The main characters of the work by A. S. Pushkin. "Boris Godunov" and their characteristics and received the best answer

Answer from Astrea[guru]
The plot-forming line of the tragedy is the struggle for power between Tsar Boris Godunov and the fugitive monk Grigory Otrepyev, posing as Tsarevich Dimitri.
Main characters:
Boris Godunov. The author reveals his image in many ways - as a powerful and wise ruler, loving husband and father, Boris is endowed with many virtues. An experienced politician, gifted with a powerful will, a brilliant mind and sincere concern for his people, the king, however, could not conquer people's love. The people could not forgive him for the murder of the prince; in addition, the policy of total enslavement of the peasants was also not to their liking common people. All the royal generosity and good deeds were perceived by the people as hypocritical means to appease and keep the masses from rebellion. According to Pushkin, it was the lack of popular support, love and respect that was main reason tragedy of Tsar Boris.
Pimen. A meek and humble elder, the chronicler monk of the Chudov Monastery is one of central characters Pushkin's tragedy, he is the only witness to the tragic murder. Pimen unintentionally provokes his cell attendant Grigory into imposture with just one careless mention of the equal age of Otrepiev and the murdered prince. At the same time, he declares the power of the king as given by God, and subsequently calls on the people to repent for the sins of the child-killer king.
Grigory Otrepiev. The image of one of the main characters begins to unfold in the cell of Elder Pimen. Passionate nature The young monk's desire for solitude within the monastery walls gets the better of him. Further, Grishka reveals himself both as an ardent lover and as a young man obsessed with a thirst for power. In the guise of the Pretender, he enlists the support of both the boyars and the Polish gentry, but he will never be able to win the love of the people. Instead of cheers, popular silence awaits the newly installed king.
Marina Mnishek. The ambitious daughter of the Polish governor, the wife of False Dmitry, she was ready to achieve royal power in any way, being equally indifferent to both the passionate love of the Pretender and the political interests of her people.
Prince Shuisky. Bright representative boyar opposition, participant in almost all political conspiracies. His role has great weight and significance in the plot of the tragedy. He is the first to investigate the murder of the prince and far-sightedly assesses the consequences of the news about the Pretender. Resourcefulness, sober and cold calculation - character traits behavior of this actor both in relation to the king and in relation to his entourage.
Holy fool. The significance of the role of this character is that he allowed himself, in the square in front of St. Basil's Cathedral, to publicly accuse the tsar of murdering the little prince. The second appearance in the scene of the battle of Kromy will be marked by the cry of the Holy Fool about the fate of the Russian people in the coming Time of Troubles.

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Hello! Here is a selection of topics with answers to your question: The main characters of A. S. Pushkin’s work. "Boris Godunov" and their characteristics

Its detailed description helps to understand the meaning of the work. literary analysis. “Boris Godunov” (Pushkin, as you know, was always interested in historical topics) is a play that has become a landmark event not only in domestic but also in world drama. The tragedy became a turning point in the poet’s work, marking his transition from romanticism to realism. For the writer himself, it was a very successful experience in working with historical material. The success of the essay determined the further work of the classic in this direction.

Writing a work

First, a few words should be said about how the work on the play went and what is the history of the creation of “Boris Godunov”. Biography brother-in-law of Tsar Fedor I Ioannovich interested the writer because he was a very complex and contradictory person. In addition, the period of his reign became a turning point in the history of Rus', marking the beginning of the Time of Troubles.

That is why the poet turned to the years of his reign, taking as a basis folk tales about him, as well as the famous “History of the Russian State” famous historian N. M. Karamzina. In the second half of the 1820s, the author became interested in the work of William Shakespeare and therefore decided to create his own large-scale tragedy, the plot of which would develop against the background real events of the past. This is exactly what we should start from when talking about the history of the creation of “Boris Godunov”. This historical figure interested the poet because Boris was a strong, strong-willed and charismatic figure who, by his origin, could not lay claim to the Moscow throne, but due to his intelligence and talent he achieved what he wanted: he was proclaimed king, and he ruled for seven years.

