How do you imagine a lyrical hero. How do you imagine the lyrical hero of the poem by A.S. Pushkin (Nanny)? Loneliness elevated to the absolute

It's no secret that every writer writes differently. An individual style is formed through the use of certain artistic means, vocabulary, the very manner of presentation, and, of course, the way characters and characters are created. Speaking of poetic works, the term "lyrical hero" is used in literary criticism. Interestingly, the lyrical hero of each cultural era is the bearer of its ideals. For example, in classic works the lyrical hero is, first of all, a citizen who stands up for the development of his native state, in sentimentalism he is a sensitive spiritual and moral ideal, in romanticism he is a free, inexhaustible and infinitely complex personality. Romanticism came to Russian literature from Western Europe. George Byron is considered one of the most famous and significant European romantic poets. In Russian literature, Mikhail Yuryevich Lermontov can be called such. Despite the fact that these poets are often compared, their creative heritage is very different. Byron's romanticism is, rather, a reaction and rejection of the new bourgeois reality, the idealization of longing and the division of the world into external - sinful - and internal - pure and natural. Romantic tendencies in the work of Mikhail Yurievich were reflected somewhat differently. The image of the lyrical hero Lermontov changed throughout the life of the poet.

In the lyrics of early works, a romantic hero-individualist, characteristic of the West, appears. The lyrical heroes of Lermontov of this period are resolute and uncompromising. They do not accept reality, they react sharply to the injustice of the world, rising above everyday life and reality. These are lonely, freedom-loving people, for whom the world, like Byron's heroes, is understood as consisting of two parts. But with Lermontov, this is not a sinful and righteous version, but the real world, which is denied, and the world is ideal. Interestingly, at the student stage of creativity, the world of Lermontov's heroes is still divided into two irreconcilable parts, the border between which cannot be destroyed:

"He was born for happiness, for hopes
And peaceful inspirations! - but crazy
From children's clothes broke early
And he threw his heart into the sea of ​​noisy life;
And the world did not spare - and God did not save!
“He was born for happiness, for hopes…”, 1832.

In the poem "Monologue", which appeared in 1829, this theme is repeated:

“Our youth languishes amid empty storms,
And quickly the poison darkens her anger,
And the cup of cold life is bitter to us;
And nothing pleases the soul.
"Monologue", 1829.

It is obvious that “empty storms” personify petty passions, love experiences and intrigues, and “poison of malice” - the poisoning effect of the public and high society on a pure soul, which in the end is fed up with everything that society can offer.

The motive of freedom appears as one of the main values ​​and the motive of will as the ultimate goal, where the soul of the lyrical hero may find peace:

“Why am I not a bird, not a steppe raven,
Flying over me now?
Why can't I soar in the sky
And only the freedom to love?
“Desire (why am I not a bird…)”, 1831.

"But God has given me
young wife,
Will-will,
Liberty dear,
incomparable;
I found others with her
Mother, father and family;
And my mother is a wide steppe,
And my father is a distant sky
"Will", 1831.

Loneliness elevated to the absolute

The lyrical hero in Lermontov's poems is sharply negatively disposed towards reality and society of his time. Initially, this manifested itself in the rejection of humanity because of the low moral qualities and pettiness of each person. This point of view goes back to the realization of romantic tendencies by Zhukovsky. But, unlike Zhukovsky's romanticism, in Lermontov's artistic conception, the opposition arises not between the hero and the abstract world, but between the hero and a living, very bright real environment. The conflict between the hero and the environment turns out to be insoluble, the hero remains misunderstood. From here arises the theme of loneliness - perhaps the most important for understanding the poet's work.

"Alone in the midst of human noise,
I grew up under the shadow of an alien self.

The lyrical hero turns out to be completely devastated, broken by an idle life. Inspiration did not come to him, because "ardent friends", peculiar tempting snakes, had already been found, which means that the soul of the lyrical hero became deaf to creativity:

"I remembered past misfortunes,
But I can't find it in my soul
Neither ambition, nor participation,
No tears, no fiery passions.
"Alone, in the midst of human noise", 1830.

