary direction of realism.
Average rating: 4.4. Total ratings received: 41.
Finally, the fourth type of problematic, which G.N. Pospelov calls ʼʼromanticʼʼ and which is more often called novelistic, is the writers' ideological interests in the ʼʼ'personal' principle both in themselves and in the society around themʼʼ. Practically all researchers of this type of problems agree that the most important problem of novelistic thinking is the problem of personality. Another important feature of the novel problematic, which distinguishes it primarily from the sociocultural problematic, is the emphasis not on statics, but on dynamics, on various kinds of changes - either in the external position of a person, or in his emotional world, or in his ʼʼphilosophyʼʼ, point view of reality.
The two named aspects - interest in the personal principle and emphasis on dynamics - are the most general, integrating features of the novel's problematics. At the same time, the breadth of these features is such that they make it possible to combine very dissimilar works into one type - such, for example, as ʼʼEthiopicaʼʼ of Heliodor and ʼʼCrime and Punishmentʼʼʼ of Dostoevsky, ʼʼTristan and Isoldeʼʼ and ʼʼMotherʼʼ of Gorky, etc. thus much broader and more vague in its specific content than any of the others discussed above. And this is theoretically doubtful, and in practice it is not very convenient to use such a typology. For this reason, in the field of novelistic problems, it is expedient and extremely important to single out independent types (or subtypes, it is not a matter of the term). The basis for such a division will be the difference in the specifics of understanding the depicted reality, a special problematic approach to it.
Indeed, if we take a problematic interest common to all novel content - interest in the individual, in the personal principle - then it is easy to see that the individual in itself, so to speak, is multifaceted and writers can approach its comprehension from several principles. various parties. Their works will then naturally differ greatly in their subject matter. Hence the extreme importance and possibility of further typological articulation of novel problems.
In the history of literature we encounter at least two problematic types of novel content. Historically, the first such type can be considered a problematic in which writers focused on the dynamics of external changes in the fate and position of the individual. The ideological interest of the writers was focused on what vicissitudes befall a person, how favorable and unfavorable accidents rapidly change his position, and how a person himself ʼʼʼʼʼ stays in this stream of events that carry him. Works with this kind of problem are often called adventure novels; keeping the term, we will call this subtype of the novel problematic ʼʼadventurousʼʼ.
We find the origins of this type of novels in folklore at the earliest stages of the development of the art of the word: for example, Homer's ʼʼOdysseyʼʼ, which is a literary processing of folklore sources, should be attributed to this type in terms of its problems. In the so-called ʼʼmythologyʼʼ of different peoples, there are also, although not often, plots embodying this type of problem; the most famous examples here are, perhaps, the biblical legend of Joseph, sold into slavery by his brothers, the myth of Oedipus and his later interpretations in ancient Greek tragedy, many plots of the Thousand and One Nights (in particular, the famous travels of Sinbad); finally, many Russian ʼʼfairy talesʼʼ, in which the hero ʼʼwithout a family without a tribeʼʼ sets off to seek his fortune, gets into various troubles, and in the end usually receives a royal daughter as a reward and becomes a king. In all these plots, undoubtedly, there is the most important feature of the novel's problems - a specific interest in the personal principle, since the hero here is "liberated" from a fixed social position, from professional, corporate and other ties and acts "on his own". The characteristic that V.V. Kozhinov gives Til Ulenspiegel, the hero of a much later and naturally more developed novel: ʼʼThis is an ordinary mortal, relying only on himself, on the possibilities of a single human body and from the man of destiny. The specificity of the novel problems of the early stages was precisely the close attention to the fate of the personality, to its ʼʼshareʼʼ, ʼʼrockʼʼ.
Another feature of the novel's problematics - an emphasis on dynamics - is also present in the listed works. True, this is a dynamic that is still very shallowly comprehended, affecting only the most obvious layer - changes in the external position of a person. At the same time, the hero himself remains practically the same throughout the entire work. But, this is already the specificity of the adventurous type of problematics, and in part - the specificity of the artistic thinking of the era that gave rise to it; the very presence of dynamics is beyond doubt.
The second type of novel problematics focuses on the deep foundation of the human personality - the ideological and moral essence of character, in connection with this we will call such problems ideological and moral. In it, the writer's interest is focused on the life position of a person and on the processes of changing this position; in the center of the work is a philosophical and ethical search, a person's attempts to answer questions about the meaning of life, about good and evil, truth and justice. The processes of moral and ideological self-determination of a person, a person in search of truth - this is what is most important from the point of view of ideological and moral issues.