Introduction

A brief description of the first scene of the work should begin its analysis. “Boris Godunov” (Pushkin was interested in Shakespeare’s tragedies, and therefore he, like the English playwright, began with a large-scale artistic sketch of the first scene of the action) is a play in which, according to the generally accepted opinion of critics, the main character is the ordinary Russian people. Therefore, the first scene immediately opens up to the reader a wide panorama of Kremlin Square, where, in fact, after the death of the last son of Ivan the Terrible, Fyodor, the fate of the kingdom was decided.

Representatives Zemsky Sobor They ordered those gathered to ask Boris Godunov to accept the royal title. The latter refuses for a long time, and this plot device is very reminiscent of approximately the same scene from Shakespeare’s play “Richard III”. However, in the end he agrees and promises to rule justly and wisely. The hero's rights to the throne were explained by the fact that his sister was the wife of the deceased Tsar Feodor, who died childless. She herself renounced power and went to a monastery.

Scene in the monastery

A separate characteristic of the monk Pimen must be included in this literary analysis. “Boris Godunov” (Pushkin was always attracted by the image of the Russian chronicler, whom he captured in his play) is a work that differs from Shakespeare’s historical chronicles in its greater coverage of the place and time of action. The next scene takes place five years after the above events. The poet describes the peaceful work of the monk Pimen, who is working on his chronicle. His monologue is a wonderful example of ancient speech, imbued with deep philosophical meaning. It conveys the idea of ​​the fate of Rus' and the place of man in history. The monk argues that descendants should know the fate of their Fatherland. His long work and humble mood contrast sharply with the behavior of Grigory Otrepyev, who decided to take the Moscow throne, calling himself the name of the murdered Tsarevich Dmitry of Uglich, the younger Tsar Ivan the Terrible.

History of Otrepyev

The characteristics of this character must include artistic analysis. “Boris Godunov” (Pushkin was always attracted to adventurous personalities, and this character embodies precisely this type of hero) is a drama that is built on a dynamic plot, including political intrigue and philosophical problems. So, Gregory fled from the monastery and tried to cross the Lithuanian border.

However, at the inn he was almost captured by the guards. Gregory deceived his pursuers and managed to hide in Krakow. Here he began to gather strength for a campaign against Moscow and at the same time looked after the daughter of the local governor, Marina Mnishek.

The image of the main character

In the tragedy "Boris Godunov", summary which should be retold according to the main scenes of the drama, given psychological picture king At first, the author shows him in a family circle, in a conversation with his daughter and son. In these passages, the reader sees in him a caring father who cares about the happiness of his heirs.

From his conversation with his son, it becomes obvious that Boris is a wise ruler who is engaged in state affairs and strives to teach his successor the same. However, this is followed by a scene in which he appears to the reader in a completely different form. The Tsar blames himself for the murder of Tsarevich Dmitry (this fact has not been confirmed by historical science, but the author used popular rumor) and is afraid that this crime will affect his fate. He tries with all his might to be a fair and wise ruler, but the thought of the death of his child haunts him. Thus, the author gave a detailed psychological portrait of the king, revealing it from two sides and showing his secret mental suffering.

Characteristics of Otrepyev

A. S. Pushkin attached great importance to historical subjects in his work. The drama "Boris Godunov" tells the story of one of the most dramatic events in the past of Rus' - the beginning of the Time of Troubles, which almost led to the fall of state independence.

The author pays a lot of attention to the image of Otrepyev, who became an impostor and took the Moscow throne. In the writer’s mind, he was an adventurous man: lively, cunning and very ambitious. In the scene in the border tavern, he showed dexterity, ingenuity, and also endurance, managing to escape from pursuit. The work “Boris Godunov,” whose heroes are distinguished by their strong and extraordinary character, attracts readers not only with an interesting and dynamic plot, but also with carefully written characters who seem to have stepped out of the pages of Karamzin’s famous work. The impostor became one of the main key figures of the work, although the play does not show his direct confrontation with the king.