The poem of the same name speaks not only of apathy, but also of the decadent state of other people who can only share the joys of life, and they do not need and are not interested in the sorrows of others:

“How terrible is this life of shackles
We are alone to drag.
Share the fun - everyone is ready:
Nobody wants to share sadness.

The theme of death appears, associated with the motif of loneliness (“a solitary coffin”). Having died, the hero will rise above earthly passions, but he will still be unhappy:

“And I see a solitary coffin,
He's waiting; why linger over the earth?
…
No one will break about it
And they will (I'm sure)
More fun about death
What about my birth ... "
"Solitude", 1830.

The final lines take the feeling of longing from misunderstanding by society to a new level. Here the discrepancy between the hero and the crowd, his uniqueness, individualism is quite clearly expressed. Denial, disbelief in the ability to embody aspirations, to find a kindred spirit - all this embodies the lyrical hero of Lermontov's poetry. It is worth saying that loneliness is not an ideal state. Despite the escapism, the hero does not find peace in solitude. It can be said that he is not satisfied with any of the states offered by life, he is not comfortable with any of the options for escaping from reality (elevation above the world, thoughts about nature, freedom or conscious alienation), but, as they say, he chooses the lesser of two evils . Loneliness is understood as both a reward and a curse. Lermontov's lyrics are characterized by maximalist denials, the absolute opposition of man and the world, due to the romantic perception of reality.

"I am alone - there is no consolation:
The walls are bare all around.
…
Walks in the silence of the night
Unanswered sentinel."
"Prisoner", 1837.

Gradually, in Lermontov’s work, the lyrical “I” distances itself from the author, an image of a romantic appears, who is alien to calm, and life in captivity and passivity is impossible, because the hero is born for another:

"I'm not for angels and heaven
Created by God Almighty."

Here the motive of alienation sounds somewhat different: the lyrical hero turns out to be alien not only to the real, but also to the unreal world:

“Like my demon, I am an evil chosen one,
Like a demon, with a proud soul,
I am a careless wanderer among people,
For the world and heaven a stranger.
“I am not for angels and paradise…”, 1831.

Lermontov, as a writer of the era of romanticism, is characterized by mysticism. From this point of view, the image of the demon is important. In the poem "My Demon" (1829), the author depicts a hero who is fed up with life, feelings and experiences. The demon is indifferent to everything that should resonate in any other:

"He despised pure love,
He rejects all prayers
He indifferently sees the blood.

The loneliness of the demon here is close to absolute, since in none of the worlds he can find a soul mate: he is shunned by both people and muses. The image of the demon appears in the poem of the same name. Here the lyrical hero embodies concentrated loneliness and the meaninglessness of existence; the tragedy of the search for happiness in earthly life while striving for heaven appears as the tragedy of the search for the personality of the transitional era. The joyful beating of life in the rhythm of the stanza makes the indifference of the lyrical hero even more terrible. It is worth saying that Lermontov's demon is not an evil spirit, the writer's evil is an unfulfilled good.

The image of the lyrical hero Lermontov and the lyrical "I" appear not only as a subject, but also as an object, i.e. not only an actor, but also those on whom the action is directed. Self-analysis leads to disappointing conclusions: doubts are born in the initial striving for goodness, faith in beauty disappears.

"We drink from the cup of being
With closed eyes...
Then we see that it is empty
There was a golden cup
That there was a drink in it - a dream,
And that she is not ours!
"Cup of Life", 1831.

From 1830, romantic irony began to appear in the poet's poems, aimed at debunking romantic clichés:

“Do not look for heavy passions;
And as long as God gives
Drink the nectar of happy hours;
And sadness will come.
…
The heart is a stupid creation
But you can live with your heart
And crazy excitement
You can also tame…”
"Council", 1830.