At the same time, it is important that there is a search for precisely personal truth, that is, one that is not based on authority, but on one's own, deeply felt and emotionally experienced life experience. In the process of ideological and moral search, a person does not take anything on faith, any ʼʼtruthʼʼ is checked by him independently - only the truth that has been gained through suffering has value for a person. It is in connection with this that the ideological and moral searches of the heroes are not accidental, intense, often associated with spiritual dramas, suffering, and tragedy. By developing his own life position and system of ideological and moral values, a person thereby solves the issue of personal moral responsibility.
The ideological and moral search, the formation of a personality takes place in a constant collision of its ʼʼtruthʼʼ, life philosophy, firstly, with the facts of reality, and secondly, with other ʼʼtruthsʼʼ. A person comprehends the mobile and contradictory reality, constantly checking how true and morally justified his attitude towards it, his concept of the world and man. Sometimes the moral search for heroes becomes so acute, and internal contradictions so tense and difficult to resolve, that the hero performs this or that act not for the sake of its practical meaning, but for the sole purpose of testing his theories with practice, to conduct a kind of experiment that would give an answer. to unanswerable questions.
The ideological and moral position of a person is formed in active interaction with different points of view on the world, with other "truths". By absorbing or disputing this or that system of life values, a person more and more precisely and clearly defines “his own”, his own value orientation in reality. There is a constant verification and interaction of different philosophical and moral principles and approaches to life, and a feature of the ideological and moral issues is that the hero passes other people's points of view on the world through himself, through his consciousness: a comparison of different ʼʼtruthsʼʼ is not an external clash of different values orientation of the characters (although this is also), but above all, the inner work of the soul and thought, often a dispute with oneself - an internal dialogue. As a result, the "truth" that the hero comes to is not an abstract impersonal philosophy, but a living, emotionally rich, very personal and concrete understanding of the world by the hero.
Ideological and moral problems arose, probably, in late antiquity, but due to the death of ancient culture, it did not receive further development. In Western European literature, the problems of this type are quite clearly manifested in the Renaissance (most clearly in Shakespeare's tragedies and in Cervantes' novel ʼʼDon Quixoteʼʼ), actively developing in the 18th century, and starting from the 19th century, it becomes the leading type in all world romance, reaching heyday in the works of Lermontov, Tolstoy, Turgenev, Dostoevsky, Chekhov, Stendhal, Balzac, Flaubert, Maupassant, Dickens, Gorky, Sholokhov, Bulgakov, Faulkner, Camus, Proust, Hemingway and many other writers.
Novel problems - concept and types. Classification and features of the category "Novel problems" 2017, 2018.
The writing
The atmosphere of his novels "The Trial" and "The Castle" is perceived as a grandiose metaphor for an equally soulless and mechanical bureaucracy. Let, according to Kafka, his hero is initially guilty before the world, but the way the world punishes him far exceeds the real dimensions of personal guilt. If in Kafka's world there are few convenient excuses for a person, then there are even fewer of them in a cruel, inhuman world.
The novel "The Trial", on which Kafka worked in 1914-1915, the action of the novel also begins in the morning, at the moment of awakening.
The first sentence of the novel is: "Someone apparently slandered Josef K., because, having done nothing wrong, he was arrested." Instead of the expected maid with breakfast, who always appeared around eight, when the hero calls, two men in black suits enter his room and tell K. that he is under arrest. Neither these two men in black, nor any of the "competent persons" then tell K. what he is accused of. At the first moment, when the arrest is still being reported, he asks a natural question: “What for?” - and receives an exhaustive answer: “We are not authorized to give explanations. Go to your room and wait. Your work has begun, and in due time you will know everything.”
And now K., finding himself in the position of a person under investigation, accused of who knows what, begins to beat up the thresholds of official instances, goes to lawyers, but not in order to find out the reason for his arrest or to prove his innocence. He increasingly begins to act in such a way as to somehow improve the outcome of the future process, to lighten his own sentence. He fawns, looks for moves, acts through acquaintances, their relatives. That is, he behaves like a guilty person, he begins to adapt - like Gregor Samsa. The two sides of the conflict clearly emerge, a force appears that determines the fate of this person.