Monk image

Pushkin based his work on historical material. “Boris Godunov” (the chronicler Pimen in the drama under consideration turned out to be one of the most memorable characters) is a tragedy in which a whole gallery of portraits of the era of the late 16th - early 17th centuries is presented. The monk of the monastery, where he lived for some time, is presented in the play as the embodiment of wisdom, peace and tranquility. He is busy writing a chronicle about the events of past times, and it is through his eyes that the reader sees the past, since he himself was an eyewitness to great events. From his monologue we learn about his reverent and reverent attitude towards his work: Pimen understands the importance of creating a chronicle about national history. The entire play “Boris Godunov” is imbued with historical authenticity. The passage describing the scene in the Chudov Monastery is especially solemn, since the monk’s speech breathes peace and tranquility, and his calm contrasts with the restless mood of Grigory Otrepiev.

People in drama

According to the generally accepted opinion of critics, the author brought to the fore ordinary people, which are constantly present in the most important scenes of the work. Initially, when the tsar was elected, ordinary residents of the capital gathered in the Kremlin square to ask him to take the Moscow throne.

In the scene in the border tavern there are again persons from the lower social classes of society: the owner of the inn, ordinary soldiers. This is precisely what distinguishes the play “Boris Godunov” from Shakespeare’s historical chronicles. The passage at the end is especially eloquent and significant: at the decisive moment of the proclamation of the impostor as king, the assembled crowd is silent. By doing this, the author showed that in this moment fate was decided at the top, among the boyars who took Otrepiev’s side. This scene is, in fact, the climax, although the poet brought it to the very end.

So, the people in the tragedy “Boris Godunov” are the main characters. This feature drama was also reflected in the opera of the same name by the famous Russian composer M. Mussorgsky, in which choral parts are of paramount importance.

Beginning of the war

The play "Boris Godunov", a brief summary of which is the subject of this review, consists of several scenes that are united by one general idea- confrontation between man and power. The next scene begins with a description of the impostor's military operations. He is moving towards Moscow in the hope of seizing power. However, in the capital, meanwhile, Boris unexpectedly dies, but before his death he manages to bless his eldest son Fyodor to reign. Meanwhile, among the boyars, a plan has matured to raise a rebellion against the children of the deceased ruler, and one of them proclaims the impostor tsar. The play ends with the silence of the people.

Rus late XVI - early XVII century and is the main character, a kind of collective hero Pushkin's tragedy. At the same time, Pushkin strives for historical truth in the depiction of each of the participants in this grandiose, moving, active historical panorama in person, achieving this through a close and in-depth study of historical materials, “... in the chronicles he tried to guess the way of thinking and the language of that time,” - he himself spoke about his process creative work, adding: “The sources are rich! Whether I knew how to use them, I don’t know, but at least my labors were zealous and conscientious.” In “Boris Godunov” the poet brilliantly managed to use these sources.

This is one of the main reasons for the greatest artistic merit of Pushkin's tragedy. It does not contain conventional characters dressed in historical costumes, but truly “people days gone by, their minds, their prejudices." Instead of the pompous-rhetorical, or cutesy, conventionally literary language, which is far from real living speech, in which the characters of the tragedies of classicism were expressed, Pushkin endows the characters of “Boris Godunov” with a deeply individualized, at the same time “commonly understood language”, devoid of unnecessary external “ historicity" (excessive abundance of outdated words, expressions) and at the same time truly historical, based on deep study historical sources and excellent mastery of the speech of the common people. TO folk speech the poet listened especially carefully and inquisitively studied it precisely during the period of work on his tragedy, during the years of exile in Mikhailovskoye. Along with and in parallel with the rejection of the “unity of the word,” Pushkin no less decisively broke with the unity of the genre of “classical” tragedy, which was supposed to contain only the sublime and tragic, without the slightest - “defiling” - admixture of anything ordinary, comic.