It is noteworthy that the advice to enjoy life is the opposite of other Lermontov lines - “I want to live! I want sadness ... ". It turns out that the rejection of experiencing negative emotions is essentially a rejection of real life, and the one who follows the advice will doom himself to an idle existence. Constant entertainment can lead to a loss of individuality, the depth of the inner world. Such a life, from the point of view of the poet, seems to be much more grief than rejection by everyone and everyone.

“I forgot the whole world for him,
For this moment unforgettable;
But now I'm like a beggar, sir,
I wander alone, as if alienated!…”

The word "alienated" in this sense was first used by Lermontov. And, despite the fact that this poem is classified as a love lyric, the word goes beyond the boundaries of a love theme. It leads to a dramatic ending:

“So the traveler in the darkness of the night,
When he sees the wandering fire,
Runs after him ... grabbed his hand ...
And - the abyss under the sliding foot!
"K*** (Do not attract me with beauty!)", 1829.

Each quatrain ends with an exclamatory sentence, which not only gives a special intonation to the text, but also organizes, thickens the awareness of eternal doom.

On the way to realism

In "Duma", as in all of Lermontov's mature lyrics, deep thought merges with its emotional interpretation. Modern society appears as spiritually devastated. The poem has a ring composition. Start:

“I look sadly at our generation!
His future is either empty or dark.”

The episode of Pugachev's military council in the Belogorsk fortress plays an important role both for the development of the plot and for revealing the characters' characters. According to the confession of the protagonist of the story, Grinev, he was not "completely cold-blooded" when he went to the commandant's house at the call of Pugachev. In the same room where until recently Grinev tenderly said goodbye to Masha, he sees an “extraordinary picture”. At a table laden with bottles and glasses, Pugachev sits with Cossack foremen. Grinev draws attention to their colorful outfits, "red faces", "shining eyes". In a word, the first impression of the protagonist is sharply negative: he sees only robbers and drunkards in the rebels. There are no newly recruited traitors among the feasters. Grinev silently sits down at the table and, without touching the wine, looks at the "assembly" with curiosity. Despite an understandable prejudice against Pugachev, Grinev is forced to admit that "his facial features, regular and rather pleasant, did not show anything ferocious." The conversation of the rebels is very simple, no one gives the leader "no special preference." Pugachev himself does not put on airs either, he simply addresses his subordinates. The rebels boast, argue with the "sovereign", freely offer their opinions. They decide to move to the siege of Orenburg: "the movement is daring, and which was almost crowned with a disastrous success!" . So, observing the “strange military council”, Grinev notes the simple and democratic atmosphere prevailing among the rebels. But the end of the military council makes a really deep impression on the protagonist, when the rebels sing in unison "a mournful barge song". It speaks of a good young man who boldly answers the king during interrogation about his “comrades”: a dark night, a damask knife, a good horse and a tight bow. For an honest answer, the tsar rewards the young man with "high mansions, or two pillars with a crossbar." Grinev is struck by "this folksy song about the gallows, sung by people doomed to the gallows." Now Grinev sees not a company of drunkards with "red mugs" in front of him, but people with "formidable faces", "slender voices", "dull expression". The protagonist experiences "piitic horror", Pushkin deliberately uses an archaic expression to emphasize the unusualness and depth of the hero's experience. Translated into modern language, Grinev experienced "poetic delight". He felt the deep tragedy of the situation of these people, fighting against the oppressors and knowing that they could not win victory. After the council between Grinev and Pugachev, a separate conversation takes place. Grinev behaves courageously and honestly: he refuses to serve Pugachev, declares that he cannot change his oath and noble honor. Pushkin shows that Pugachev is a man of a broad soul, along with cruelty, respect for other people's sincerity, gratitude for kindness coexist in him. “Execute like this, execute like that, have mercy like that,” says Pugachev and releases Grinev to freedom...>>>

Nekrasov Nikolai Alekseevich - Control questions to the lyrics of N. A. Nekrasov

Control questions with selective answers to the lyrics by N. A. Nekrasov

kontrolnye-voprosy-k-lirike-n.-a.-nekrasovacontrol questions with selective answers to the lyrics of n. but. Nekrasov
What are the main themes of the lyrical works of N. A. Nekrasov?