This force is a kind of complex form of social institutions, extremely bureaucratic, soulless - a force behind which no rational goal can be seen, except perhaps one: to suppress this individual, K., to inspire him with a sense of guilt. There is only one definition - Law, the power of the external world, the triumph of necessity over individual freedom. Before us is a version of a small man crushed by this bureaucratic machine. The other side of the question is the reaction of the individual himself. One fine morning, two people come to K. and lead him to the end of the city, to a wasteland behind the last houses, to a quarry.
A person in this terrible situation realizes that he should end this life himself, show courage and dignity at least here. And the knife is thrust into his throat by others - the delegates of the "authority". “With dull eyes, K. saw how both gentlemen, right next to his face, leaning cheek to cheek, watched the denouement. “Like a dog,” he said, as if this disgrace was destined to outlive him. This is the end, these are the last words of the novel. A man dies with a consciousness of shame.
What is the shame? The fact that he did not draw a knife, did not plunge it into himself, did not die with dignity. But it is permissible to attribute these last words of the novel to the whole fate of the hero in general. In the previous, penultimate scene, K. gets into the church, into the cathedral - by chance. But it turns out that he was known and expected there. A priest is found, who goes up to the pulpit and calls the hero by name. He used to have thoughts: “Where is the judge, whom he has never seen? Where is the high court, where he never got to? Didn't you just get here to the "highest judge"? After all, the temple was erected in honor of this judge. Instead of a sermon, the priest tells Josef K. a parable about a man who came to the gates of the Law. This parable is very strange, incomprehensible; after the priest brought her text, they both enter into a protracted discussion regarding its interpretation. A man has come to the gates of the Law and asks him to let him in, he wants to see the Law, he needs it.
But the gatekeeper says that now he cannot let him in. Someday later, but not now. Since the gate is open, the person tries to look inside. And the gatekeeper laughs and says: “If you are so impatient, try to enter, do not listen to my prohibition.” But only, he says, there are other gatekeepers, one more powerful and more terrible than the other. The man was completely frightened, sat down near the gate and began to wait until it was possible.
Waiting for weeks, months, years; sometimes he tries to bribe the gatekeeper - he takes bribes, but with the words: “I take it so that you don’t think that you missed something.” And everything remains the same: one stands at the open gate, the other sits. Finally, the turn has already come for him to die of old age, he wants to ask the guard the last question before his death, calls him with a nod - there is no strength for more. “Since all people strive for the Fa, why hasn’t anyone else come in all these years?” And the gatekeeper answers the dying man: “No one enters here, these gates were intended for you alone! I'll go and lock them up." Why didn't you try it anyway? The gatekeeper prompts: if you really can't wait, come in! ... I myself am afraid, but this is my business. And you - try! But a person is obviously afraid, waiting for special permission - and does not try! It was to him that this access was opened, and he - out of fear, out of the habit of obeying and asking for all permissions - did not justify his destiny, did not dare.
Ethical postulate: take responsibility for yourself, because no one will remove it from you, and no one else, no one, even the highest authority, up to the “highest judge”, will make it easier for you. Since you have not tried your abilities yourself, then if you blame someone for your miserable fate, then you have to start with yourself. The priest says goodbye to Josef K.: “The court does not need anything from you. The court accepts you when you arrive and lets you go when you leave.”
Thus, Kafka's novels are not just an ingeniously executed symbolic picture of the defenselessness of a person, a person in the face of an anonymous and overwhelming power; Kafka, in his own way, places very high ethical demands on a person.
The way Kafka showed the absurdity and inhumanity of the total bureaucratization of life in the 20th century is amazing. The European society of Kafka's time did not know such a degree of dehumanization of the social mechanism. So here is some truly extraordinary gift to look at the root, to foresee the future development of certain trends. His dry, rigid prose, without metaphors, without tropes, is the embodiment of the formula of modern life, its most general law. Kafka achieves this effect primarily through a very specific technique.
The materialization of metaphors, the so-called linguistic ones, which have already been erased, those whose figurative meaning is no longer perceived. (“he lost his human appearance”, “this is pure absurdity”, “this is incomprehensible to the mind”). We understand that the appearance is still human, “incomprehensible to the mind” is just a condensation of our impression of an event.
Kafka consistently materializes precisely this incomprehensibility, absurdity. What is most puzzling in his prose is the illogicality that pops up again and again, the implausibility of causal chains: it is not known from where objects and people suddenly appear in front of the hero, which simply should not have been here.