The theoretician of Russian classicism of the 18th century, the poet and playwright Sumarokov, in his “Epistole on Poetry,” separated tragedy and comedy from each other with an impenetrable wall, categorically forbidding “irritating” the muse of comedy, Thalia, with tears, and Melpomene, the muse of tragedy, with laughter. In “Boris Godunov,” Pushkin introduces, along with scenes filled with the deepest tragedy, not only everyday scenes, but also comic, “common” scenes. Moreover, in certain scenes Melpomene and Thalia - the solemn and the funny - freely mix with each other (the scene at the Novodevichy Convent, etc.). “The end of the world,” which Sumarokov feared, actually happened in Pushkin’s “Boris Godunov.” Instead of the aristocratic, “court” tragedy of Sumarokov, Pushkin created dramatic work, both in ideological content and in its entire structure, deeply democratic, to use its own word - “people's”.

Masterfully using the means speech characteristics, Pushkin freely and widely shows human characters in his tragedy. In the sculpting of characters it has a special effect new method Pushkin’s depiction of life, people, the method of artistic realism - “the poetry of reality”. Pushkin could not in any way be satisfied with the image of a person human character in the works of classicism, even in those in which realistic tendencies were most strongly reflected. Living people were replaced in them by one-sided and schematic personifications of one or another “passion” - one or another individual psychological trait: stinginess, lust for power, anger or, conversely, honesty, love of the fatherland, etc.

As a result, in the tragedies of classicism, either monsters of vice or walking mannequins filled with the greatest virtue appeared before the audience. Pushkin was almost equally dissatisfied with the arbitrarily subjective, romantic method of depicting character in Byron’s dramaturgy. We have something completely different in Pushkin’s tragedy. So, in the person of Boris Godunov himself, we are by no means the traditional “villain” of a classical tragedy, who was painted in solid black paint.

"Boris Godunov" A.S. Pushkin is a magnificent example of Russian realistic tragedy, which describes a difficult turning point in history Russian state- the era of Troubles.

The author achieved extraordinary historical authenticity; he managed to recreate " last century in all its truth." Initially, Pushkin designated the genre of "Boris Godunov" as a historical and political tragedy addressed to pressing issues at that time - historical role the masses and interaction with despotic power.

History of creation

The publication of the X and XI volumes of N.M. Karamzin’s largest work “History of the Russian State,” containing a detailed narrative about the era of the Time of Troubles, inspires Pushkin to create a true masterpiece Russian historical realistic drama. He begins work on the work with a careful study of the features of the historical era and characters of that time, right down to taking notes on fragments of Karamzin’s great historical work. The beginning of work dates back to the end of 1824, also known exact date the end of work on the work was November 7, 1825, but after that, for some time, the author continued to make his own edits.

Analysis of the work

The action begins in 1598. Princes Shuisky and Vorotynsky discuss the murder of Tsarevich Dimitri; Vasily Shuisky accuses the Tsar’s brother-in-law, Boris Godunov, of this terrible crime. Shocked by the death of Tsar Fyodor Ioannovich, the Russian people beg Boris, who has secluded himself in a monastery, to take control of the state into his own hands. After some deliberation, he gives his consent.

1603 Cell of the Chudov Monastery. Having learned from Elder Pimen the circumstances of the martyrdom of Tsarevich Dimitri, his cell attendant Grishka Otrepiev plans to use this knowledge for selfish purposes and escapes from the monastery. The monk Gregory is plotting blasphemy - he is going to impersonate the late prince in order to subsequently ascend to the royal throne. Having barely escaped the guards looking for him, Grishka escapes to Poland. There he charms the daughter of Voivode Mnishek Marina, and confesses to her his imposture.

Meanwhile, a letter appears in Shuisky's house about allegedly miraculous salvation the prince, after which the prince goes with this news to the king. Boris is overcome by terrible pangs of conscience; he tries to find out from Shuisky the truth about the death of the boy.

In 1604, inspired by the impostor False Dmitry, Polish troops crossed the Russian border. Meanwhile, in Uglich the relics of the innocently murdered prince were discovered, which finally proved Otrepyev’s imposture.