How do you imagine the lyrical hero Nekrasov?

This is an educated, emotional person, sensitive, vulnerable, a democrat by conviction, sincerely sympathizing with the people, dreaming of changing their fate. “The spectacle of the disasters of the people is unbearable, my friend,” is the thought that haunts him, no matter what he writes about.

What did Nekrasov see as the role of the poet and the purpose of poetry?

Nekrasov saw in poetry a means of fighting for the liberation of the people, considered citizenship the main advantage of poets ("The Poet and the Citizen"). His "muse of revenge and sorrow" called not to joys, not to pleasures, but to struggle.

Why are Nekrasov's poems dedicated to associates, like-minded people, friends, people's intercessors interesting?

The poet admires these people, their inflexibility, disinterestedness, loyalty to their ideals, which he fully shared. Hence the special, sincere tone, solemnity, expressive evaluative epithets, metaphors, "high style" of such masterpieces as "The Prophet", "In Memory of Dobrolyubov", "Don't cry so madly over him", "Belinsky". In them, Nekrasov creates a miraculous monument to the best people of Russia.

How is the image of the mother shown in Nekrasov's lyrics? Why is the theme of holy motherly love so important to the poet?

How was the theme of the people and their fate reflected in Nekrasov's lyrics?

Why do you think Nekrasov's young contemporaries put him above Pushkin and Lermontov? Do you agree with them?

Lyrical hero in the poetry of M. Yu. Lermontov

Lermontov began as a romantic, imitating Pushkin and Byron in poetry. He borrowed many of Pushkin's images, but developed them in a very special way, different from Pushkin's manner.

What is the lyrical hero of Lermontov? As for all poets in general, this is a poetic image in which one can see three beginnings: the one who most often calls himself in poems (lyrical "I"); an image that runs through all the poet's lyrics; a reflection of the personality of the poet himself (but not at all identically equal to the poet himself). Between the lyrical hero and the personality of the poet himself, one must look not for a biographical similarity, but for a deep inner relationship, because sometimes these personalities can diverge very much. For example, if we compare the facts of the real and artistic (the information that can be found in works of art) biographies of the poet, then a striking contrast will be immediately visible.

In the poem "The Prisoner" (1837), the lyrical hero acts as a prisoner who dreams of freedom:

Open the dungeon for me

Give me the shine of the day<…>.

The hero of Lermontov's poetry is bold and freedom-loving, he longs for something new, he is a romantic. But the passion for romanticism is a reflection not of the life, but of the poet's spiritual experience. The lyrical hero appears as a hero of his time, he expresses the most important features of a whole generation, he is the image of a generation, he is recognizable and needed by his contemporaries. In the lyrical hero there are always features that are characteristic of many people, no matter what time they live. And Lermontov's hero becomes needed not only by his contemporaries, but also by subsequent generations.

The lyrical hero of Lermontov is unique. He is surprisingly integral, this is a single personality, passing through all the lyrics of the poet. Not every poet can boast of this, even Pushkin's lyrical hero changes throughout his career.

The world of the lyrical hero Lermontov is a constant and intense struggle of polar opposite principles:

• he dreams of freedom, but at the same time speaks of its absence;
• he would like to love, but love is tragic;
• would like to feel unity with the world, but instead challenges society;
• would like to feel part of life, but feels the deepest loneliness;
• I would like to feel unity with the natural world, but understands that there is no place for a person in its harmony;
• he constantly feels the desire for faith and turns to the search for God, but here he will be disappointed.