Kafka's artistic trick is that he does the opposite. His alogism and absurdity begin when a person wakes up. The trick is ingenious precisely in its bold simplicity, it is precisely this trick that affirms the blatant absurdity of the real world, the real existence of a person in this world.
Roman Goncharova "Ordinary History". Its ideological meaning and genre originality. Belinsky's assessment of the novel.
Ordinary History is a novel by Russian writer Ivan Alexandrovich Goncharov. The novel is the first in a trilogy with the novels "Oblomov" and "Cliff". In the center of the novel is a clash of two characters, two philosophies of life: patriarchal, rural (Alexander Aduev) and bourgeois-business, metropolitan (his uncle Pyotr Aduev). The Ordinary Story is based on three themes. The first one is romance. The second theme is devoted to the bourgeoisie, businesslike and businesslike at the same time. And finally, the third theme concerns a woman suffering in a gilded cage of bourgeois comfort. All these three motifs of the "Ordinary Story" are woven together in a single epic narrative, which also includes a number of other topics that are secondary in their meaning, but also necessary for understanding the main thing. The hero's clash with tough and cynical Petersburg only at the very end of the novel convinces him that he must be just as tough and cynical and make a "career and fortune."
Goncharov sought to find an ideal, that is, a normal type of person, not in Aduev Sr. and not in Aduev Jr., but in something else, a third, in the harmony of “mind” and “heart”.
Ordinary History immediately put Goncharov in the forefront of progressive realist writers. In "Ordinary History" the strong and original talent of Goncharov, who was called the master of the Russian realistic novel, fully affected. The novel is directed against romanticism, calls for realism.
Belinsky about the novel. Belinsky, in his article "A Look at Russian Literature of 1847", highly appreciating the artistic merits of Goncharov, saw the main pathos of the novel in debunking the beautiful-hearted romantic. Of the author of Ordinary History, Belinsky says that “of all contemporary writers, he alone is approaching the ideal of pure art, while all others have moved away from it by an immeasurable space. All current writers have something else besides talent, and this something is more important than talent itself and constitutes its strength”; Goncharov has nothing but talent; The peculiarities of his talent include an extraordinary skill in drawing female characters. He never repeats himself, not one of his women resembles another, and all, like portraits, are excellent. And each of them is a work of art in its own way. Belinsky disagreed with Goncharov about the end of the novel. He said that the author would rather have the right to force his hero to die out in the village game in apathy and laziness, rather than to force him to serve profitably in St. Petersburg and marry a large dowry. It would have been better and more natural for him to make him a mystic, a fanatic, a sectarian; but it would be best and most natural for him to make him, for example, a Slavophile. The denouement of the novel, invented by the author, spoils the impression of this whole beautiful work, because it is unnatural and false. Among its special virtues is, among other things, a clean, correct, light, free, flowing language. Some complained about the length and tediousness of conversations between uncle and nephew. But for us, these conversations belong to the best aspects of the novel.
Problems and artistic originality of Goncharov's novel "Cliff".
The novel "Cliff" was written in 1869. this is the third part of Goncharov's "trilogy", consisting of the novels "Ordinary History" and "Oblomov". In the novel, the author criticizes the ideas of revolutionary nihilism. The novel was originally called The Artist. Its main character is the artist Raisky. This is a gifted nature. He is drawn to art - to painting, poetry, sculpture. But in the field of art, he achieves nothing. The reason for this is his inability to hard, diligent work, inability to bring his plans to the end. Goncharov decisively contrasts the Russian provinces with business-like, bureaucratic Petersburg. If earlier the writer was looking for signs of social awakening in the energetic, businesslike heroes of the Russian capital, now he paints them with ironic colors. Despite the artificiality of the novel's finale, Vera remains one of the most captivating female images in Russian fiction of the 19th century. The idealization in the novel of "old, conservative Russian life" found its main expression in the image of Berezhkova - grandmother, as everyone calls her in the novel. In the grandmother everything is unique, harmonious. She has noble arrogance and tribal pride, she is even somewhat despotic and at the same time knows how to be tolerant and respect the opinions of others. She is strict and demanding of people, but she loves Marfinka and Vera, her granddaughters, deeply and tenderly. The image of a grandmother in Goncharov's image has turned into a symbol of "another great grandmother" - patriarchal, Old Testament Russia. We see a different attitude