In December of the same year, near Novgorod-Seversky, a battle between Boris’s troops and the Poles took place. Godunov loses the battle. On Cathedral Square, a scene between Boris and the holy fool takes place, where the latter accuses the king of infanticide, comparing him to Herod.

Arriving in Moscow, Tsar Boris suddenly dies. Being in his death throes, he blesses his son, the young lad Fyodor, for the kingdom. The disgraced nobleman Gavrila Pushkin pushes one of the governors to treason and proclaims False Dmitry tsar at the Execution Ground. Then a terrible tragedy unfolds - the boyars break into the imprisoned children and Godunov’s wife and kill them. Boyar Mosalsky lies to the people that Boris’s entire family took poison and died, and proclaims the power of False Dmitry. The people are silent.

Main characters

The author reveals his image in many ways - as a powerful and wise ruler, a loving husband and father, Boris is endowed with many virtues. An experienced politician, gifted with a powerful will, a brilliant mind and sincere concern for his people, the king, nevertheless, could not win the people's love. The people could not forgive him for the murder of the prince; in addition, the policy of total enslavement of the peasants was also not to the liking of the common people. All the royal generosity and good deeds were perceived by the people as hypocritical means to appease and keep the masses from rebellion. According to Pushkin, it was the lack of popular support, love and respect that was the main reason for the tragedy of Tsar Boris.

A meek and humble elder, the chronicler monk of the Chudov Monastery is one of the central characters in Pushkin’s tragedy; he is the only witness to the tragic murder. Pimen unintentionally provokes his cell attendant Grigory into imposture with just one careless mention of the equal age of Otrepiev and the murdered prince. At the same time, he declares the power of the king as given by God, and subsequently calls on the people to repent for the sins of the child-killer king.

The image of one of the main characters begins to unfold in the cell of Elder Pimen. The passionate nature of the young monk takes precedence over his desire for solitude within the monastery walls. Further, Grishka reveals himself both as an ardent lover and as a young man obsessed with a thirst for power. In the guise of the Pretender, he enlists the support of both the boyars and the Polish gentry, but he will never be able to win the love of the people. Instead of cheers, popular silence awaits the newly installed king.

The ambitious daughter of a Polish governor, the wife of False Dmitry, she was ready to achieve royal power by any means, being equally indifferent to both the passionate love of the Pretender and the political interests of her people.

A prominent representative of the boyar opposition, a participant in almost all political conspiracies. His role has great weight and significance in the plot of the tragedy. He is the first to investigate the murder of the prince and far-sightedly assesses the consequences of the news about the Pretender. Resourcefulness, sober and cold calculation are characteristic features of the behavior of this character both in relation to the king and in relation to his entourage.

Holy fool. The significance of the role of this character is that he allowed himself, in the square in front of St. Basil's Cathedral, to publicly accuse the tsar of murdering the little prince. The second appearance in the scene of the battle of Kromy will be marked by the cry of the Holy Fool about the fate of the Russian people in the coming Time of Troubles.

Structure of the work

The plot and compositional structure of the poem has its own innovative features - due to a break with the rules of classicism, instead of the usual five acts we see 23 scenes that constantly change the scene of action, which is also an innovative feature of the author's plan. A new interpretation and violation of the three unities typical of the tragedy of classicism (time of action, place of action and unity of action), a violation of the purity of the genre (mixing tragic, comic and everyday scenes) allow us to call Pushkin’s tragedy a successful attempt at a revolution in Russian and world drama.

The main innovative component is showing the image of the people as the main protagonist. The tragedy perfectly shows the dynamism of his development. The passive and unconscious masses of the people are gaining unprecedented power, and as a result, the power to influence the course of historical events. The people are invisibly present in all episodes of the play, including the monologues and dialogues of its characters, and come to the fore in key scenes like the chorus in the tragedies of ancient times.

Final conclusion

“Boris Godunov” is a realistic tragedy, which for Pushkin was the result of deep thoughts and a brilliant innovative embodiment of a large-scale literary and artistic understanding the history of the Russian state. The moral result of the work can be designated as the irreconcilability of a weak and defenseless people with the injustice of a lawless government.