The motive of loneliness is very strong in the work of Lermontov. The lyrical hero is doomed to be lonely in love, because he is disappointed in it:

To love ... but whom? .. for a while - it's not worth the trouble,

And it is impossible to love forever.

(“Both boring and sad”, 1840)

In addition to love lyrics, the theme of loneliness is very clearly manifested in the poems “Prisoner”, “Leaf”, “I go out alone on the road” and many others.

In the poem "Cliff" (1841), Lermontov compares himself to a lonely rock, expressing the full extent of his loneliness:

But there was a damp trace in the wrinkle of the Old Cliff. Lonely He stands, thought deeply

And he weeps softly in the desert.

Also in the lyrics of Lermontov, the theme of the loneliness of the individual within a whole generation is often found. In the poem "Duma" the author speaks of the lack of ideas, passivity and lethargy of his generation:

We barely touched the cup of pleasure,

But we did not save our young forces;

From every joy, fearing satiety,

We have extracted the best juice forever.

These are the main features characteristic of the lyrical hero Lermontov, who challenges the whole world, finding himself only in struggle and in denial. The motive of struggle was very clearly manifested in the 1836 poem "Sail". The sail is a symbol of the restless soul of the lyrical hero. At first, he fights with the elements, and when she falls silent, as if asking her to return, as if the whole meaning of his existence lies in the struggle with her:

Under it, a stream of lighter azure,

Above him is a golden ray of sun: -

And he, rebellious, asks for a storm,

As if there is peace in the storms!

Storyteller. Creative biography. Traveled a lot in the North. How did he hire a pop worker. He taught drawing. The face is thickly overgrown with a beard. How the merchant's wife fasted. I slept to the fullest. She took care of her husband at home. Quiz. First fairy tale. General characteristics of fairy tales. Quail. Senya Raspberry. Ice cream wolves. What is Malina talking about? Pisakhov sent fairy tales to Moscow. Northern lights. Arkhangelsk residents.

"Tales of Charles Perro" - Soviet artists. Tales of my Mother Goose. Understanding folklore. Tales of Charles Perrault. Musical works. Dispute between ancient and new. Charles Perrot. Sleeping Beauty. Born in 1628 in an educated bourgeois family. One of the most popular and beloved fairy tale writers.

"Charles Perrault" - How the sleeping beauty pricked her hand. The child does not become a person by himself, but only by communicating. The boundaries of the tragic are clearly marked by him. Puzzles. literary games. The author resorted to mystification. Biography of Charles Perrault for children. Charles Perrot. Crossword. The main goal. Perrault gave us genuine fairy-tale tragedies.

"Little Red Riding Hood" - The End. Little Red Riding Hood took the longest road. Who's there? - asks the grandmother. There lived a little girl. Little Red Riding Hood got ready and went to her grandmother. Little Red Riding Hood pulled the string - the door opened. Grandma, why do you have such big eyes. The wolf rushed at the grandmother and swallowed her at once. Red Riding Hood. Woodcutters with axes on their shoulders passed by the house.

"Sofya Leonidovna Prokofieva" - Lord of the magic keys. The world of fairy tales. Cloud. Sofia Leonidovna. Unknown with a tail. Fairy tale. Happiness. Sofia Leonidovna Prokofieva. The Wizard's Apprentice. Girl. Beautiful and tender Snow White. The cloud sat on the windowsill. Astrel and guardian of the forest. fairy tale feature. Beautiful girl. Biography. King. The story of Sofia Prokofieva.

"Polonsky" Look - what a haze "" - Moonlit night on the Dnieper. Night landscape. Rhyming method. Avatars. What is alliteration. Color picture of the poem. What do we feel when we read the lines of the poem. Yakov Petrovich Polonsky. Poetic size. How do you imagine a lyrical hero. Look - what a haze. The main idea of ​​the poem. Composition, stanza of the poem. What role do epithets play? Sincwine. The composition of the poem.