in Goncharov towards the representative of revolutionary democratic ideas, Mark Volokhov. Volokhov is a political exile. In the provinces, he enthusiastically devotes himself to the propaganda of materialistic and socialist ideas and declares an uncompromising struggle against conservative views and principles of life. He is smart and observant. In the "new people" Goncharov was repelled by their materialism, straightforwardness and contempt for aesthetics. In the person of Tushin, Goncharov gave only a new version of the enlightened businessman, the type of which he had previously welcomed in the person of Aduev-uncle and Stolz. But the type of bourgeois businessman turned out to be outlined by Goncharov only in general terms. If in Goncharov's past novels there was one hero in the center, and the plot focused on revealing his character, then in "The Cliff" this purposefulness disappears. There are many storylines and their corresponding characters. The mythological subtext of Goncharov's realism also intensifies in "The Cliff". There is a growing desire to build fluid momentary phenomena to the fundamental and eternal life foundations. Goncharov was generally convinced that life, with all its mobility, retains unchanging foundations. Both in the old and in the new time, these foundations do not decrease, but remain unshakable. Thanks to them, life does not perish and is not destroyed, but abides and develops. Goncharov both admires the rise of passions, and fears disastrous "cliffs". And the salvation of Russia from "cliffs", from destructive revolutionary catastrophes, Goncharov sees in the Tushins. The Tushins are builders and creators, relying in their work on the millennial traditions of Russian management.
11 questions. Lyrics of Nekrasov in the literary process of 60-70s. Innovation of Nekrasov-lyric. Analysis of one of the studies on the poet's lyrics. Nekrasov's lyrics of the last period are one of the highest artistic achievements of his poetry. In the period of the decline of the social movement, the poet considered it necessary to turn to the youth, to inspire them to continue the liberation struggle. The lyrics of N. A. Nekrasov are an unusual phenomenon in Russian poetry. All of it is imbued with the deepest civic pathos. N.A. Nekrasov became a poet of revolutionary democracy, the voice of the defenders of the people. That is why N.A. Nekrasov, in comparison even with such poets as A.S. Pushkin and M.Yu. Lermontov, completely rethinks the role of the poet and the purpose of poetry in life. The main thing for N. A. Nekrasov is the social orientation of his poems. The first sign of a departure from tradition in the work of N. A. Nekrasov is the appearance of a large number of parodies. N. A. Nekrasov widely uses the technique of reshaping old genres, giving them new content. Nekrasov needed not only to declare his departure from the Pushkin tradition in Russian poetry, but also to motivate him, to determine his attitude towards him. Nekrasov was the first to write poetry on social topics. Gradually, even a person in his lyrics becomes unthinkable without a social environment. The poet moves from psychological analysis to social analysis. The state of a person's soul is associated with living conditions. The main theme of the poet's work is "people's sadness". He finds plots for his poems in prose, essays, magazine and newspaper notes. The word in the poetry of N. A. Nekrasov, as in prose, acquires a specific meaning. In the poetry of N. A. Nekrasov there is no struggle, there is no gap between the author-poet and the author-man, for there is a poet-citizen.
Creativity research. Chukovsky is one of the best domestic researchers of the work of Nekrasov and other writers of the 60s. 19th century Chukovsky wrote that "there are very few people who would combine significant literary talent with such knowledge of the matter and with such an energetic direction ... very few." Nekrasov also demanded this unity of content and form. By the end of his life, already in the seventies, the word "beauty" sounds more and more often in his poetry, and he always gives this word a particularly majestic and solemn meaning. The synthesis of goodness and beauty is not an accidental theme of Nekrasov. Chukovsky talks about Nekrasov's poem "Railway", in which the author depicts peasant diggers tortured on the construction of the road. He not only shows these great martyrs, but he himself speaks on their behalf. The poet, as it were, leaves the carriage, merges with the ragged crowd and sings their terrible song together with the peasants. Chukovsky talks about Nekrasov's great belonging to folklore, which is widely developed and shown in his works. He says that Nekrasov constantly tried to expand this experience, read a lot of literature, communicated with the people, and all this was subsequently reflected in his works. The attitude of critics to the poetry of N.A. Nekrasov has always been ambiguous. Moreover, to this day there are two radically opposite views on his poetic heritage: on the one hand, he is defined as a prose writer in poetry, on the other, as a songwriter. However, these two approaches to the poet's work are often combined as one.
Similar information.
